Oh! How I wanted to LOVE this. I was certainly impressed by Krokos' Q & A on the fabulous blog: the midnight garden. And quite honestly, it was thOh! How I wanted to LOVE this. I was certainly impressed by Krokos' Q & A on the fabulous blog: the midnight garden. And quite honestly, it was this Q & A post that compelled me to check out his book in the first place. (He also makes some pretty insightful comments on author-reviewer relationships.)
So you see...I was so ready to love this.
It really pains me to say I don't. Right off the bat, I knew I was heading into rocky territory. The first few scenes didn't fit very well with what I expected of an amnesiac: a girl finds herself without any memory and she calmly tells a mall cop "Hello. I lost my memory. I was wondering if you could help." If I was in her shoes, I think I would probably appear frantic, confused, and more anxious about what was happening to me. Haven't you ever walked somewhere, like to the pantry to get something but then when you get there, you've forgotten why you were there in the first place? Well, sadly that happens to me ALOT. And I always feel out of sorts afterwards trying to remember. So it made me think: what if you lost ALL your memories? Wouldn't you feel a little more...unrestrained? Wouldn't you be scared? And in Miranda's case, wouldn't you expect her to manifest those fear waves immediately?
Then later on, I felt that some parts of the story seemed off: when Miranda meets Peter, it feels weird that there is so much drama and mystery of how he knows her. Why was he acting as if it was some kind of game to him? And if you just met a stranger, would you eat his mango chicken? uh. gross. And for someone who is supposedly a top notch weapon, why does Miranda make so many mistakes--like forgetting to grab the gun when she fights Grace? I also completely missed the point of Miranda feeling like kissing these 2 boys all the time; she kisses one and then she immediately wants to kiss the other. If I had a better sense of her, I think I would have understood her motivations better. But the part that bothered me the most was that the Roses were created to cause destruction--just because. Very little light is shed on the creator's motivation for making them--aside from them being "mad scientists." I think that's an easy explanation but not a compelling one; I wished there was more background to the story to make it believable.
I do think the concept for the story is interesting: teenagers used as weapons, with amnesia as a side effect, and I admire Krokos's challenge for writing a female perspective. It seems like it's received good reviews so you might like it. But for me, I found the story to be choppy and flat in places. I would have appreciated more character development in such a plot-driven story. Unfortunately, I lost interest in the characters and plot by by the last 1/3 of the book, skimming and skipping to the end. ...more
Maybe my expectations were too high. Maybe I thought the story would center on the adventures of a female "James Bond." InstAs seen on Zombie Mommies.
Maybe my expectations were too high. Maybe I thought the story would center on the adventures of a female "James Bond." Instead, all I got was a bad taste in my mouth. It's not that Graceling was so poorly written: I actually found the writing style and world building nicely done. It's just that...I think I was lied to.
First, Cashore refers to Graceling as growing "from her daydreams about a girl who possesses extrodinary powers--and who forms a friendship with a boy with whom she is insurmountably incompatible." So imagine my surprise when Grace meets Po (the insurmountably incompatible guy) and I end up waiting...and waiting...for the big "reveal" only to find out their incompatibility is due to her being a fighter and him being aware of his surroundings. Now how exactly is that insurmountably incompatible? See...incompatible would be an angel hater saving an angel (like Angelfall). Or a demon falling in love with an angel (like Daughter of Smoke and Bone).
Second, there's the problem of Katsa. Obviously, this girl is carrying around some childhood baggage because she's got some major anger management issues. In one scene she "swung at (Po's) jaw with the side of her hand" bruising his jaw because she didn't like what he was saying about King Randa's hold over her. Whhhaat?! In another, she refuses to understand Po's reason for keeping his Grace a secret. Is she really that clueless? Of course, she eventually comes to her senses and end up in his arms.
Which comes to my second point: a lover or a husband? While Katsa has her own view on what these two definitions mean: freedom or imprisonment, what it really boils down to is commitment. There's just something that doesn't feel right with Katsa and Po's relationship. Basically, she wants to be with Po but without being tied to him and all it requires..."For once she became his wife, she would be his wife forever. Her freedom would not be her own." and "How will you feel if I'm forever leaving? If one day I give myself to you and the next I take myself away--with no promises to return?" It just seems to me that if you are in a relationship (married or not), there should be a certain level of commitment: loyalty, sacrifice...If the tables were turned and Katsa were a man, he most certainly would be considered a player.
My biggest disappoint is that the messages of feminism are poorly characterized in Katsa. Does Katsa have to behave like a stereotypical man (or feminist) in order to further the feminist movement? If a man hit a woman or didn't commit to a relationship, would we honor him for using his manhood? So why should it be okay for Katsa to behave this way? That's not what feminism is about: it's about embracing womanhood and striving for equity between the sexes.
Of course, there were also some minor character/plot development issues like: Katsa finding out that her grace is not actually in killing but in survival (which doesn't really make sense because how then is she able to inflict accurate pain on someone else when she's not being threatened?); or how Princess Bitterblue has the clarity of an adult when she's really only ten; or why the urgency to protect Bitterblue from her father (why she was so important to the King; if she died, then what? what's the consequence?); or why King Leck decided now (and not before) to spread his power across the kingdoms.
Overall, this was a desperately painful read but I was determined to finish...why? maybe I thought there was some redeeming grace at the end. But sadly, the entire time, I just begged it to be over....more
Plagued with guilt over her twin brother's death, Araby tries to escape her subconscious at the Debauchery night club. OutsiAs seen on Zombie Mommies.
Plagued with guilt over her twin brother's death, Araby tries to escape her subconscious at the Debauchery night club. Outside the entire world is broken. The "weeping sickness" is only kept at bay through porcelain masks (I can't help but imagine "Darth Vader" type coverings), worn only by the wealthy and prestigious. Araby's father is the inventor of these masks and as Araby's world begins to crumble by those that seek power, she must decide who or what she's capable of fighting for.
Based on the short story by Edgar Allen Poe of the same title, Griffin took an idea and grew it into a fascinating and complex story. This is one of the very few, if only, steampunk stories I've ever really held onto. Carriages that run on steam; new inventions with a feel of the 19th century. The world is spot on for gothic dystopia: dark, dreary, foggy...so Edgar Allen-painted with so much imagery and feeling that I could clearly picture the devastation and turmoil.
Also, try saying debauchery without getting the chills.
But what really struck me were the characters. Talk about complex. To explain, let me refer to a post I came across by Laurie Halse Anderson in which she discusses characters who have dimension and depth. Masque of the Red Death is a perfect example of those characters. Araby, Will, and Elliott all behave both admirably and despicably. Which if done poorly can make a reader go crazy but here Griffin balances their character traits so that you realize no one is absolutely good or absolutely evil. Mind you, there were some parts that made me go "huh?" but for the most part, it kept me on my toes. At times I couldn't help but wonder if given the choice, what I would decide.
My only discontent or puzzlement I have with the story is that the "Red Death" is not introduced into the plot until much later. I was a bit confused because I thought the masks were to prevent the "Red Death." I'm not so much bothered that it stopped me from enjoying the story but I think it would be an interesting idea to discuss.
If you are in the mood for a dark and captivating story, check this one out. I definitely think it's one to put on your to-reads shelf....more
I was SO looking forward to reading this one but when I finally sat down to read it, it was all sorts of disappointment. First, there was the initialI was SO looking forward to reading this one but when I finally sat down to read it, it was all sorts of disappointment. First, there was the initial dance encounter between the mysterious Finn and Wendy where out-of-the-blue, he starts insulting her. Afterwards he tries to apologize and later we find out it's because he didn't want to get too "involved." Okay, uh...Can we please move beyond the "I'm going to be mean because it's for your own good" phase?
I was also under the impression that the story was about the Fey because well..uh, Wendy is a changeling (and isn't that what Fairies do?)...but it's actually about trolls...and so, I got all confused and just couldn't keep going. Unfinished around page 114....more