My Thoughts: This is a story told from mostly two points of view: that of Lucy, celebrating the end of y...moreReview originally posted on my book blog here.
My Thoughts: This is a story told from mostly two points of view: that of Lucy, celebrating the end of year twelve with her friends Jazz and Daisy, and that of Ed, a high school dropout who has a few hours to kill before he and his friends Leo and Dylan plan to break into the school. Ed and Lucy know each other, but between them lies a gulf filled with awkwardness. They had one date that ended in humiliation, and neither of them have quite gotten over it. For Lucy, it cemented her belief that outside of books (and the possible exception of her obsession, Shadow), looking for a kindred spirit amongst the local boys only leads to disappointment. For Ed, their date was yet another demoralizing event in a long string of demoralizing events.
It’s not really anyone’s fault. Lucy doesn’t know a lot of things about Ed because he never confided in her. And Ed is so used to hiding the truth that it’s led to a spectacular failure of a date and his dropping out of school. It doesn’t help that Ed and his mom were barely scraping by before he lost his job. Now he’s worried about the rent and making decisions out of desperation rather than good judgement. That brings them to where they are now: Lucy and her friends with nothing more pressing on their minds than a night of fun and possibility, Ed and his friends going along, but keeping their secrets.
What follows is a read that hit the sweet spot: not too short, but not overly long; sweet but not fluffy; predictable in a comforting way, but also utterly different from anything else I’ve read. And just the right amount of humor to keep everything going. I couldn’t help liking Lucy and Ed immediately. Lucy with her instant friendships and her take-no-nonsense edge, and Ed, who is a little bit lost and deserves a break. Most of this book was just Ed and Lucy talking, and their banter is pretty great, but also reading what each is thinking about the other as we switch back and forth between them makes their interactions even better. Ed’s unease with hiding things from Lucy makes for some parts particularly poignant.
The book that Graffiti Moon is probably most compared to is Nick and Norah’s Infinite Playlist. Music is to Nick and Norah, as Art is to Graffiti Moon. When the shared interest in creativity comes with a night-long adventure on the town, bumping into ex-girlfriends, and skirting from trouble, it’s no wonder that the two books are considered similar. But the similarities are superficial. These stories hit me in different ways. I feel like Nick and Norah’s Infinite Playlist has a young adult world that’s separate from authority figures and responsibility; it exists within an intimate sphere and is about the magic that happens when people develop a connection. In Graffiti Moon, that frisson is there too, it’s just that here the characters aren’t so separate from their day-to-day lives. This is particularly true for Ed, who is constantly struggling to just get through life because he worrying about money and helping his single-parent mother who’s making her way through nursing school. Ed’s mind is always in quiet turmoil, and there’s this tension in watching someone who knows better start to take the wrong turn.
I think that what really got me with this book was how being a dreamer and using creative expression was portrayed so positively, beyond just being the common denominator between Ed and Lucy. My sister is the artist in the family, and I can tell you that going to the MoMA with her is a whole different experience than going with non-artist friends. Because of this, I just loved reading Lucy geeking out over art. And I loved that art could change Ed’s life in a real, not just metaphorical way, if only Ed would let it. I also loved that Ed and Lucy have parents and mentors who encourage them instead of dissuading them. It was nice to read the interactions between Ed and Lucy and those adults. I loved all these things because every time either Ed or Lucy think about something that inspires them, their words became particularly poetic. It made me root for them to keep this.
Overall: Really good. I think this one will have wide appeal — its writing is unassuming and accessible, but if you want depth you’ll find it. Also this is one of those books that pleasantly lingers. It could be because of the beautiful artwork painted with words, or because certain things here make you ruminate afterward. I found myself thinking about how Graffiti Moon was about the juxtaposition between imagination and reality and when I saw that theme I couldn’t stop thinking of examples: in the way Lucy and Ed’s lives became the basis for their art, in Lucy’s expectations of Shadow versus the truth as Ed knew it, and in the way art affected both their lives. It was nice to think about art and life for a little while. (less)
The Premise: Adrienne Satti was an orphan that was adopted into the aristocracy, an unlikely rags-to-riches story that tu...moreReview originally posted here
The Premise: Adrienne Satti was an orphan that was adopted into the aristocracy, an unlikely rags-to-riches story that turned sour when she became the sole survivor of a horrific massacre and had to disappear. Now she is a thief called Widdershins that regularly gets in trouble - both with the law and with her own guild. Unfortunately people are still looking for Adrienne Satti, and maybe one day someone will figure out that Widdershins and she are one and the same. Oh, and she is the only worshiper of the god Olgun, and he lives inside her head.
My Thoughts: This is a book that I bought for purely shallow reasons: the cover pleases me. I like the use of the white background, the title placement, and the unexpected figure hanging from a ceiling beam. It does have a bit of a young adult feel (young woman on cover seems to equal YA these days), but I didn't really realize it was YA until I looked it up on the publisher's website. Despite just wanting this book because it's so pretty, I didn't pounce until I found a nice used copy because of on-the-fence (not really stellar, but not hating it either) reviews from reviewers I trust.
So. Thieves, guilds, remarkable orphans, and a pantheon of gods that can directly communicate with their worshipers (if they so wish to). These are very well-worn tropes of fantasy and they form the building blocks of the world within Thief's Covenant. I don't really find this a bad thing, it's comfort food if it's not new-to-you, and fun if it is. What I think this story does differently is that injects an entertainment to everything. What I mean by that is: no matter what grim thing is happening on the page, the prose manages to veer off into humorous territory. You can start a scene where grim Guardsmen are examining the grisly remains of a dozen aristocrats, the floor positively awash in blood, when the focus shifts to the rafters above them where a whisper-conversation is taking place between Adrienne and her god Olgun. They're both in shock because, well what kind of secret cult keeps written records?!
I liked the humor to a certain extent. When the jokes were gentle elbow-nudges, I was on board, but it could get rather slapstick-y, which is less of my cup of tea. Either way, there's enough lightheartedness in here for me to appreciate the entertainment. One running gag was how basically everyone was after Adrienne/Widdershins but she always manages to one-up them. The Guardsmen are after Adrienne for one reason, and Widdershins for another. The Finder's Guild are after Widdershins for her general cheekiness, and there's a third group that just wants to find Widdershins/Adrienne to kill the survivor of the massacre. The whole book makes me think of a hall of doors chase scene mixed with elements of 'Home Alone'. Whenever Adrienne is caught, I feel like she always turns it around, leaving her captors worse off.
What is surprising is how this type of humor is juxtaposed with violence. That's where my one real complaint about the story stems from -- strangely, more because of how the secondary characters suffered than for the violence itself (although that was also jarring in the midst of what is mostly a caper). I felt like with so many throw-away characters, no chance for something deeper than a set of archetypes as the supporting cast. I would've enjoyed delving further and seeing their relationships with Widdershins develop. Maybe the point is to keep Widdershins isolated, or to add grit to the story. I don't know, all I know is I wound up feeling unfulfilled, and questioning if how things played out was how it had to go. The humor and adventure in the story mostly balances out this ruffled feeling, but didn't erase it entirely.
I have the second book of this series, False Covenant, on the to-be-read pile. I plan to read it soon.
Overall: The world building is typical fantasy fare and the secondary characters don't really get the development they could, but the prose and humor evens things out so what you are left with is something that falls squarely on middle ground. I would recommend this as something to try if what you're looking for is simply entertainment.(less)
The Premise: Every year, a time traveler travels to the same time and place: the Boltzmann Hotel, Manhattan, 1st of Apri...moreReview originally posted here.
The Premise: Every year, a time traveler travels to the same time and place: the Boltzmann Hotel, Manhattan, 1st of April, 2071, and celebrates his birthday with different versions of himself. It's a tradition he started when he was eighteen years old and invented his time travel raft. On his thirty-ninth birthday, the party is different. This time he discovers what the elder versions of himself have been hiding from the younger ones - that there's been a murder, and the victim is his forty-year old self. Unfortunately, no one over forty can remember exactly what happened, and they are panicked. The time traveler has to solve the murder before he becomes the victim.
My Thoughts: I loved the convoluted mystery implied by the premise of Man in the Empty Suit. With one man the center of everything - the future victim, the investigator, and all the suspects, I thought I was going to experience something very surreal, like an M.C. Escher image where everything loops cleverly back to the beginning. This story starts promisingly down this vein, but doesn't quite complete the circuit.
This is how it all begins in the first fifty pages: the time traveling narrator enters the hotel and he's persuaded to go above the third floor (a rule he had previously not broken) with an older version of himself. Then the older him sneaks off by taking the elevator back down and is found dead despite being supposedly alone in the car. Suddenly our narrator is surrounded by the older contingent of his birthday party, the Elders, who are all 'helpfully' giving him information about the murder and laying the whole problem in his hands. Our narrator, surrounded by himself has to mentally nickname his future selves based on their distinguishing features: Screwdriver, Yellow, Seventy, the Body. They all form a sort of secret club within the party, helping the narrator as he scrambles from the body to the ballroom and up and down the floors, trying to find clues while keeping his younger selves ignorant. This was all very weird, in an awesome way, but then all of a sudden there's this paradox thrown in. And then a woman.
Somehow, the focus is taken away from the murder, and what I'm reading isn't really a murder-mystery. This is more like a strange tale that examines this one character, his relationship with himself, a woman, Time, and whether everything he's doing is predetermined or if he can change his fate. In theory I should be having a great time, but in reality I found myself sort of drifting through the pages. This wasn't a difficult book to read (I was never confused about what was going on), nor did it drag, but I did feel like there wasn't really a point to everything and the plot was just muddling along. I think if I was the sort of reader who could be content with what I got, which was personal growth, independent agendas, and time travel strangeness, I would have fared better, but my problem was that I had expectations that weren't met. That this was a murder-mystery, first of all. If that wasn't going to happen, I would have settled for some clever Möbius plot. Neither really panned out for me, and this left me discontent. For a long time after I finished Man in the Empty Suit I wondered if I had actually missed some vital piece of information that would have satisfied these expectations, but I have flipped back and forth through the last hundred pages and haven't found it yet. Maybe I should be satisfied with the quiet and reflective ending instead of wanting a flashier one, but I'm not. To me, the way the story ended revealed that there was no plan. I felt like this story was pants-ed and not plotted, and it bugged me.
If plot is something that doesn't quite work for me, sometimes the characters make up for it. In this case, our narrator (he never gets a name by the way, which I actually like), isn't the easiest to relate to. I mean, who is the type of person to use their time-traveling raft to do nothing really special but study history, not for humanity, but for his own curiosity, and who likes to spend his birthday (for years and years!), with no one but himself? He's so self-involved, that he wants to be the center of attention at the party where all the attendees are himself:
"Thoroughly frozen now, I rubbed my skin dry with my palms and then pulled my new clothes out of my travel bag: a suit, the Suit. At last my turn to wallow in the shit of self-adoration. [...] Every year the entire party -- all my selves-- paused in respect when the Suit made the Entrance into the ballroom. All my other visits to the party were tainted. I always tried too hard to be the center of attention, even with myself. Especially with myself. But the Suit was beyond that; everyone paid attention to him without any effort on his part at all. A few times I tried to get close to him, to get a sense of when I might be him, but I had never been able to get his attention. It was as if he were attending a party to which no one else was invited."
This self-absorption is reflected in every character that is him. Granted, the younger members of the party are immature in obvious ways (drunk throughout the party, or openly resentful), but while the Elders are more concerned about the welfare of the group, they are still selfish in their own ways. And does our protagonist grow in this book? Well he's forced to go through a period of growth and eventually sees his own flaws, but it takes him a long time. So long that I spent most of the book not liking him.
Maybe this review sounds like a rant, but I'm trying to work through what's not working because there's something here, something that could be really good, but it's not enough. I'm really close to having some undefinable list of personal requirements met that would leave me satisfied, but this story and I, we didn't quite click.
Overall: My expectations led me astray on this one. I wanted one thing (crime solving, or time travel awesomeness), but I got something else (I'm not sure what to call it). The way this story bucked expectations is a positive, and I don't think I could say I've ever read anything like this, but in the end I'm more of a feeler than a thinker when it comes to my reactions to things, and I just wasn't getting what I wanted out of this story.
The Premise: Elisabeth Page is the pastry chef for a fancy restaurant in L.A. Her five-year plan was to one day open her...moreReview originally posted here
The Premise: Elisabeth Page is the pastry chef for a fancy restaurant in L.A. Her five-year plan was to one day open her own patisserie, but after the five years come and go, and then another five, Elisabeth wonders if that will ever happen. With a father who is world renowned novelist Ben Page, and a brother who is a publishing wunderkind, Elisabeth feels the pressure of unfulfilled expectations of her intellectual family. Her romantic life is no better than her professional one. Her relationship with Will, childhood-friend turned world-traveling journalist consists of a few nights of passion when Will breezes into town, then months of separation while Will is following a story. Then Daniel Sullivan wins the basket of pastries and private baking classes that Elisabeth donated to one of her mother's charity events, and Elisabeth's career begins to go in an unexpected direction. Can Elisabeth let go of her own expectations and try something different?
My Thoughts: I had to think a little bit to put Seeing Me Naked into a category. Even though this story has an obvious romantic arc, Seeing Me Naked is a lot more focused on Elisabeth and her personal growth than it is on the relationship to be a strict Romance. It does focus on a single woman and her career and relationship with her family but it isn't quite lighthearted enough to be put into chick lit (although there is some humor in it). I think the closest term might be "women's fiction", but that feels like it could be too big of an umbrella term. Really, this gave off the vibe of a mix between a literary novel and chick lit.
At first Elisabeth's life was rather bland and lonely. She lives alone in an apartment close to work, follows a set routine every day, and doesn't really socialize. Her life revolves around her stressful job making desserts at a high end L.A. restaurant with a tyrant for a boss. When she goes home to see her parents in wealthy Montecito, the dynamics there are similarly overshadowed by her father, a literary giant with a matching ego. While her high society mother (heiress to the Foster Family Fortune) is supportive of her children, Ben Page is a tougher, more critical parent. Dinner is a battle of wits and intellect with the great Ben Page presiding. As for her relationship with childhood friend Will, Elisabeth hardly sees him and is tired of them leading separate lives.
As we say our goodbyes in the foyer, I look around at all that defines me. The rubric for success in my family has always been about legacy--what imprint will you make on this world. I have tired to live by these standards all my life. Measuring success and love by the teaspoon, always falling short, the goal constantly out of reach. My five-year plan has become an unending road to nowhere, both professionally and personally.
Despite all this, Elisabeth wasn't actively trying to change her life. Instead she continued on while the stress made her stomach hurt. Elisabeth struck me as a steady type of character with a quiet creativity, a love of food, and gently sarcastic voice. But I was worried about a certain amount of ingrained judgementality she had. Maybe judgementality isn't the right word -- it was just that she seemed to have a self-imposed set of restrictions on herself and was trying to adhere to what she thought were her family's unspoken expectations. For example, it felt like there was an assumption of who she should be and who she should be with. Any relationship outside these parameters is assumed to be temporary, like all of her brother Rascal's "giant lollipop head" girlfriends. When regular guy Daniel enters the picture, he seemed to me like the most honest person in her life, but I wasn't sure that SHE saw that. I think that this first impression could turn some readers off. I'm thankful that the back blurb of this book hints that the story is about Elisabeth having "the guts to let others see her naked...and let them love her, warts and all" because that made me trust that this story would go to a better place. That, and the setting of the story which kept me interested by giving me fascinating glimpses into a life that's set in L.A. and revolves around food.
Seeing Me Naked takes its sweet time, but there is satisfaction in reading Seeing Me Naked all the way to the end. It's enjoyable to sit back while the nature of the characters is revealed organically, their dialogue and actions and Elisabeth's own reactions to them deftly sculpting clear personalities. And then there's Elisabeth's own character. She doesn't actively seek change, but Elisabeth is smart enough not to fight it when a good things fall onto her lap. And the best part is she works to keep these good things. If you can handle Elisabeth in her rut, you will be rewarded by a very cathartic last few pages. Where things ultimately go left me quite content.
Overall: I enjoyed this one but I can understand why this is an under-the-radar book. It's not quite literary fiction, not quite chicklit, and not just about self-discovery, but it has elements of all three, so it falls in a difficult to categorize place which can mean you're unsure as a reader what you're going to get. Also, the story doesn't start in the best point of Elisabeth's life and rolls forward quietly, without much fanfare -- so the reward of reading isn't immediate. It's much later in the story that the big gestures happen, so you have to be OK with waiting and watching characters grow, enjoying the way the writing builds the story layer by layer, experiencing food and L.A. through Elisabeth's eyes and trusting that things will get good. They do though.(less)
The Premise: This is the story of young dwarf Jepp, who grew up in Astraveld, a crossroads between the Spanish Netherland...moreReview originally posted here
The Premise: This is the story of young dwarf Jepp, who grew up in Astraveld, a crossroads between the Spanish Netherlands and the Protestant North. Loved by his mother, who runs a bustling inn, Jepp is treated like a prince and is fiercely protected. It is a good life, but when he is fifteen years old, a man comes by the inn, offering to bring Jepp to the court of the Infanta Isabella Clara Eugenia and her husband, Archduke Albert of Austria. Eager to see the world beyond the narrow one he knows, Jepp agrees. He has always held a dream of one day meeting his father and he believes that the man offering to take him away is part of his fate. This begins Jepp’s journey away from childhood and all its innocence and into the big world, where perhaps he can
My Thoughts: Before reading Jepp, Who Defied the Stars, I didn’t really know what this book was about or what category of young adult it belonged to. I actually thought Jepp was YA fantasy at first because it begins at a inn at a crossroads (familiar Fantasy territory). I soon figured out that I was reading historical fiction when Jepp says he lives in the Spanish Netherlands and mentions the Infanta Isabella, its sovereign from 1598 to 1621. There’s an author’s note at the end of the book that explains the real life people and events that inspired Jepp, (which is fascinating and worth reading), and basically Jepp did exist, but little is known about his life. Marsh took the question of who Jepp was and extrapolated that into this story. Jepp is divided into three “Books”, and each “Book” seems to correspond to a change in scenery and a new direction in Jepp’s life.
Book I begins while Jepp still lives in his mother’s domain, but not for long. A man named Don Diego comes to the inn and invites him to he court of the Infanta Isabella, and that’s where Jepp stays for this part of the story. Jepp is still rather innocent and unsure of himself so he is mostly an observer, doing what he is bid by the others around him. We get Jepp’s impressions of the specially designed rooms for the court dwarfs, the gardens where they arranged themselves in a tableau for the Infanta’s pleasure, and the performances where he has to play the fool for a few laughs. As for the people at court, Jepp focus is narrow: Don Diego; the other dwarfs, Sebastian, Lia, and Maria; the court jester Pim, who arranges the entertainment; and Hendrika, the mistress who oversees them. These people are the ones he interacts with most, and everyone else is hazy and not so well-defined.
Despite Jepp’s faithful descriptions, there’s the sense that there’s a certain naivety in what Jepp observes. He sees things that trouble him, but does not fully comprehend them until later. He dislikes his treatment at the palace, but doesn’t immediately see the same misery in others. His youth is part of the story, but I found some of this innocent observation and floating along very passive. Basically, Jepp wasn’t really doing anything, and this didn’t make him easy for me to connect to. The only goal he seemed to have was to one day find out the identity of his father, but there seems no way of doing so away from his mother, and so I felt like there wasn’t much of a direction to the story. Sometimes there are other things that saves a story for me in this situation, like a romance I could sink my teeth into, but even here, Jepp disappoints. He thinks he’s in love, but he barely knows the girl. When things do finally pick up, it is instigated by a situation someone else is in, and Jepp is pulled into it by his sweet nature and wanting to help. Of course this changes his life, and propels his fate along in a way he doesn’t expect.
There’s some drama as the story segues into Book II, but the story stalls for a second time as Jepp repeats what he’s done before: letting things happen to him, and observing rather than doing. The eccentricities of his surroundings is where the entertainment lies, not in Jepp’s own actions. Of course Jepp, Who Defied the Stars gets better – Jepp does start to take his fate into his own hands, if you will, and it’s nice that when I think back now, I see how Book I is reflected in Book II, but with an older and wiser Jepp, one who begins to take part in his own life – but reading was a slow process (I’m sorry to report that I kept putting the book down and sighing for at least the first half). The last third of the book (Book III) ended up being the best third for me, but it takes some patience to get there. The change in Jepp from passive to active removes a lot of the issues I had with reading, and with his relationships with other characters.
Jepp, Who Defied the Stars essentially becomes a story about fate versus free will, but this isn’t a clear message for me until the author’s notes at the end. I liked Marsh’s own personal relationship with this theme that she described in the addendum, but I’m not sure if the idea that Jepp was fighting against some fate was really something I picked up on while reading this story. I think the history itself was a little bit more interesting. Despite being set in the past, this story does a good job of keeping the focus on Jepp’s personal experiences rather than on History. However, Jepp’s voice has a formality to it that is a deliberate reflection of the time (Marsh notes she was careful to choose words in use before 1600 when writing Jepp), and the language contributed to feeling like I couldn’t comfortably sink into the story.
Overall: I have a sort of “middle ground” reaction to Jepp. I wasn’t wowed while I was reading it, and Jepp’s passivity and the formality of his narration made me feel impatient with the story. On the other hand, I can see that these were deliberate choices in the writing because of the theme of “fate versus free will” and because of the time period that Jepp is set. I think my visceral response usually determines how I feel about a story and for much of this book, I felt like I was plodding along, but when I think about it analytically, it comes off much better. So: this may be more for the “thinkers” than it is for the “feelers”.
(Also may I say, this book was BEAUTIFULLY designed? I loved how the inner pages were NAVY with pretty endpages and chapter headings, and the cover had shiny bits on a matte background, silver font, and those stars. Gorgeous.)(less)
The Premise: Leigh Nolan is a freshman psychology major at Stiles College – a progressive school where students aren’t g...moreReview originally posted here.
The Premise: Leigh Nolan is a freshman psychology major at Stiles College – a progressive school where students aren’t graded and are expected to take charge of their own education. In a small school like Stiles, this means quite a few over achievers, “freaking out about their entire academic career” a couple of months into their first year. It’s a trying time, but on top of trying to decide on a topic for her senior thesis, mentoring cynical middle school students, and dealing with other competitive psych majors, Leigh is also questioning her relationship with Andrew, her high school boyfriend and fellow Stiles underclassman. Lately their relationship has lost it’s luster, and Leigh is confused by how much she’s noticing Nathan, Andrew’s roommate who never seems happy to be around her.
My Thoughts: Well this was as cute a story as I was hoping for. I think it has the right amount of the expected love story, but it’s balanced by writing that gives Leigh a faceted and likable character. Her psychology major fits nicely with delving into her psyche. Leigh is constantly self-evaluating and acknowledges her own quirks, which include (but are not limited to): refusing to buy a parking pass, waiting until the last minute with her assignments, and a fear of being stranded in the desert. To add to the theme, each chapter begins with a psychological term and its definition, which foreshadows what’s to come.
Ask her some psychology related thing, and Leigh can dredge up what she learned in AP Psychology and class. But for all her book smarts, Leigh is a bit naive. She still has NO clue that her relationship with her boyfriend is in trouble. When you forget a date, and so does he, it doesn’t really say you’re feverishly in love. Leigh’s roommate (and best friend) Ami isn’t enthusiastic about Andrew, but Leigh defends him:
“Ami doesn’t have the benefit of all these great memories, so she continues to think that he doesn’t treat me as well as I deserve. Which, in a way, is totally loyal and cool of her– but completely unfounded. Well, mostly. If anything, his main problem is just that he’s too smart. He has so much going on in his brain at any given moment that it’s no wonder he’s a little absentminded sometimes.”
Leigh rationalizes Andrew’s non-attentiveness and the distancing that has happened between them since school started. To be honest, from Leigh’s workload, I can understand why it’s easy for her to do so. She’s quite busy with college herself. Her day-to-day life involves going to class, meeting with her academic adviser, long talks with her roommate, and waiting till the last minute to do her work. (As an aside, Psych Major Syndrome captures the college experience really well — when Leigh stays up till 5am writing a 20-page essay, the details of falling asleep and waking up with barely enough time to hand it in, felt eerily familiar). But schoolwork only goes so far as an excuse, and eventually Leigh has to face what’s really going on between herself and Andrew.
In the meantime, all that schoolwork and the social life of college means that Leigh has a pretty full life, and it’s not all about her romantic relationships in this book. The interactions between Leigh and Ami, the other psychology students, her mentee, and Nathan are all natural extensions of her life and nothing ever feels forced about them. Even if I could predict exactly where the story was going to go, Psych Major Syndrome adds enough humor and color to make the predictability pleasant and comforting instead of dull. Also (and here I go back to the romance), Leigh’s happy ending is one of the sweetest ones I’ve read in a while. I ended up really liking the guy she is paired with, even if I thought he was a bit of a fantasy boy. I can overlook how Leigh acted before she figured out what she wanted because of how well this guy suited her – it all ended on just the right note.
Overall: A sweet and fast comfort read. It has a good balance between an expected plot and a unique approach to that plot. Leigh is an endearing narrator, and I enjoyed this reminder of college life.(less)