I have to say, there came a point in this when I was feeling pretty let down. Hype has been strong with this book, and I was so excited to find out whI have to say, there came a point in this when I was feeling pretty let down. Hype has been strong with this book, and I was so excited to find out what all of that hype was about when it showed up in my mail – and then I found myself kind of feeling like I had to slog through it, and not really connecting with the world or the characters at all. I found it very, very cheesy in the beginning, and jumbled and messy – I couldn’t quite put my finger on it, but I think it was a number of smaller things: I didn’t fully buy the premise of “Threads” and the various witcheries, didn’t buy the names and the cultures as indeed separate languages and cultures; didn’t fully buy the relationship between the two female leads and the way the complete each other’s sandwiches sentences well, fighting moves, really. Names and locations seemed picked for individual sound, not for any truth to the weight of cultural heritage, which is one of my biggest fantasy pet peeves, and the fantastical premise and overall world-building was really hanging by a thread (ba dum tss), which is the other of my big fantasy pet peeves. All in all, I was ready to call it quits on this one at about 50 pages in, and write it off as one of those weird mindfreaks that sweeps through the blogging world on occasion.
But then something happened. I don’t know that it ever became That Book that everyone has been raving about, for me, but it did take a pretty sharp turn into ‘Hey, this isn’t so bad,’ and from there into ‘Hmm, this is vaguely addicting.’ It still sometimes irritated me with its gimmicky treatment of multiple POVs (I call it the Dan Brown Style™ of writing, where each chapter/POV is cut off right at the crucial moment, like a mini-cliffhanger, which is a trick that has a very short shelflife, before it becomes very obnoxious and starts absolutely killing the tension the author has worked so hard to build); the names and gimmicks and the easiness of things still sometimes jangled against me, the jumble of the magic and the “witcheries” still got on my nerves a bit, or felt hollow and a little too far of a stretch for me to willingly suspend disbelief (completely). And yet . . . Somewhere along the line, I grew to start really enjoying it. I couldn’t help but be drawn along, eager to see how it was all going to play out in the end – and I also found myself still thinking about it, still feeling like I should be reading it, should be continuing on with the characters, for days afterwards. It had worked its way into my head, and I came around to it.
Reading it on the heels of Six of Crows probably didn’t help, as you kinda can't help but compare the two, Tidewitches and all, and feel this falls short. But once the ball really got rolling, it was pretty damn enjoyable, and there are elements there that I actually do love (and man! Let me tell you, I was so excited to see a story where the focus (at least, for a time) was on a female friendship. Of course, of course, romantic tension competes hard for top billing, but the friendship aspect remains strong, and from the bits of the world mythology we get sprinkled throughout, I think that’s a trend that’s going to continue throughout the series, and that makes me very happy. YA desperately needs a stronger focus on friendships), and so, though in the beginning I felt sure I was going to abandon this one to the DNF pile, in the end, I find myself actually pretty eager for book two. Go figure. ...more
Didn't realize I didn't have this marked, but I got a copy in the mail a few weeks ago and it's Kelley Armstrong, so, yeah. Definitely in the to-readDidn't realize I didn't have this marked, but I got a copy in the mail a few weeks ago and it's Kelley Armstrong, so, yeah. Definitely in the to-read pile. ^_^...more
I hadn't heard of Sara B Larson's debut, Defy, until it showed up in my mailbox, which is shameful of me, because I'm normally pretty on top of anythiI hadn't heard of Sara B Larson's debut, Defy, until it showed up in my mailbox, which is shameful of me, because I'm normally pretty on top of anything that even hints at the phrase "gender-bender." (I blame this almost completely on Tamora Pierce, and probably a little bit on movies like Rocky Horror, Ladybugs, To Wong Foo and Just One of the Guys. My formative years in a nutshell, friends.) So even though I had no plans to read this, and a whole stack of other things that needed to be read instead, I promptly sat down with this one almost immediately upon opening the package. And for all my high hopes and a fairly strong start, I was sadly disappointed.
Defy was an oddly confused piece of writing. It doesn't know if it wants to be the next big smexy romance novel or a straight-forward epic fantasy, so it tries to do both, and fails. 'Hot and bothered' just doesn't work as well when there are more pressing concerns like fighting for your life. Now, I've always been one to say that romance still has a place - maybe even more of a place - when the setting isn't all that conducive to a romance; people still fall in love in the middle of wars. Emotions are heightened, life seems short, and people carpe the hell out of their diems. But... if that's the case you wanna make, then that mentality, that forced, manic, precarious vitality has to be represented and believable. And those other concerns, like war and death and hurt, loss, pain, anxiety — they need to intrude, need to make up a bulk of the characters' thought-space, even. Otherwise, it makes your characters seem vapid and self-absorbed, and all of the potential tension in your story (beyond the sexual) goes right out the window. If they don't legitimately fear for their lives, we won't. If they only care about the ills of society in a cursory way, when forced to, we'll either stop caring about the world, or stop caring about the characters. (And by we, I mean me, but I'm guessing some of you, too.)
Defy felt like a lot of potential, wasted. And I don't just mean the more dire aspects of the society, and the seriousness of the situation. Even Alexa's disguise as Alex felt wasted. Larson does have talent that tries to rear its troublesome head, but beyond the lack of depth and the apparent obviousness of Alexa's disguise (who doesn't know? I think just adults, who presumably are too busy or too obtuse to pay attention to anything around them...Like the fact that one twin matures from boy to going-on man while the other remains sexless and ambiguous. Or the fact that one twin (the not-boy one) seems to spend most of his/her time openly leering at all of the sweaty dreamboats in his/her regiment...), I just felt like there needed to be more follow-through, follow-all-the-way-through, in Defy. There needed to be some psychology, some cause-effect, and all those fundamental hallmarks of good world & character building. Two apparently-straight boys are in love with someone pretending to be a boy - shouldn't there be...a grappling with confusing feelings? As a woman in a society where women are forced into brothels to be brood mares for the army, shouldn't their be some real hatred and bitterness? More distrust, more paranoia and caution in regards to the "disguise," or some acting-out, and even some self-loathing for being a member of the Army that helps prop up this institutionalized sex trafficking? Though there was a scene - a single scene - of disgust for the world Alexa lives in, I can't say that it was really more than set-up for a pivotal moment of the book -- a means to an end, and not a real analysis or condemnation of the world. It was well-done in the moment, and then relegated to the d-plotlines once again.
There were things that should have been explored and capitalized on, that should have had a greater share of the focus, over faux drama and twu wuv. So Alexa's the best fighter ever, and she's maybe magic ooh ahh. She's also smart and resourceful (one assumes), so let us see some more of that. She shows moments, but let's have more than moments; let's have that be the bulk of the narrative instead. Not confused longing and a lip-service condemnation of the serious ills of the world, before getting back to the Very Urgent Business of who's hotter, the prince or the pauper? I try not to get too moral when it comes to a book and how it presents its story -- I generally don't feel authors have some sort of "responsibility" to...well, anything, really, other than the story they set out to tell. But as amoral a reader as I am, I couldn't help but be bothered by the shock tactic of using the forced prostitution of children as an easily-discarded frame for a story about how Alexa's milkshake swordplay brings all the boys to the yard.
Now. I've gone very negative, and some of that may be the wine talking (but probably not), so I do want to say that some of this I just saw as rookie mistakes. The story could have done with a lot of lengthening, which, beyond making more depth likely, would have allowed for more of an exploration of some of these difficult plotlines. The timeframe is very compressed, and if you're rushing to get your main characters alone in the woods together so they can get their angsty-flirt on, you're bound to neglect some of the more troublesome aspects of the story. They're just not as fun, amirite? The story as a whole would have benefitted from a slower pace, and I know I'm not the only one who thought that:
And while we're talking about rookie mistakes, even though it seems silly after the more serious stuff: the names! What was with the names? They were so jarring to me; every last one of them seemed like something the author thought sounded cool, and not at all like something that fit the world being built. Cultures have patterns, languages have forms and cadence and a feel to them, and these things all make part of a believable world. Names are a much bigger part of that than you'd think, because they represent the characters who are our 'in' to the world, and therefore represent the world itself; you can't have:
This one is Frenchish, and this one's English-like, this sounds kinda Spanishy, and ooh, this sounds "exotic" and maybe a little ethnic, so that's perfect - let's toss them all together into my insular, isolated world! Perfect! No one would ever believe they didn't develop organically as an extension of the culture and language of a people! *pats self on back*
Choosing something with no real rhyme or reason other than it sounds badass is something a budding writer does in middle school. You gotta murder your darlings, baby, and you gotta make sound decisions rather than "cool" ones. I just had to get that little rant out of the way, 'cause it bothered me...
BUT, all that said, it is very fast-paced, and managed to be engaging even when it was getting under my skin. I saw enough in it that I would read the follow-up, even if it won't be high-priority; there is talent there, it just wants developing, and I'm curious to see what Larson does in the future. And I think I'll get that chance, as I have a feeling Defy is going to find a very devoted audience. (In fact, judging from some of my GR friends' reactions, it already has.) No matter how much we all rail against it and its predictability, there's always a huge market for love triangles; everybody wants to be Team Somebody. Defy will have that in spades. It's just the rest of it - all of its other bookness - that failed to deliver. It's probably a good "epic fantasy" for people who don't actually like epic fantasy, but want to feel like they're reading one - it gives you the bare bones of such a thing, with some vaguely jungle-ish world-building, looming war and atrocities, and mad swordplay skillz, but in the end, it's really just a standard YA love triangle dressed up in epic fantasy's clothing, like a child wearing her mother's heels and playing house. ...more