I want to start by saying that the last fourth, perhaps even third, of the book was pretty good. If I were reviewing a novel that had started out the...more I want to start by saying that the last fourth, perhaps even third, of the book was pretty good. If I were reviewing a novel that had started out the way it ended, I would probably be saying something completely different. However, That is not how Article 5 began. Article 5 begins with some seriously flawed world building that not only creates a bad novel, but also encourages some very bad political ideas and behaviors.
The premise of Article 5 is that a totalitarian theocracy controls what amounts to a dystopic contemporary America as a result of a war - The War. The War apparently included some bombing of major US cities, but left other areas almost completely untouched. It was severe enough to warrant the re-establishment of the draft and wiped out our basic media infrastructure. However, at least as far as can be inferred from the novel, it did not affect Mexico or Canada. Also, it lasted less than three years. There is very little information about the War provided, but what is provided is conflicting in nature. The physical effects of the war imply an external 'other' - that this war is with a nation that is geographically independent of the US. However, the socio-political effects do not match up with this sort of war.
American voters are, in actuality, on a spectrum. We have Liberals and Conservatives on each extreme jockeying for control, hoping to sway the Moderate Independents in the middle to their side each election. The result, therefore, is that, on really polar issues, the country is often divided into fairly equal, diametrically opposed sides with a huge mass of not-as-concerned people in the middle. That is part of why our politics tend to take a pendulum-type pattern - it takes something extreme to move the middle. In order to have such an extreme Neo-Conservative government take power, we would have had to have experienced a civil war, or a long, sustained war with an external 'other.' Neither of these options are even remotely possible with the way the war is described. (Seriously. Bush barely pulled 50.7% of the popular vote against a weak opponent three years after 9/11 while fighting two ongoing wars!!!)
Therefore, a contemporary America that could be interchanged for Nazi Germany, with a Morality Militia reminiscent of the Iranian militias and the Republican Guard, is really implausible based on Simmons' premise. On this shaky ground she then proceeds to build every Liberal's worst nightmare of America. Each flash-point is pulled directly from our current headlines, divided perfectly down the R/D line. However, most of what Simmons shows in the early part of the novel, while frustratingly offensive to most liberals, would have the average conservative saying, "yeah, and?"
This is where I have to ask myself who, precisely, Simmons intended as her audience. I mean, I get that she anticipates them to be teenagers - hence the young adult label. However, no age group has uniformly similar beliefs. There are conservative teenagers, liberal teenagers, and those who could really care less. Her portrayal of the 'liberal' characters is just sympathetic enough, and the 'conservatives' just offensive enough, to alienate most conservative readers. If she was trying to change anyone's political beliefs by showing some of the hazier implications of conservative ideology (which she admittedly does later in the novel), she fails by alienating her conservative readers early on. I doubt they even finish it. The worst part? If they do, it only reaffirms the often held belief of the religious conservative that all liberals are out to malign them as evil, simply for being religious and conservative.
More dangerously, though, is what I feel this book does to the liberal reader. The further the book progresses, the worse it gets. Article 5 is perfectly calibrated to push every liberal hot button. It makes your blood boil. It makes you angry. You feel frustrated rage and what those conservatives are doing to our country!!!......in a book. It is, in short, fear and hate mongering! Yes, these issues echo our current newspapers. BUT we are still working on it! There are equal and opposite reactions from the other side as well.
The only way to make a democracy work, without tearing ourselves apart, is to encourage discourse. When we are busy whipping ourselves up into a fervor over imagined slights, it discourages discourse in a serious way. America has real problems right now. Women's rights are seriously in danger. Religious freedom is daily being called into question. The LGBTQ community is still systematically disenfranchised. Racial equality has not yet been obtained. We have problems, but books like this - books that encourage righteous anger but offer no answers - contribute to the problem, not the solution. This is why, in my opinion, if you want to tackle serious issues in current events through fiction, it is best to create artificial distance by making the characters aliens or dragons, creating a futuristic or fantastical setting. Books like this are too personal. You can't get people to listen to you if they are busy defending themselves.
Add to these problems a heroine who is truly too stupid to live - and who is UTTERLY CLUELESS about basic world history if she believes all she professes to through the book. She also had to basically have lived in a box during the war to treat Chase the way she did when he had to become physically violent to protect her. (Perhaps I am reading too much into this, but I eventually thought of Ember as an allegorical representation of how the politically active often view the 'clueless' mass of moderates in the middle. I can't even count how many times I have seen people on both sides of the fence nearly scream in frustration, 'how do they not see what is going on?!' I was definitely screaming that at Ember.)
In Simmons' defense, once she quite pushing her political agenda the book really did get quite enjoyable. I really liked Chase, and the action was fast paced and engrossing. I just really didn't like how Simmons got there. I don't think I will be recommending this book.(less)
Opression is a relatively quick read, a mostly fast-paced, plot-driven novel with lots of action. It was fun while reading; and Therrien comes up with...moreOpression is a relatively quick read, a mostly fast-paced, plot-driven novel with lots of action. It was fun while reading; and Therrien comes up with some interesting new ideas about Greek Gods and their Mythos. It is a pretty strong debut, and infinitely better than most of the other YA books taking on the Gods right now. (Yes, The Goddess Test and Starcrossed, I'm looking at you.)
unfortunately, Therrien's characters seriously lack consistency; and this inconsistency can be found in all of her characters, to varying degrees, but especially Elyse, Will and Kara. Of these three, Kara's conflicting actions and character traits are the most easily reconciled because we are allowed to see her motivations toward the end of the novel. Elyse and Will, however, remain an odd mixture of excellent traits and terrible ones. Elyse at times appears very strong, smart and independent. Sometimes she gets really angry when she sees bad things happen, and gets ready to take on injustices. At other times she just meekly allows other people to tell her what to do or what she can or cannot know. Similarly, she can completely dismissed REALLY TERRIBLE THINGS from her mind right after they happen so that they will not ruin her or her friends' fun. Will, likewise, can go from a really sweet, romantic guy to bit of a jerk without much warning. He keeps things from her 'for her own good.' And, naturally, there is Instalove with a lot of MeantToBe thrown in.
There are also some pretty serious (possibly spoilery!) holes in the world building. It doesn't really make sense that everyone within the world of the Descendants knows about the prophecy, but no one really does anything about it for most of the novel. Nor does it make sense that - knowing Elyse is supposed to lead their upcoming war - the "adults" within their community take a hands-off you'll-figure-it-out approach to her education. Also, what is with these "kids" going to school for 80+ years? (Presumably it is a result of the complete lack of required attendance policy they seemed to have?) Along the same lines, what is with allowing all these student to be taught by the previous leader of a rebellion and the husband of the woman who predicted the next one? It seems to me that the Council would exercise a bit more control over who was teaching the next generation.
I didn't really like how extreme the cliff hanger was - the last chapter almost seemed like it would do better as the first chapter of the next book - , nor did I think the novel was flawless, but I do think that Oppression was a pretty nice series start, and I will give the sequel at least the Library try.
I enjoyed Incarnate, but find that I feel a bit let down as well. Medows' world building is phenomenal. The world of Range, the city of Heart, the tec...moreI enjoyed Incarnate, but find that I feel a bit let down as well. Medows' world building is phenomenal. The world of Range, the city of Heart, the technology, the creatures - they're all fascinating. I quickly realized that it would be better to rid myself of expectations because Medows broke with convention as often as she followed it. I love that her dragons, sylph, and centaurs are recognizable but also refreshingly new and different. Medows' also brought forth some very intriguing concepts - the idea of a new soul in a society comprised entirely of souls that have been living together, reincarnating over and over again for thousands of years is absorbing. How would she fit in? Why did it happen? There was so much promise!
However, rather than really letting the reader explore this stimulating new world, or perhaps dive into the mystery of how and why Ana was born, (view spoiler)[ or why the city feels safe to everyone else but creeps Ana out (hide spoiler)], or even investigate some of the questions about Heart that Ana reminded the old souls they had all once had, we are instead left with a somewhat boring romance. Don't get me wrong! The romance between Sam and Ana is so much better than what one often comes across. They slowly get to know each other; the relationship builds upon shared interests and experiences. However, in a world so amazingly crafted, with so many mysteries waiting to be unveiled, their romance wasn't really what had my interest. I wanted it to be part of the novel, not the focus of the novel.
Incarnate is meant to be the first in a trilogy (series?), and as such is absolutely good enough to make the next one an instant read. I just hope that now that Sam and Ana have their stuff figured out, we can actually get somewhere with the real mysteries.
Lies Beneath is a bit of an enigma to me: despite the fact that there were quite a few things going on that normally would have made me dislike a book...moreLies Beneath is a bit of an enigma to me: despite the fact that there were quite a few things going on that normally would have made me dislike a book, I actually thought it was pretty good because they worked here. It had a nice pace: Brown hit a perfect balance between creating a slow build-up and maintaining reader interest. I also liked that it had a creepy, moody tone that slowly became slightly more upbeat, even while becoming more tense. It was as if the story were revealed not only through Calder's voice, but also through his emotions. The writing felt a bit stiff, detached, and lacking in emotions at times, but that felt right for Calder.
I also really liked Brown's world building. Despite the fact that I am about to make a lot of comparisons, I did not in any way feel like Lies Beneath was derivative. I love Brown's take on merpeople -- I was always more a fan of Peter Pan's mermaids than Ariel. I like that Brown's monsters were actually monsters! Calder's sisters were seriously chill-inducingly creepy -- and it was awesome. I also really liked the way(s) that the merpeople fed on emotions. (view spoiler)[ It was a bit like Sulley's discovery in Monsters, Inc. to see the way Calder was able to 'feed' off Lily while with her -- the sustained laugh packs way more of a wallop than the scream. (In the case of Lies Beneath, the emotion freely given lasts longer than the one forcefully taken.) I thought this was beautifully done. It would have taken some pretty special circumstances -- considering merpeople's usual behaviour -- to learn that. (hide spoiler)]
My reactions to Brown's characters are a bit more complex. I thought Lily was a smart, strong young lady with a flair for the dramatic and a tendency to take herself a bit too seriously. I thought Calder's emotional and social inadequacies made sense when put into context. (And his stalker behavior even works, considering this all starts because he is supposed to be stalking her. Brown never tries to make it anything but creepy; and everyone who knows about it calls it what it is.) (view spoiler)[ The only point where I had a WTF moment with Calder was when he went to visit 'Joe.' I am sure this was supposed to display his deep need for real emotional connections, his profound loneliness, something meaningful; but really, it was just too creepy. (hide spoiler)] Calder's sisters and Lily's family are also really well done -- I especially liked Maris and Sophie! Jack and Gabrielle, however, always felt more like devices used to move the plot along or mouthpieces for Brown to pass on information than actual characters.
I was also a little disappointed with the mysterious aspects of Lies Beneath. I anticipated every single reveal long before I think Brown intended. I thought about this for a while, and I don't necessarily think that Brown handled her foreshadowing clumsily. I think it was more that each thing just made sense for the characters based on their personalities and actions; it was the natural progression, if you will. I would have liked to be a little more surprised, though. All in all, very good for a debut effort! (less)
What a refreshingly wonderful book! When I finished reading Candlewax I was happy. There weren't any niggling complaints about the book teasing at the...moreWhat a refreshingly wonderful book! When I finished reading Candlewax I was happy. There weren't any niggling complaints about the book teasing at the happiness, nor unsatisfied expectations from an abrupt cliffhanger. Candlewax is quite simply a tight, well-written, interesting, fun fantasy novel for young adults.
Sims' world building is just fabulous; at once I was transported into her world, and there were no frayed edges to trip me up. Even the most fantastic elements had been incorporated in such a way that they fit seamlessly with the others. I completely believed in Lackanay, Cinna, and Candlewax. Yes, there was quite a bit of exposition in the dialog at times, but it rarely felt like info-dumping. Sims' dialog was both plausable and interesting, and the history and adventure unfolded together in a beautifully harmonious sort of way.
The characters were also just so well done! In Catherine we have a believably flawed, beautiful, strong protagonist. Her alternating strength and vulnerability never feel forced, and the fact that she is a girl never factors in either; they are the strengths and weaknesses of any person, not a specific sex. (I think a young male reader could get wrapped up in her adventure just as easily as a female reader.) Pokos is delightful in the way only a talking cat can be, and Cyril is a strong, smart, and nice hero. He is a partner for Catherine, not just a love interest. As I read I truly felt a part of the adventure; the relationships between the characters developed in such as way that it felt like we were all getting to know each other at the same time. I learned to trust and like the characters just as they learned to trust and like each other.
And what an adventure it is! Girl running from an arranged marriage. Girl masquerading as boy. Servant masquerading as Princess. Enchanted jewelry and daggers. Enigmatic cat. Prophesies. Kingdoms to be saved. Destinies to be met. Magical beasts. Secret rooms and hidden passages. Traitors. Archery contests. Evil Kings. Thieves. Campfire cooking. Everything one could possibly love about fantasy is in Candlewax (except maybe dragons. But you won't miss them, promise!)
The novel has a nicely plotted story arc and, even with the cliffhanger set up for the next books in the series, Candlewax has that now-rare satisfying feeling of conclusion when it ends. I won't lie: I really wish it had a more inspiring cover, some of the made up words and names made me giggle - even when they were supposed to be menacing - and the Trodliks never became more than this in my head, but none of that really detracted from my enjoyment of the novel in any way. Hardcore fans of fantasy may find Candlewax to be simple (but not, I think, derivative). There is danger, sadness, loss, fear - but things never get too dark. Therefore, I think it is an excellent introduction to the genre for younger readers while still being a good read for older teens. Sims didn't do anything earth shattering here, but it is a good, strong, fun, readable fantasy that I would easily recommend to any young reader who shows the slightest interest in the genre.
Thanks to Terabyte Press and NetGalley for the ARC.
Despite some recent trilogy burnout, I must admit that I often like a series as much as or more than a stand-alone novel. I especially like book series where each book has its own story arc and can be read as a stand-alone, but still fit in to the overall series story arc. If you can find such a series, it is like literacy promoting gold. Get a kid hooked with one, and they will keep coming back for the others. (My little brother was a non-reader prior to Animorphs, now try finding him without a book.) All that to say, when I first read the blurb for Gina Damico's Croak, I got really excited. It is billed up front as the first in a series, and it looked like an interesting premise that could be carried over into multiple plot lines. I was interested to see where Damico would take it.
Croak starts out with a thoroughly unlikeable character. Lex is a mess, she is cruel, and she is unsympathetic, but the story itself is interesting enough that it kept me reading. Then, somewhere along the way, I found that my opinion of her had changed. Damico does an excellent job of drawing the reader into Lex's experience, engendering sympathy if not understanding. Perhaps this is why, though not very much happens for the first third of the book, I didn't really mind. Lex, Uncle Mort, and Driggs are all witty and snarky and laugh-out-loud funny, and I enjoyed getting to know them.
I found the world Damico created to be alternately intriguing and absurd. The death puns got old after a few chapters, her version of the afterlife needs some beefing up to be believable, and what is with the jellyfish? Yet the social structure of reapers, the personal nature of the scythes, and many other spoilery-type elements of this world really were fascinating. I want to know more about the other Grim towns. What is going on in Uncle Mort's basement? There's something more to that ghost gum tree, isn't there? I am curious enough to know that I am invested in her world.
Similarly, the relationships between characters were both Damico's strongest point and her weakest. It was in Lex's interactions with others that I found the most enjoyment, but also the worst writing. Damico does an excellent job of showing the reader her story, up to the point where she must show teen romance. It was quite jarring the first time I was transported out of the story to be told rather quickly and impersonally 'and then this happened' only to be dropped back in the story. And Damico did this. Every. Single. Time. Every single hand brush to almost-kiss, we are given a sentence to paragraph summary in third person narrative of what each character was thinking/feeling. It made my feelings as the reader about the entire romance lukewarm at best.
Croak was also, at times, a bit predictable: it was fairly easy to guess who the 'bad guy' was, just perhaps not the how or why, and the final victim felt like a very cheap shot (and turned an interesting character into a mere plot device to force Lex's hand). However, most of the flaws in Croak, I think, are easily overlooked while reading it (most of them only came to mind in reflecting on the book afterward for the review). Croak is fresh, funny, interesting and engaging. There is a lot of potential here, and the book was very readable. Ultimately, that is the point, right? I really enjoyed myself, and would recommend Croak easily. Also? I really can't wait to learn more about what is going on with Uncle Mort - he knows more than he is letting on. I'll be on the lookout for Scorch.
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