It was Bertolt Brecht who conceptualized Verfremdungseffek in theater, designed to make the viewers concious that what they are watching is a performance, a creation that needs to be digested by the mind. It's a tremendous concept, the "distancing" of one's self from the characters of a fictive piece, and perhaps can be applied to some other literary forms as well.
But how do you distance yourself from a piece that is actually designed to get you emotionally affected? Well, the hell with Verfremdungseffek.
Fairy Tale Fail (FTF) is a story of a young Filipina, Ellie, who's into a relationship with an office colleague, Don. Because of the female perspective, I would say that this is another field guide to the gray matter of our female counterparts-- this particular type is given to fancy happy-ever-after stories, confusion, and the usual sexual impulses known to both men and women. Think of Briony Tallis directing the play of her own (love)life.
Again, just as in my review of Mina's first book My Imaginary Ex (MIX), I will not dwell on the details of the story lest I spoil it; but I honestly liked MIX better than FTF. I see now that two of my GR friends gave FTF four and five stars and can relate to the characters way closer than I can and will. This fact makes me a cold cad, but someone has to give Mina the male perspective, which may be irrelevant and totally off the point. But still.
A scene where Ellie said "Tang ina." is my favorite. It brilliantly sums up the building tension at that point in the story; but you will have to read FTF to know what I'm talking about.
By the way, don't you think Fairy Tale Fail as a title is rather Brechtian?