"It is an act too often neglected," said the fox. "It means to establish ties."
"To establish ties?"
"Just that," said the f...more"What does that mean--tame?"
"It is an act too often neglected," said the fox. "It means to establish ties."
"To establish ties?"
"Just that," said the fox. "To me, you are still nothing more than a little boy who is just like a hundred thousand other little boys. And I have no need of you. And you, on your part, have no need of me. To you I am nothing more than a fox like a hundred thousand other foxes. But if you tame me, then we shall need each other. To me, you will be unique in all the world. To you, I shall be unique in all the world . . ."
Well, if this book didn't make me go "Awww!" (Which is, by the way, a feat almost impossible to accomplish. I should start a new shelf, the "Aww" shelf, where the Little Prince could rule alone forever).
Right. This book is a very sweet read full of metaphors and what-not to make the reader think about what is really important in life. It's been described as a modern fairy-tale, and certainly it feels like one. It comprises several episodes featuring different characters, from lonely kings to busy businessmen, to foxes to the single most important rose in the universe. Each episode is meant to have a message, and as the story goes on they all intertwine to make one Big Message.
It's definitely worth a read, especially on a long rainy day or just before sleep: you know, the times when an adult's inner child most wants to come out. Or, you know, you can go all adult on it and read it because "It Is A Classic". Either way, if you like it, the story will stay with you for a long time. And it might just tame you.
"I am beginning to understand," said the little prince. "There is a flower . . . I think she has tamed me . . . "(less)
This book won't appeal to everyone, but to some it will touch them at their very core. This is a beautiful book, with a strong female lead who is extr...moreThis book won't appeal to everyone, but to some it will touch them at their very core. This is a beautiful book, with a strong female lead who is extremely intelligent and flawed, which makes her very real. It is a coming-of-age story that deals with choices, perception, and what it means to be a woman in a man-made world.
This is not a ground-shattering book. But it is very good company. Sharon Shinn certainly knows how to spin a good yarn, and her characters are incredibly well rounded-out, flesh-and-blood beings. It is very atmospheric, seeped in a romantic old-lore feel. I would describe this as a "comfort read" that completely envelops you in its fold and makes you think, gently, on issues that are important for any young woman.
Read this book if: -You love 3D characters -You love good storytelling -You want good company in a book -You need to lose yourself in another world
I loved it, and plan on reading it again. And again. And yet again.(less)
I don't know what it is about this book. It's not my type; it's filled with things I'd roll my eyes at any other time: clichés, sappy fantasy, unlikel...moreI don't know what it is about this book. It's not my type; it's filled with things I'd roll my eyes at any other time: clichés, sappy fantasy, unlikely conversation... and yet. And yet, it totally captured my imagination.
Wildwood Dancing is both familiar and wondrously strange. It takes a lot of fairy-tale tradition and weaves it together in one seamless tapestry of color. Its pages are thick with winter, seclusion, cozy rooms and wild places, while through it all runs a definite atmosphere of magic and mystery. You will definetly recognize many of the elements of the wildwood from all your childhood fairy-tales, and you will certainly know what rules are at play here; but other things won't be so obvious, and that's what gives this book its edge.
What I truly loved about this book is the way that almost all fairy-tale folklore was here, from the most innocent to the most evil. And how Marillier didn't shy away from plunging the reader into the darkest recesses of that folklore. As children we read that the evil witch is evil, that vampires are bad, but we never get any closer than that. Here the heroine is plunged right into the dark side of fantasy, and she has to struggle with what that means.
Finally, what really trapped me was the feeling of the book. It was seeped in emotion, at times subtle and at others quite palpable: fear, tension, romance, exhuberation. Some scenes are completely etched in my mind, not in words but in beautiful images and and tense emotion. And an author who can do that is, in my opinion, quite talented.
Bumped up to 5 stars because, weeks after, I just can't untagle this story from my mind(less)
"It is true! (...) I am not an Angel, nor a genius, nor a ghost... I am Erik!"
This is a gothic psychological thriller blended with the detective-stor...more"It is true! (...) I am not an Angel, nor a genius, nor a ghost... I am Erik!"
This is a gothic psychological thriller blended with the detective-story genre, and through his haunted character Erik, Leroux goes deep into the mind of the criminally insane.
This is the story of Erik, "the Angel of Music": a deformed genius living in "the house at the lake" in the underground cellars of the great Opera House of Paris. He's in love with Christine Daaé, an opera singer. With devilish cunning, constant threats, and sensual tricks, he turns the Opera House upside down, creating physical and psychological damage to almost everyone in it.
Leroux explores a world of contradictions: a maddened genius, an "angel in hell", who is regarded both as a ghost and an angel, and who can be cruel as a murderer and yet meek as a lamb. Perhaps what makes Erik so unforgettable is the fact that he is at once so threatening and vulnerable. Leroux really takes the reader on a psychological ride: first we admire the Phantom, then we're held in a strange position between terror and compassion; next, we are horrified of him and finally, we pity and cry along with him.
Perhaps this is the most tragic thing of all: the reader understands that Erik does horrible things because of his hopeless situation, and yet we don't really sympathise with him until the very end, when we understand how truly human he is: when we see ourselves reflected in him, in his strive to create a haven for himself away from the ridicule and cruelty of other people; when we understand that it is his unrequited love and hopeless longing that has turned him into a monster.
Whether or not the reader comes to pity the Phantom, in the end he speaks for himself: "It is true! (...) I am not an Angel, nor a genius, not a ghost... I am Erik!"(less)
"War makes monsters of men, you once said to me, Todd. Well, so does too much knowledge. Too much knowledge of your fellow man, too much knowledge of...more"War makes monsters of men, you once said to me, Todd. Well, so does too much knowledge. Too much knowledge of your fellow man, too much knowledge of his weakness, his pathetic greed and vanity, and how laughably easy it is to control him."
Would you start a war to save someone you loved? Or trust a monster to save that very same person? What's the point of feeling horror and disgust at something if you don't act on it? Actually, what's the point of feeling anything if you don't act on it?
And is a monster ever redeemable?
I'm still reeling from this. The last third of the book is so beyond epic that I just don't have words to describe it, and so I'm just going to post here the elements that made this book get under my skin and rattle my bones:
Mild spoilers ahead
- An honest, innocent man who cannot lie, but who listens very closely and understands... this man steps out of the mists alone to confront and stop an army: Wilf
- A passionate, hurt, blind boy ready to lead an army: Lee
- A "natural Pathway", a man so empathetic and open that he is a born messenger: Bradley
- A man who hears everything that the Spackle hear, a man who hears the whole world: Ben
- A Spackle who can hide his thoughts like men do, and who is vent on revenge: 1017
- A bright, courageous girl racing to save the one she loves: Viola
-A Monster and the Essence of Good chained together, feeding off each other (because if you look into the abyss, the abyss looks into you), struggling aginst each other and not knowing who will get tamed, who will get killed: the Mayor and Todd
Major spoilers from here on
I loved the way that the Mayor's evil was mounted up to coming from feeling and understanding too much, to suffering from the weight of it and how he went mad trying to control it. As opposed to Ben's going with all he understood.
I can actually understand the Mayor. Hating his Noise, trying to control it as a result of suffering from it. It's so much harder to just go along wih it like Ben did. Though of course Ben should be the example here. After all, isn't hope and acceptance always better than hate and control?
As for the romance in the book, very well played out. I love how Todd and Viola save and forgive each other over and over and over again. It is absolutely beautiful, and I agree with Viola: it feels like, finally.
Overall, incredible ending to the triology. Absolutely epic.(less)
Those blue, blue eyes, icy blue, looking back at me as if I could warm them up. They’re pretty powerful, you know, those eyes, pretty beautiful, too....moreThose blue, blue eyes, icy blue, looking back at me as if I could warm them up. They’re pretty powerful, you know, those eyes, pretty beautiful, too.
The editor was right by warning the reader that this is a scary book. Because here I am, with a huge dose of Stockhold Symdrome and feeling suddenly cold and confused now that Ty is gone.
Ty the kidnapper.
Actually, this was going to be a 4-star book. I didn't think the story was very challenging, all through the desert part (at least, not after reading The Phantom of the Opera). I didn't think Gemma questioned Ty enough or argued withe nough strength; and I thought Ty was rather on the soft and mushy side, instead of threatening (again, compared the The Phantom of the Opera).
It's the end that got to me. After spending so long in the restful silence of the desert, feeling its warmth and protection... suddenly there were cold rooms and frantic people, and everyone so jarringly ignorant of what had really happened... and me. Me with Stockholm's Syndrome. Only it's not so easy, is it? You can't label such strong, muddled feelings.
I think Gemma made the right decision in the end. And, like her, I'll feel a heartbreaking tug-of-war of emotions every time I think of Ty.(less)