The writing was bad. Bad. So bad. Flinchingly bad. Flinchingly is not even a word (according to my spell check), but I don't even care - that's how flThe writing was bad. Bad. So bad. Flinchingly bad. Flinchingly is not even a word (according to my spell check), but I don't even care - that's how flinchingly bad the writing is in this book... It has seeped into my review.
Someone told the writers that PRESENT TENSE would be the best way to write a novel - "you know, man, so it would read like everything is totally happening right now!" It was the novel's biggest downfall. Instead of the story unfolding smoothly or organically, it clunks and rattles and sucks...sucks hard. Third-person present tense. Terrible.
Do you ever find that, sometimes when you're reading a good book, the words disappear from your perception - you find yourself in the story, surrounded by imagery. Ahhh, good books...
When you read this piece of shit, you find yourself surrounded by terrible sentences that you can't shake from your vision: in your mind's eye, this "story" looks like a pantomime projected onto a curtain in a corner of the room while terrible, giant present-tense sentences fly from the ceiling, whacking you on the head as they bounce off the walls.
Why two stars? You have to understand how invested I am in The Walking Dead franchise to understand this. I've read fifteen, fifteen!, of the Walking Dead collected comic book trade paperbacks, most of which I have waited anxiously for months to be released. I have watched all of the TV episodes in real-time, realtime! not "when I get the chance" off the DVR... hell, I have six people over every Sunday night for Dinner-Beer-Zombiez. In short, I've been a fan of Rick Grimes and the rest of Robert Kirkman's Walking Dead Universe for years now.
There was NO CHANCE this book was flying under my radar. I am a completist, and this book satiated my need for "more, more, more" (see Rhiannon's Dune Prequels Collection for more terrible books I was forced by my own fandom to enjoy). Now, I know from whence the character of The Governor came. Phew!...more
The book opened like so: "Once upon a time, an angel and a devil fell in love. It did not end well." Oooooooh. Enter the world of Karou, raised by anThe book opened like so: "Once upon a time, an angel and a devil fell in love. It did not end well." Oooooooh. Enter the world of Karou, raised by an otherworldly - but loving - family of chimeras, who becomes the apple of an avenging angel's eye. Akiva, a Seraphim soldier seeking to destroy the chimeras, is drawn to Karou for reasons unexplainable. Then they fall in love. Then, they figure out WHY they are drawn to each other.
The somewhat dainty "Once upon a time..." fairy-tale/fable motif that opened the book is suspended for a bit of teenage realism as the story takes off... In the beginning, there's a few vague mysteries hinted at. But, for the most part we were introduced to the story's protagonist, Karou, basking in all the teenager-y-ness of modern times: artsy, angsty, angry, snarky, funny. I adored her.
And her strange lifestyle, her bizarro foster family of chimeras? It took very little suspension of disbelief. It was convincing from the get-go. In the world of paranormal romance (fantasy, really) the seamless convergence of worlds is key. How your world holds up might make or break me, as a reader (unless you're Libba Bray, I guess).
Laini Taylor wove the two worlds together so seamlessly. It was as if the two worlds just were. Wow! Now, she's getting Gaiman-esque. I don't know what "Gaiman-esque" means when other people reference Neil Gaiman, but for me, it is something specific:
It is something I see in almost all of Gaiman's work, even the short stories. It is this seamless converging of realities, yes! But, it is also the way the story - which seems to have been told hundreds of times before even though you've only read it once - is fresh and new and perfectly rounded out just like a fairy tale. In some ways, it does not claim to be more than a story. But, its a story so good that it is real and true. (What?!? I dunno, this is why I want to marry Neil Gaiman's books and have their babies.)
Wait - J.R.R. Tolkien knows what I mean. Guh! He talks about this great tree of tales, where all the stories exist as leaves on branches. And the author of a fantasy (or, a fairy-story), doesn't discover the leaf - which is/has always been - but instead unfolds it, tells its story, this story that already exists. "One writes such a story not out of the leaves of trees still to be observed, nor by means of botany and soil-science; but it grows like a seed in the dark out of the leaf-mould of mind: out of all that has been seen or thought or read, that has long ago been forgotten, descending into the deeps."
So, at the end of The Daughter Of Smoke & Bone I just picture J.R.R. Tolkien and Neil Gaiman and Laini Taylor all hanging out picking the leaves of this Tree of Tales and giving them to us in a way that we're surprised by them, but at the same time deeply familiar with them, culturally or spiritually, or whatever.
"The realm of fairy-story is wide and deep and high and filled with many things: all manner of beasts and birds are found there; shoreless seas and stars uncounted; beauty that is an enchantment, and an ever-present peril; both joy and sorrow as sharp as swords. In that realm a man may, perhaps, count himself fortunate to have wandered...while he is there it is dangerous for him to ask too many questions, lest the gates should be shut and the keys be lost." [Tolkien "On Fairy-Stories"]
Let's just say - Taylor's story presents questions, so many questions! But, never about the believability or viability of her world. Only about her story itself. Why does Brimstone collect those teeth, why does Karou have those tattoos on her hands, who were Karou's parents, really?
The Daughter Of Smoke & Bone is quite an accomplishment for a genre (paranormal romance/romantic fantasy), where the love story is allowed to cast a shadow over the more foundational aspects of storytelling itself. Characterization, conflict, resolution - sometimes, those are left out for the better love story, and it makes for a shitty book. But, not in Laini Taylor's case: the love and the longing work perfectly in a beautifully imagined world.
Laini Taylor's The Daughter Of Smoke & Bone is so well done. She is an excellent storyteller with an excellent imagination. The hamsas, the teeth, the smoke, the bone, the myth of the two moons - all delicately revealed. No extraneous details, everything fits.
So, what happened to her fifth star?
"You need to just let this breathe..."
Once, a kid in my fiction writing class said that to me in his critique of my short story. He held up my story and had circled my OMG! First Kissing Scene. "You need to just let this breathe..." It was his only criticism. And he was the One Kid in class whose opinion I most trusted (you know THAT kid in the creative writing class, the one who is better than you, and therefore whose opinion you hinge your every hope on).
He was right, of course. That scene was trying to convey some "big emotions," some big chemistry, and ended up overwrought and prolly terrible to everyone who wasn't me.
Kissing scenes (intimacy scenes) are hard to do right. Like battle scenes! There is chaos there, and emotions all over the place, spewing everywhere like blood or saliva - take your pick - and the reader often finds herself somewhat lost in them, searching for, like, little moments in the paragraph to latch onto, rushing through them to wrap her head around what is actually going on.
I have a really hard time reading battle scenes. And kissing scenes. For the same reason.
So, here goes: my only criticism of Laini Taylor's The Daughter Of Smoke & Bone, which was otherwise a beautifully realized story - as well as a beautifully written story: Lady, you should have just let some of that lovey-dovey angel/demon stuff breathe for a minute.
Ultimately, there is this climactic scene of closeness between Karou and Akiva. In this scene, an action - (view spoiler)[breaking a wishbone (hide spoiler)] - will lead to the truth about who and what Karou is and what exactly their love is about. Man-oh-man, was that scene drawn out. It was pages and pages long!
Paraphrase: And she was drawn to him, and he was drawn to her. And something was pulling her, and something was pulling him. And they were drawn and pulled. Draw/pull, draw/pull, draw/pull. Chapter ends. Draw/pull. Chapter begins. Draw/Pull. Flip pages, draw/pull.
Suddenly, I am lost in a sea of flowery, overwrought prose. Drowning in it, really. Waiting for action, resolution. Waiting for solid-ground storytelling again. (view spoiler)[Break the fucking wishbone! (hide spoiler)]. And it came. And it was explosive. And lovely!
But, someone should've told her to calm down a little bit a for a minute there. No doubt some people live for these intimate moments in romance books. But, I am not one of them. Laini wasn't being a bad writer, per se. But, she was letting these emotional moments fog up the place for a minute, and I found it somewhat unnecessary. Or overlong. Almost - dare I say - boring.
Don't think I hate LOVE, or something. I don't! But, love scenes and battle scenes, man. Sometimes, they can be just too much. They just need to be careful pieces of writing.
...Read this book! It is excellent. Although I am slightly distressed to find myself in the middle of another series for the third time this year (Goddamn you! Game Of Thrones!), I CANNOT wait for more of these characters. In the meantime, I can't wait for some more Laini Taylor - she's outstanding.["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"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>...more