Seriously. Shut up and know all ye THIS BOOK IS FUCKING FAN-DAMN-TASTIC!
Well, so, yes, I might have just secured my one way ticket to the pillowed
Seriously. Shut up and know all ye THIS BOOK IS FUCKING FAN-DAMN-TASTIC!
Well, so, yes, I might have just secured my one way ticket to the pillowed-wall room complete with self-hugging jackets for that crazy-sauce outburst, but it was so worth being committed over. Alas, lock me away Johnny, for I have recently come to the sad conclusion that books are not healthy for you. In fact, they're a bit dangerous to your well being, and unquestionably no-good for your sanity. Books like No Good Duke Goes Unpunished make it very, VERY difficultimpossible emotionally traumatizing to separate fiction from reality. Why? Well!
When a book kicks much ass, you want that thing to be real, dammit. And, let's face it, we're all secretly convinced that Temple and Mara are walking-talking people. Those two characters are the epitome of a huge honkin' bowl of Awesome sprinkled with a sugary goodness pile of Emotional Agency. Yes, yes, our characters are believable, they're likable, they're strong; they're all of that. But, far, *far* more importantly, their back-stories, their personal identities, AND their personal growth, both independently as well as a couple over the course of novel, brings these two fictional peeps into a hot, zesty fiesta of damned good reading.
Oh, and that's not even broaching the topic of the plot! This story is just damned good; all of it. DAMNED GOOD I SAY! The conflict is nuanced and layered, operating as an external crisis driven by internal emotional pain. The progressing of plot points is so well executed in sensical construction that even the most ADHD spasmodic, "Oh-Look-Something-Shiny!" reading attention span would remain hooked throughout every friggin' chapter. The smexy smokin' sensual chemistry (yay for alliterations!) that sparks in every scene between our hero and heroine is, in my obnoxiously unimportant opinion, serious justification for making this Book-Crack-level worthy.
Not good enough for ya to be convinced to read this glorious collection of words? Well, fine! Then how about a story chock full of piss-your-pants-roller-coaster-ing emotional hits within the plot? Temple's Mr. Angsty-Angst man from Angstville level of mistakenly misplaced self-hate? Or Mara's I'm-Apparently-The-Most-Bravely-Bad-Ass, Most-Independently-Self-Reliant-Vagina-Owner moniker holder in Romance Land? Still not convinced? FINE! Throw in some amaze-balls beautimous writing, some burn-this-mother-down hot sex scenes, AND majestic perpetual plot momentum! Because, ya know, as great effing books do. SO HOW? ABOUT? NOW?!
I really do.
Post Review Postscript:
Dear Sarah MacLean: You're birthed in win, and your DNA is basically the equivalent of diamonds dipped in liquid gold. This has long been acceptable scientific truth for you, for your books up until No Good Duke Goes Unpunished have proven as much. Here I must put it to you, though, that you are a mastery of awesomeness. That itsy-bitsy teeny-weeny way you just SHOCKED THE EVER LOVIN' CRAP-LOVE out of your readership with those last two lines of the epilogue about a CERTAIN surprise you've been harboring over the course of three novels? Well. You are officially Queen of Romance. Here's your well deserved fist bump, good woman.
You wanna what I love? Bad-ass heroines who rock capability and personal agency like it's a Def Leppard farewell tour. You know what I really, reallyYou wanna what I love? Bad-ass heroines who rock capability and personal agency like it's a Def Leppard farewell tour. You know what I really, really love? Independent and confident female characters that save their own damn selves when stuck in a hopeless situation all while maintaining personal identity. You know what I love more than all that; said supposedly anachronistic heroine in an historical romance.
Artemis Greaves is my favorite non-person person, not the least of which is because life has screwed her blue, and yet she survives. This character is well written, fascinating, interesting, bold, and does things in Duke of Midnight that make me stand up and hug her on a perpetual basis. Her counterpart, Maximus? Not so much.
This novel rocks it with character development and an elegantly simplistic plot...but kind of sucks mammalian testicles when it comes to hero-tastic awesomeness. Maximus is believable, yep, and he's got legit internal conflicts, double-yep, but he's kind of one dimensional. He's sort of just there, believably so indeed, but unquestionably more of the supporting actor to Artemis' lead. Who knows what the frickity-frack reason for this is, really? Maybe it's the seemingly surplus of scenes told from our heroine's POV? Maybe it's the plot which, while heavily focused on Maxi-boy, doesn't really seem all that prominent in the final analysis. Maybe it's Maybelline?
Yeah, okay, so that was admittedly a bit pretentious sounding, and so vague it probably gave you a headache, BUT! Such brain-vomit is relevant because while our hero is second to our heroine, he's still viably written. We see him feel his feels and make an impact on the story and do all sorts of other awesome stuff. Oh! Speaking of the story...
(...you like that segway? I worked on it all week.) You remember back in the good old days of two paragraphs ago, when I said the plot was elegantly simplistic? Well, it was, but more to the point, and largely the only reason why this novel doesn't get a Woot-Woot 5 Star ranking...but honestly the entire St. Giles subplot could have been completely removed from the book with little to no real consequence. After altering the hero's internal conflict only just a smidgen, the whole big swashbuckling-meets-vengeful-hero-of-the-night not only felt a bit forced and random in the dynamic of the plot, but it was boring.
There's a whole giant subplot about our hero's family and St. Giles and a bunch of other stuff that my brain just kind of went "Doooooooooon't caaaaaaare" every time the book jumped back to That Topic. Luckily these scenes weren't all that frequent, but they were there and thus, yeah, not a fan. Still! As somewhat weird as that subplot felt, the romance in this romance novel kicked all of the ass!...Well, mostly. At the end of the day, I totally bought the Artemis+Maximus ship, and I'm glad it sailed because dat heat doe!
These two had chemistry that sparked all of the smexy, and they believably needed one another, both in and out of bed. But (and that's a big damn) but I felt by their This Is Our Culmination End-Of-The-Book Scene that...well...how to put this lightly?...Basically their love story felt rushed. It went from, "Let's resist! Now let's bang! NOW let's avoid each other for a hot minute! NOW LET'S LOVE DAMMIT!"
Which is good and all, but by that point I was just like, "Yay" instead of "OH MY GOD YES YOU TWO ADORABLE BASTARDS...YESSSSS!" which is actually the reaction I prefer.
Not sure what the hell all that means, but hey I like the book and I loved the heroine and I loved me some of that romance.
So! Screw my above bitching, and read this thing dammit! READ IT NOW BECAUSE I'M SCREAMING IN ALL CAPS, OKAY?!
You know that moment after finishing a book, when your brain zig-zags like an in-play Ping Pong ball because you can't figure out how you feel about w
You know that moment after finishing a book, when your brain zig-zags like an in-play Ping Pong ball because you can't figure out how you feel about what you have just read? Well, welcome to my world. Firstly, let me put this out there, because I feel like if I don't I'm sacrificing virgins on the alter, or something equally heinous; A Rogue By Any Other Name is worth reading. It is, put simply, a good book. Despite my following complaining screed, it's fun to read. But...
...There are some problems.
The synopsis is pretty in-your-face-like-whoa simplistic; boy wants revenge, girl harbors means for revenge, annnnnd...marriage. While there is obviously a bit more to the structure of the story, that oversimplification is the meat-and-taters of the thing. As far as plot goes, there isn't too terribly much happening in the background lives of Penelope and Michael. This is sad, because I think if there were other motivating elements to the story, the thing would have bazooka-ed on up as a better read. As is, we've got Penny and Bourne circling each other in a very off-beat dance of "What's Going On With The Two Of Us, Yo?"
As far as characters are concerned, I'm thinking Penelope was a lot more fleshed out as a person than Lord Bourne (or Michael, he's a tad crazy-sauce Bipolar with his name for some inexplicable yet obvious reason.) The nature of the story grants us a significant amount of time inside Penny's head at the onset of every chapter, which is good like a sunny day at the beach, and bad like the subsequent sunburn. I, personally, believed her motivations, her actions and goals within the book, I just didn't like 'em. Too often, I felt like screaming...
...In the singular form, of course. Essentially, Penelope took so long to develop her backbone to Michael that I grew more irritated with her than I did with the hero's occasional Ass Hat #3 moves. It was such a relief towards the end of the story when she began showing some spirited spunk for herself, but by that point, I felt it was too late for me to truly appreciate her attitude. The above sunny day/sunburn analogy comes into play here, for the doorway, the one in which we're granted access to this chick's identity, is solely streamlined through letters to a dude (Michael) who's ignored her for years. Add that to the fact that she's all Mrs. Droopy-Eyed Pup about her new hubbie, and I wanted to just, well...
Michael gets the same treatment, too, of course, but to a lesser extent. Yeah, yeah, that's probably sexist, but at least his motivations came from a bit more believable context. However! Despite the bad character aspects, and the occasionally forced plot-points that just didn't flow well, the story read surprisingly well! From my review I'm sure it seems otherwise, but, since I have no problem DNF-ing a book in a split second if the thing becomes unreadable, that's not the case. A Rogue By Any Other Name reads well, predominately because of the fact that, despite having occasionally shit-tastic character motivations, Sarah MacLean makes you care about Penelope and Michael, as well making you wish for their HEA.
But, that in and of itself is the problem. You like Michael, you like Penelope, but rather quickly upon seeing them finally find one another emotionally, the two are easily forgotten. If anything, this book is prime sequel-bait, because if for no other reason it's hooked me like a Diabetic to a chocolate fountain; I want Pippa and Cross' book! The final scene of this novel makes you go uber-gushy; I admit it. I mean, c'mon, a nerdy girl in Victorian England paired with a tall intellectual ginger? Yeah. I'm all over that.
Wow. *Sigh.* This novella is just...oh, God. Talk about one comfortable read! Overall, I'm not a big-honkin' fan of the short story, predominately bec
Wow. *Sigh.* This novella is just...oh, God. Talk about one comfortable read! Overall, I'm not a big-honkin' fan of the short story, predominately because I'm frequently of the mindset that they suck. More often than not, a writer bombs shorts because it's hardcore hard to cram a compelling, interesting story within the span of one hundred pages, or less. But, oy, Milan rocked this one out of the stadium. A Kiss For Midwinter is one snuggable and fun read that just works.
(Yes, the above one-word scream is vital.) Do not, at all, under any circumstances read this novella without having first read The Duchess War. I mean it, dude; don't. With absolute certainty, your face will explode if you don't follow my instructions. Well, okay, granted, there exist no continuity confusion-issues without first reading Book One, and a reader won't be all what-the-hell with the plot, this is all true. However, the story will not be nearly as appreciated without first having met the characters of Lydia and Jonas, who are background-fun in The Duchess War.
So! A story that focuses entirely on two characters both of which must arrive on-scene emotionally prepared to drive a story entirely on their own merit? A story that does not utilize any external conflict whatsoever to move the plot along? A story that goes to some pretty intense and emotionally dark places? A story that utilizes the "Christmas time trope" without ever once tutoring the reader? A story that makes you care about two people immediately upon the start of the novella, with vastly limited exposition time? It's almost like Mrs. Milan looked at her publisher, and went balls-to-the-wall...
The story has excellent pacing, which is damned necessary when it comes to writing truncated stories. The characters are likable, dynamic, and engagingly believable. But, there does exist one teensy-weensy problem; the hero. Oh, don't get your knickers in a wad, you Beta-male HR haters, it's not what you think. Jonas is absolutely adorable as a male lead. I like him, I love him, I want more of him; but! There's one thing I didn't like, and that's the fact that Milan basically wrote the Perfect Hero, and had him go nowhere.
The entirety of the plot, indeed, the sole basis of the story is Jonas traipsing after Lydia in trying to make her "see" him; and hey, considering the background these two characters have, I'm okay with that aspect. Rather, a perfect story has lots of Must Meet This Criteria To Be Awesomesauce, and one of those is growing your characters. Lydia morphs from a seed to a rose, which makes sense and fits when considering the emotional baggage of her back-story. In order for her and Jonas to wrap up their HEA, she's got to get from Point A "I-Gots-Shiznit-I-Need-To-Deal-With" to Point B "Hey!-Hey!-I'm-Okay!" This cool-beans transitional growth, though, never happens for Jonas, 'cause he basically arrives on scene with a lot of possible issues for internal conflict that go nowhere faster than Mother Teresa in a whore house.
THIS. IS. WHY. I. HATE. SHORT. STORIES! (Also, yay John Green GIF!) ... A Kiss For Midwinter had a lot of happy-places where I felt wonderful, and I did enjoy the story, so much. I love what it made me feel, I love the characters and the writing, but even as excellently structured as the story was, I felt that had it instead been a full-length novel, both characters could have had evolved equally as well during the span of the story, not just Lydia.
Any story that can go from here...
"Also, he had decided it would be best not to mention his main reason for wanting to marry - that he thought it expedient to procure a regular source of sexual intercourse without risking syphilis." ...
"'I only said I would stop talking to you,' he'd written. 'I never promised to stop loving you.'"
In Feelville, where feels run amok, there's a shop that specializes in bottled feels, and even THEY cannot conceive of the massive amount of feels run
In Feelville, where feels run amok, there's a shop that specializes in bottled feels, and even THEY cannot conceive of the massive amount of feels running amok in One Good Earl Deserves another. Hyperbole or not, let's just establish that Sarah MacLean kicks copious ass in writing book-crack. You pick up her novels and you're instantly addicted.
Do you like heroines who are unique, nerdy, and unusually fascinating? Heroines who are extraordinarily intelligent, rescue the hero in distress, and are damned strong characters with distinctive and believable personalities? Duh, of course you do, and thus Pippa is basically destined to be your literary BFF. You like heroes who are emotionally tortured while NOT being whiny bitches? Whom quietly pine and burn for their lady, are the embodiment of Sex on a Stick, and are the idealistic mix of Alpha and Beta? Stop right there, awesome reader, because we all know you do, so take comfort in knowing that Cross is your book boyfriend.
(The 11th might not be adorably red-headed, but Cross is one fine ginger!) Basically this book has awesomeness in spades, and if the refreshingly different heroine (yay smart ladies!) and exceptional hero (yay red-heads!) aren't enough to make you book-drool all over yourself, then kick-ass writing, perfect pacing, and plot surely must be! ... Okay, yeah, I just nerd-ed all over the place, so you'll have to excuse the mess, but, c'mon, a story where gender and sex roles are completely reversed? Where the heroine propositions the hero, where the heroine saves the day and rescues herself AND Mr. Sex On A Stick? Where the sexual and emotional tension are viscerally palpable? A book that sparks violent tendencies in you if one dare disrupts your time spent falling in love with non-existent people?!
Okay, I know, I know; I need a chill-pill. But, in all seriousness, while the basic plot of the novel might appear simplistic to some, in that said plot is admittedly just Pippa begging Cross to provide her with understanding of coitus, this seemingly rudimentary set-up provides for fun dialogue and astonishingly interesting story points. Oh, and let's please just take a hot minute to note here that this book is SMOLDERINGLY SEXY! The way this author tantalizes both her lead characters using their undeniably on-fire chemistry, in addition to when the game of Will They/Won't They finally reaches physical intimacy...well, let's just say the reader's wait is rewarded with one hell of a smexy-ass scene.
Ooh, yeah. I went there. *Pauses to laugh maniacally.*
So! Yes! This book? Read it! If you're a genre fan (and, let's face it, if you're reading this review and have made it THIS far, we know you love this awesome-sauce), and you're bogged down with repetitive story types while DYING for something new, One Good Earl Deserves A Lover is begging for your attention.
Oh, don't mind me. Just, you know, sitting here, basking in the brilliance of one of the most exciting roller coasters of fiction I have ever read. Ev
Oh, don't mind me. Just, you know, sitting here, basking in the brilliance of one of the most exciting roller coasters of fiction I have ever read. Ever. Hyperbole might admittedly be my thing, but let's lock that bitch right up and never refer to it as anything but copious truth. The facts are these:
1. Kristen Callihan will one day be a national treasure. 2. Moonglow is one of the most adventurously entertaining stories you will ever read. 3. You will feel All Of The Feels throughout the course of this novel. 4. Orginality is NOT dead; it's name is Moonglow.
Dear wondrous bacon, where does one even begin?! I mean, logically it's first with the characters, who deserve a damned review all on their own reality of "These People That Aren't People Be Kick Ass." Aside form all the necessary adjectives (likable, believable, interesting, etc.), Daisy and Ian are so much more than simple description. If Einstein, Kant, Kipling, and Sherlock Holmes were given a decade and an endless supply of cocaine, even they couldn't convey to you the earth-shattering, level-this-sucker-to-the-ground depth and complexity embodied by our two leads. Their evolution as whole-bodied characters reveals itself layer by layer, each chapter in the book pealing back more interest and emotional agency to their existence as people. Am I in love with Daisy and Ian? Well.
Truly it's not my fault, for obviously there's a national conspiracy at hand that has genetically engineered the perfect construction of plot with excellent writing quality. Callihan delves into a paranormal world that feels such a part of the fabric of reality within its fictional setting. The historical elements mesh perfectly with the other worldly-ones, which are fundamentally unique in their own right. Yes, we've read about werewolves, but not these lycans. Yes, we've seen be-gifted heroines with powers over the elements, but not with this backstory. Yes we've seen the animated dead, but not with that steampunk Grim Reaper twist.
You really don't; not til you read the book. (Seriously, hon; read this thing.) I mean, in this single novel we've got smokin' hot romance that is emotionally fueled by the most heartbreaking needs-some-lovin' hero and heroine, a Who Done It mystery, a monster on the loose, one hella screwy love triangle that is an acid trip into Feelville, a bloody half-century family feud even Dr. Phil wouldn't touch, all topped off with some of the most NO-WAY plot twists that would leave Steven King salivating. And, if all that wasn't enough to make you want to devour this book NOW, DAMMIT, then at the very least ignore that huge run-on sentence, for my sake. Additionally, know that you're crazy.
*Dodges the hate.* Okay, so aside from my being a douche-nozzle, I will admit that if the book contained a single flaw, it would have to be that a LOT is going on in this story. Such is a good thing, in that it makes for some hella-damn interesting story telling...but not such a good thing for crowding out room for more emotion-building between Daisy and Ian. While it would have been nice to see just an itsy-bitsy bit more of these two constructing their emotional connection, the specific plot points that occur do believably allow Daisy and Ian to short-hand their way to the lovey-dovey sentiments. Confused?
(view spoiler)[Basically Ian gets his flesh literally eviscerated (facial muscles mutilated, bloody chunky inside bits falling out...yeah) all to ensure Daisy's well being. Daisy's trust in Ian's humanity sparks a bond that supersedes the need for copious love-growing exposition. So, yeah. If that's not enough to excuse the lack of an extra heaping spoonful of emotion-cresting-telling, then may Alan Rickman help you. (hide spoiler)]
The non-spoilery answer is that Kristen Callihan is a goddess, and you should worship on her alter of awesome writing skills, dammit! She creates spectacular spectacularness and you effing -NEED- this in your life for your own well being! Moonglow's entire cast of characters are all equally well written and they're just waiting to be your friend, and you want to know the future of your friends don't you? DON'T YOU?!
Read this book. Now.["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>...more
So, guess what? Happy Book Noise (copyright pending) is, without a freakin' doubt, some of the best noise on the planet. And, know what else? That noi
So, guess what? Happy Book Noise (copyright pending) is, without a freakin' doubt, some of the best noise on the planet. And, know what else? That noise gets all the more kick-ass when it follows from previously thinking, "Uh-oh, this book might fail all painful-like!" Yep. That entire scenario plays to Season for Surrender just so, because this book is a damned good story, but holy-crap-on-Satan's-ass, I was worried otherwise for a wee bit, I'm not gonna lie.
In so many ways, the first fifty pages of this novel kind of left my ass shivering on the sidewalk. While my initial, "Hey, hiya Louisa and Xavier!" introduction to our two lead characters wasn't painful or of the Oh Dear God Why! variety (*cough*Twilight*cough), the opening pages were problem laden. As in, oh'boy'howdy we-got-a-problem laden. Some authors can hit characters out of the ballpark from page one, while others...? They need some time for the book to build momentum. The biggest issue I faced at the onset of Season for Surrender was getting a realistic hold on the hero and heroine; put simply, they just didn't feel like real people cemented with reality. At least, at first anyway.
Yeah, yeah, I know; that's vague as hell. Frankly, though, I know of no other way of conveying the, "Who ARE these people?!" sentiment I had throughout the first fifty pages of this book. BUT, WAIT! There is indeed hope, because Romain totally kicked my assumptions and misgivings into the "Girl, why you worryin'?!" arena. I read a ton (forgive the pun) of historical romance novels, and in order to make my brain go all spastic-happy for your lead characters, well, it takes some work. Like, lots of work.
I admit it; I like smart heroines. Hell, I like smart heroes for that matter (and thankfully, I scored on both accounts herein), but my favorite are smart heroines! Intelligence is smexy as hell, and when a writer can create a character where their personality and identity is rooted in their ability to appreciate higher-thought concepts, I'm all a'quiver. Louisa is, yes, just that; she is smart, but confined to her role of bluestocking. This reality of intelligent wallflower is a part of our heroine's character makeup, but only a small facet. Her circumstances are not a matter of contentment for her part, and thus she's even more fascinating as a female lead. Incidentally, we're best friends, this fictional words-on-a-page woman, she just doesn't know it yet. *Proudly brandishes Nerd Flag.*
And then, we got Xavier! Yeah, I be lovin' this male lead character, like with all my particle existence. What fascinates me so intently about Alex's character is that he, incidentally, shares many commonalities with Louisa in that the two are more than their label, more than their societal roles. They are bound by their own identities, and yet unable for the longest time to break from their respective molds. While Xavier/Alex plays the role of rake, and does so willingly, embraces that label even, his motives for doing so are the very chains that keep him from experiencing true happiness. His desire to be loved is what keeps him from being loved...and holy crap, you talk about one hell of a fascinating dynamic and character!
(We'll leave out the clarification as to whether that GIF applies to just Louisa, or not. *Cue the smirk!*)
Though, in all seriousness, while Louisa and Alex morph from being lukewarm words on a page to busting onto the scene with all aspects of fascination and relatability, their existence as people would not have been nearly so amazing had it not been for the beautiful technical structure of their story. The writing style, the voice of Theresa Romain was so powerfully present through 99.9% of this novel that I literally am still shell-shocked by the power of the story. Plot wise, it's a good mix-meshing of external conflict being driven by internal conflict, though on its own not too terribly impressive. However, the sexual, emotional, and character tension between whom Louisa and Alex are to their own selves and who they are to one another drives this story along insanely well. Ostensibly, the story just does...well...this...
Frankly, if your heart doesn't try to go all Alien-like, busting out of your body-cavity, after reading this novel, then welcome to earth, Mr. Tin Man. The pacing of the book makes the characters, the writing, and the plot so much MORE in so many respects. No character interaction feels rushed, no romantic or emotional plot points seem forced or faulty, and the book is pretty much just freakin' phenomenal. My one criticism (because CRITIC!) is that the characters do take a few pages to "get going," which can be a bit struggle-worthy when the dynamic and tension hasn't been built as of yet. BUT! That one nit-pick aside, just, yeah. This book, read it. Listen to the outcry of your soul, awesome reader- it needs this story! Well done, Ms. Romain, so very well done!
Sometimes they're epic, sometimes they're shittastic, and other times they fly around like a YoYo in a Bounce House. In the case of Mi
Books are weird.
Sometimes they're epic, sometimes they're shittastic, and other times they fly around like a YoYo in a Bounce House. In the case of Milan's book, Unveiled, said novel falls way-the-hell into the latter category. Before I dive into my I'm-Gonna-Rant-And-Then-Shut-Up review, know with absolute certainty that this book kicked SO much ass! Yep, I liked it, I loved it, and I spazzed in wanting so much more of it, truly. But! Upon the start of the book, and definitely within the first one hundred pages I was all...well...
...Yeah. Kind of like that, except more, "I don't know where the hell this book is going!" as apposed to the general, "Dude, what the serious seriousness?!" Any book can struggle at the onset, but Milan's novel, for some inexplicable reason, came off like a drunk hobo making the switch from boxed wine to Vodka; a good plan, but not without some stumbles and issues. Ironically, my yes-but-no interest in the first half of the novel didn't stem from the lack of interestingly dynamic characters; me LOVE some of them characters! Rather, the story just jump-starts with a BANG into the meat of the book without any real buildup. Throughout the first few pages, I was just searching for a foothold or some story line clarity, like bad.
Unveiled didn't seem to be a Happy-Happy-Star-Ranking kind of deal, at first, since the heroine and I...well, we didn't get along too well in the beginning. She jumped from page one seeming like the Eternal Ass-Snob, and while I know it's illogical to say one can't enjoy a story if the lead characters aren't likable (I KNOW, okay?!), I still maintain that it's a prerequisite for my judgmental ass. Margaret felt like Queen Bitch for no other reason than the fact that the reader is denied personal time with her before the book leaps off, so here I was thinking, "Yep! I'm gonna hate her!"
Yep! I sucked on that assumption! One of the most damn-woman-you're-good! aspects of Courtney Milan is that she pwns the ability to create fascinatingly dimensional characters that are layered in complexity. This is obviously true for Margaret, who was a unique mix of strength and weakness, confidence and self-consciousness, and pretty much every other polarizing identifier. Likewise, such is, can, and should be said for Ash, the hero who embodied probably one of the most interesting male roles I've ever read in quite a while. His weaknesses gave him a strength that made him simultaneously multifaceted, and fun to read.
Interestingly enough, while the above is true for the two leads of the book, the entire cast of characters contained a lot of the cool conflicting character traits, too. The brothers, each set belonging to both the hero and heroine, were the antithesis to "set pieces," were damned-yes vital to the plot, and granted so much more to the reading of this story than I can possibly articulate. The fact that the entire novel felt realistic in its character creations, even down to the inconsequential secondary and tertiary cast, shows Milan's got some mad writing skills to her credit.
(Not to Milan, apparently!)
Lastly, the final thing that just blows me out of the water is Courtney's ability to create an exceptionally complex plot that is entirely, completely, OH MY GOD ALL THE WAY dependent on emotionally driven conflict. And, yes, she even manages to do so without once making the novel come off too weak, as though there was no plot in existence whatsoever, or without bogging the whole ship down with Angsty Drama Bullshit. When considering how well the story sails along, all the while making me FEEL for Margaret's loyalty struggle, making me FEEL for Ash's feelings of inadequacy, hell, making me FEEL for their emotional story as a whole...I just...I can't even!
Incidentally, if you're an author who can write THIS for your lead character, how the hell is it possible to not just fan-girl over the book, like lots?!
"Because if you were suggesting that you would sacrifice your sister's reputation to serve your own purposes, think again. If you do, I won't just steal your title and your lands. I will run any bank that holds your funds into the ground. I will bribe your servants to slip nettles into your bed. I will hire trumpets to stand outside your home every evening, where they will sound notes at irregular intervals. You will never have a solid night's sleep again."
This book had me terrified, because the opening praise for Perfect Chemistry utilized a quote by Chasing Heroes, comparing this book to Twilight, in aThis book had me terrified, because the opening praise for Perfect Chemistry utilized a quote by Chasing Heroes, comparing this book to Twilight, in a positive light. Thank GOD they were wrong!
I never thought I’d say these words; I read a YA first person, and I liked it!
Ironically, neither statement is in and of itself unusual, since there exist modifiers to each. Firstly, I’ve read Young Adult one other time (Sherrilyn Kenyon’s CON series). However, this is the very first time I’ve read a YA that was independent of my favorite author. Additionally, I’m still adamant in my hatred of a strict first person novel. Thank the literary gods that Perfect Chemistry was written in split-first person. Not only was this my first experience with reading first person, and enjoying it, but likewise it was my first experience with split FP.
This book, frankly, blew my ever lovin’ mind. One of my biggest problems with YA is the fact that, from what I’ve witnessed, experienced, and heard, most come off as being mediocre drama. At best they seem to be the literary equivalent of reality television, and at worst they’re hum-drum with one dimensional everything. This was so, so not the case for Perfect Chemistry. Here is a book that encapsulates the very definition of quality.
One of my favorite aspects to this novel is the realistic emotion, and genuine humanism evident in the characters, as well as their reactions to life. From hearsay, I’ve always understood most YAs to utilize not just one dimensional characters, but clichés and caricatures as their protagonists. Elkeles does an amazing job of taking two, very easily written-off high school stereotypes, the Rich Good Girl and the Bad Boy, and turning them completely on their heads. Both Brittney and Alex were multifaceted with believable motivations and realistic dynamics. To say that I liked these two characters, their faults and qualities included, would be a massive understatement.
In the arena of characters, I too must say that Elkeles hit a field goal, slam-dunk, goalie, and any other potential sports metaphor, in regards to the emotion that was brought on-page. Almost from the opening sequence I knew that I was delving into a world that would be unique in its own right. I did not, however, expect said uniqueness to translate into heart wrenching emotion and real-world consequences and wonderful storytelling. Hot damn if I wasn’t pleasantly, surprisingly shocked to find out otherwise.
The plot of Perfect Chemistry was unique, too. This is not to say that the storyline within said novel hasn’t been done before; it has, most assuredly. Rather, the fact the hero and heroine were so lifelike, so well written allowed me to forget I was reading a tried-and-true story type. So engrossed was I to the events, actions, and thoughts of Brittney and Alex that I transcended that fine line between story and reader. I was Brittney, I was Alex. This could be attributed to the split first-person aspect of the novel, but I insist it results from the sheer excellence Elkeles maintained in her writing.
I think, truly, what made this book so amazing was the fact that, while obviously never forgetting its reality as a romance, the story wasn’t afraid to venture off into different realities and real-world issues. Social class, poverty, affluence, stigmas, peer pressure, betrayal, violence, body image, drug use, identity crises, abuse, sex, the pressure to succeed, disabilities, culture, isolation, love, disillusionment, misunderstanding, education, prejudice, friendship, death, judgment, guilt, respect, fear…the list of topics dealt and addressed by this novel is seemingly endless. And yet, despite all the subjects noted, holding the pieces together are just two characters, and their perspectives. Of all the aspects that I love in regards to this book, and there are many, the one that still awes me is Elkeles bravery in going to places few YA authors do, and yet still manage to maintain humor and occasional levity when appropriate.
Another wonderful element to this book comes its pacing, as well as its climax and subsequent conclusion. Throughout the entire story, at no point did I ever think, “Okay, already, c’mon with it.” Every plot point succeeded in bringing about the next plot point, every scene was relevant and substantial to the characters, or the story. And, if that weren’t enough, the climax was intensely dramatic, and yet believable considering the subject matter.
Incidentally, I must give Elkeles excellent props, for despite briefly using the “high school girl lost her guy” trope, this was done in a realistic, and then admirable way, predominately following with the “get on with your life” message. While I’m a romance novel addict, I despise the “everything’s over for me without him” sentiment so popular nowadays. Lastly, the epilogue! How on EARTH could I read that wonderfully concise ending, and not leave the story with that wonderful Happy Book Feeling? To say I will be continuing with this author’s work is a statement of the obvious!...more
You know those crazy-ass novel plot pitches, the ones that sound like someone was huffing a seriously epic-amount of Elmer's glue to have come up with
You know those crazy-ass novel plot pitches, the ones that sound like someone was huffing a seriously epic-amount of Elmer's glue to have come up with THAT idea? Those stories typically had some crazy element, like one of the characters is a dead-like ghost-zombie throughout the entire novel; crazy bad, right? Well, I'd have thought that right along with you, dude or dudette, and we'd have both been wrong. Crazy, yes, but bad? Nah, not always!
C'mon, reviewer reader, I would never-not-ever lie to you...And neither would this review. Put simply, I'm a bit blown away by how much I literally-like-whoa enjoyed this novel. The premise of the story alone was a sink-or-swim reality, and when all's considered, the writing of the book actually held up pretty well...for the most part. As far as a technical standpoint, The Ghost and The Goth stood up all in all decently. The pacing of the story was excellently well done with negative zero lag time, and the two main characters are believably real, but...
...While more enjoyable than a bowl of calorie free tasty ice cream, this book contains some seriously serious issues. While the novel is well constructed, with excellent build up/pay off scenes that drive the plot, at times this focus of pacing and plot definitely come as a sacrifice to quality character development. Yeah, yeah, I know, a lot of fancy-schmancy critique there, but basically the novel blasts along with the plot being a demanding bitch, doing all the driving while never once giving the keys to the characters for some off-roading exploration.
(That GIF is apropos for more than one reason, there!) Put simply, Alona and Will, while believable characters with their own solid identities don't get much more character exposition than "Here's cliche One, cliche Two, and cliche Three," along with a character description. This is a pretty ouch-inducing criticism, especially considering, um, hello? THIS NOVEL IS WRITTEN IN FIRST PERSON! Okay, sorry...*attempting to reign in book-nerd-rage.* Overall, if I had one heavy Bitch-Just-No! complaint, the above would definitely be it. However, while I will give the novel some latitude because, after all, it is a part of an on-going series, I'm still a wee bit disappointed.
And, on that note? The secondary characters! Now, yes, yes, yes and yes...I get that in deep split first person POV, the supporting cast typically get shafted in the "Hey, I'm a real boy!" department. But, even still, most authors can do a tad bit better than playing the cliched "I'm the evil principal" character, "I'm the cliched worried mom" character, "I'm the neglectful parent" character, and so on. Not, alas, for Stacey Kade. Considering the issue with the aforementioned lead characters' lacking development, not to mention their pigeon holed character types, it seems writing cliched characters is kind of Ms. Kade's modus operandi.
And, yet, in spite of all the bitching and moaning I've been doing... I still like this book! Surprising, right? Well, for starters the uniqueness of both the plot, and specifically the characters, truly helps. While Alona is the stereotypical cheerleader preppy chick, and Will is the stereotypical goth dude, such works geniusly well for the book because their identities are given excellent framing and the motivations for their personalities are stronger than just "I like the color black," or "I love pompoms!" While their setup is cliched, their delivery is not; thus the lead characters are cliched, but believably cliched!
I did, Violet; I did! And, reader, I recommend you doing the same! This book is crack, it's not good for you, and it certainly won't improve anything other than your Happy Brain Place, but indulge, just this once. I did, and will probably do so again!
That's basically the answer. To what question I'm answering, you might be wondering? Well, the one that brings up the fact tha
That's basically the answer. To what question I'm answering, you might be wondering? Well, the one that brings up the fact that I started reading this Tessa Dare book on June 30th, and finished it on August 16th. The answer to that question is Doctor Who. And, well, Sherlock.
Apparently the consequence of delaying the act of jumping onto the bandwagon of The Most Amazing Shows, Ever is that you become irrevocably taken away from your books. Therefore, that long and boring diatribe now aside, I can take a moment to stop and analyze my sentiments reading Tessa Dare's novel.
Except, well...I can't.
See, the basic problem is when one goes 48 days without touching their novel, having only the epilogue awaiting their attention, well, sadly, just about every detail of the book flies right out the window. Suffice to say, I did enjoy the book. Why? Um, because it was good? What made it good? Um, well, see...Oh, God in heaven I don't know! I remember having Happy Book Noise when I was diligent with its read through, so for me that's verification enough. As far as providing helpful information for a half-way decent review? Not so much.
So, if you, poor soul, are reading this abysmal review and are hoping for any suggestive advice as to the nature of Dare's book, I'm sorry. I can only offer you the mediocre "I liked it!" sentiment without evidentiary support. So, failing that, allow me to let you go with just two pieces of advice, in the vain hope that you're offered something from this review, rather than nothing. Watch BBC's Sherlock, watch BBC's Doctor Who. Do it. Right now. Tessa Dare will thank you.
PS: Since you're such a good sport for patiently wading through this non-review review, here. Have a David Tennant/10th Doctor hug, on the house.