Alysa’s Comments (group member since Jun 27, 2015)

Alysa’s comments from the Nothing But Reading Challenges group.

Sophie wrote: "Alysa wrote: "You didn't think we were done with the minis did you?"

Would you think a person was dumb if they said maybe? Asking for a friend. 😂

There was a scene in Our Share of Night that had a guitar!

Guitar found.
Now we need 4 other instruments...

INDONESIA and another Mini?!?
What is this Wheel doing to us! lolol

DQs Day 3 : Start of Part II - 37% ("...while she died there in the mud.")>

11. Part II opens with a really grim sonnet, though very apposite when considering the content with hindsight. Did you have any thoughts on the sonnet epigram? Do you / are you now interrogating the epigrams at the start of the parts for clues?

I tend to read through epigrams quickly and hope they add to the atmosphere. But I don't really enjoy reading poetry in general, and I don't hunt for clues.

12. Part II - the history of Juan through the eyes of Dr Bradford was a different sort of horror, with the visceral descriptions of the surgeries. Why do you feel that Enriquez included this section in the book?

It's another way to humanize Juan, because without other POVs I think he would be a rather impenetrable character, and to show how much the Order has influenced his life from a very young age. He was a victim too, for all that Dr Bradford did save his life. (Though it's still not 100% clear to me whether Juan's childhood heart problems were natural, or if some other meddlesome Order member caused them without Dr Bradford's knowledge, but I wouldn't be surprised either way).

13. We meet Gaspar as an older child. Did you like the start of Part III, with what seemed like a normal childhood? What seeds of doubt did you pick up about his life (I'm thinking of up to about 30% in - before the dog Diana goes missing)

It does seem at least a little bit normal. But see my previous day's answer about how relative "normal" can be, even outside of supernatural horror fiction. But it's almost like Gaspar and his friends are in, like, some effed up version of The Truman Show, where all (or many) of their parents actually know what's really going on but the kids don't.

14. After Diana goes missing things get a bit weirder! How do you feel about Gaspar and Juan's relationship now?

At this point I think I like the depiction of it, though I wouldn't say "I like it" if that makes sense. It is extremely complex. It is neither all loving nor all abusive. It bugs me a lot when Juan is physically abusive, but again, a man of his time and place. That's not an excuse, just an explanation. Juan has known such horrific violence that it seems he can't figure out any other way to get his son to abide by him, and the stakes are pretty damn high. As far as Juan giving glimpses of the occult to Gaspar while at the same time wanting to keep him away from it, IDK what to think. Juan says that he's not always himself, but I think it's more like he's become irrational due to what must be mental illness after his situation for all these years. Again, a possible explanation but not an excuse.

15. Omaira, in the Columbian disaster. It's a small story, but I wonder why Enriquez decided to include it. Any thoughts on how it links to wider themes and ideas in the book?

I had never heard that story before, and of course I had to go look it up. So tragic. And the all-black eyes do look demonic, and the hands white, but I don't think the author included it just for those visuals (relevant as they may be). Enriquez would have been about 12 when that happened, and possibly saw it on TV like the characters here. I could take a few guesses at how it relates to the rest of the book -- the way that the authorities in power failed to protect people and then failed to save them, the evil in the every day or in nature, the effect of media on children… In any case, it's awful and I'm sad that it's a true story.

I finished Snow Like Ashes in the wee hours (insomnia!), so now I just need to finish And After for this round.

I will finish it in time; I am 2/3 done. But I had to slow down on either that or Snow Like Ashes while trying to stay on track with reading Our Share of Night for the BOM, and decided to finish Snow faster because it was not so great. Saving the better book for last 😅

I really like the BOM so far -- and would have been extra sad if I didn't, since I nommed it and I have that little personal history with the author -- but it is kind of heavy, time-consuming reading!

DQs Day 2 : 12% ("Juan didn't have to tell him to swallow the last drop.") - End of Part I

6. Enriquez has sharpened the reality of Juan’s life into a blade that just keeps nicking the reader on every page. This book transgresses mere horror and pulls the reader into an almost constant state of discomfort. The language she uses to convey the unending pain of Juan’s migraines, his ruthless use of others, and the flashes of violence and anger that seem to spark from Juan - it’s all adding up to more than a horror book for me. What do you think - unique or like other horror you've read? What other books have hit you in a similar/comparable way?

I feel like I don't read enough flat-out horror novels or horror-leaning literary fiction (which is what I would call this book), but I should because I tend to enjoy them a lot whenever I do read them. My partner and I watch a ton of horror movies and horror-leaning art-house movies, but when it comes to books it's as if there are always so many other genres getting bumped up my priority list for whatever reason. Maybe I should try to read more "horror" titles in 2026.
I'm not sure any other horror I've read has hit me in a similar way -- this book seems pretty unique so far! -- but I will give honorable mention to a few novels where something horrific has stayed with me for years and years after reading, so much so that they come immediately to mind:The Devil You Know (Mike Carey's first Felix Castor novel), The Wine of Angels (Phil Rickman's first Merrily Watkins novel), and The Troop by Nick Cutter. All thoroughly freaked me out, for different reasons. I wouldn't compare the writing styles to Mariana Enriquez at all, however.

7. I respect Gaspar’s attempt to change his son’s fate, trying to protect him from serving as the Order’s next medium. Do you think Tali will be able to keep the block on Gaspar, hiding his medium gifts from Mercedes, Florence, and Anna? How successful do you think Juan will be at giving his son a “normal” childhood?

Tali doesn't seem particularly for or against the Order; she seems like a fence-sitter. But she is clearly in love with Juan, so perhaps her loyalty to him and his wishes is enough to get her to really try her best to keep the block on Gaspar, with Stephen's help. I think they will be successful for a time, but not forever.
Juan's not really giving his son a "normal" childhood thus far! It's hard to make a call on what is "normal" for different families, even at the best of times, and here we're talking about life during a turbulent dictatorship, with a dead mom and a dad who is part of a death cult, and fatally ill. And trying to curb Gaspar's own psychic abilities. Sheesh, poor kid.

8. I found it notable that the estate in the jungle was founded by a non-native family, wealthy colonizer, member of the Order. Then the author juxtaposes Gaspar’s trip to the zoo with Juan’s finding the stolen children suffering in the tunnel (man, that was a hard section to read.) What do you think this says about the comparison of the dark power the estate generates powered by the hideous capture and suffering of indigenous children, vs other countries unduly influencing native people based on wealth and perceived privilege?

Yeah I too was struck by the estate being founded by a non-native, wealthy incomer, and how that may relate to the quite literal dark powers. And that tunnel was so evil, made even more evil because it was described in a sort of quotidian, matter-of-fact way. I'm at work and don't have the book in front of me at the moment so I'll have to paraphrase (probably badly) -- there was something about how Mercedes (and/or Florence?) believes that the more actively evil they are, the further from the lower classes they become, and since they strive for high status and elitism, that's what they want. That is truly horrific. And without getting too real-life political here, it's interetsing that there are plenty of folks, at least in the USA, who have been made to believe that our "political elites" are, like, eating babies and things like that. So I think that this book is trying to make literal horror a stand-in for more "standard" classist behavior, along the lines of what Teddie had said about "using the Darkness as a defined evil." Here the book is tying over-the-top horrific suffering at the hands of a privileged group to… less over-the-top but more realistic suffering. I mean, not that that's any better, but still.

9. Juan's gifts as a medium encompass more than seeing and speaking to the dead. In the scene with Mercedes in the tunnel, he can lock doors, and after eating Mercedes' lips and taking her teeth, says he now has what he needs to reach her. Wondering what your take is on this - is he more like an acolyte to the god Darkness, and can channel its power? Also, what are your thoughts about the “Other Place, a zone of the Darkness that the Order didn’t know about”?

I think Juan, as a sort of "chosen one" of the Darkness, has the ability to channel its power at times, and use that power for his own personal reasons and not just doing the Darkness' perceived bidding. I don't know if that has any particular consequences, but it very well might. I don't really understand the "Other Place" thing and how it can be in the Darkness yet still unknown to the Order, but actually there must be a lot about the Darkness that even the Order doesn't know!

10. Maybe the pacing was a little slow at the beginning, but the book is starting to get under my skin, laying its burrowing eggs that – erm. As you get to the end of part one, what do you appreciate about the writing? How are you finding the pacing? The tone? What aspects of the book are working or not working for you so far?

I really like how visual the writing is. Sometimes books are atmospheric in the sense that you get an overall feeling but can't necessarily picture the scenes the author is trying to relay. Here, I think the author is successful in conveying both atmosphere and very specific visuals. I like the pacing and the tone, as well, but at the same time this book is "slow reading" without being slow, if that makes sense. Like, it's a heavy book that requires quite close reading, which makes it a slow process but without ever being boring. I don't think it would work well as an audiobook at all (at least not the English translation -- I have zero idea about the original Spanish). (@Ashley maybe you should switch from audio to traditional reading...)
There have been a few things that seemed to come out of left-field, but which I quickly understood from context. For example there's suddenly a hand of glory that Rosario used all the time but hid with Marcelina! Like, did we get a hint about that earlier and I missed it? But overall I really like this book so far.

Bonus note: The more I read this book, the less I think the english version cover quite does it justice. This [French] cover is more where I am with this book right now

Totally agree. Looking at all the edition covers, why do almost all the non-English versions have something like that French one, like a zoom-in on a classical painting, and almost all the English versions have a cartoon monster hand? I definitely do not like the cartoon monster hand cover. It's like they took one tiny detail of the book and thought that American readers would want that because we're stupid and like only cartoon monsters. WTH.

Sounds good to me!

First-world bookish problems, LOL

Melindam wrote: "Alysa,

Happy to read Steelhart! 😊

Here's to hoping it will work for our next Round! 🤞🤞"

Yay! On the spreadsheet, I had put my name and link to my edition but obviously feel free to change those fields. Or if it doesn't work out for you, I can still just go ahead and read it when we get there. :)


Meanwhile, I thought I might be done with forced print books for Wheel after Our Share of Night but this morning I had to pick up a hardcover of Emily Wilde's Encyclopaedia of Faeries from the library because there is a 6-8 week wait for the ebook or audiobook. Argh. Reading in print is still a beloved experience, but my shoulders and neck do not love me.

Melindam wrote: "then maybe adding Steelheart (not Claire's as that has a snug place in ladder1), then Alysa's book could follow. 🤔

I'm considering reading Steelheart. Will check if it's available for me.."

@ Mel, if you're still considering reading Steelheart that would be great -- take a look at the stuff I added to the ladder!
I put Steelheart (not Claire's) in Rung 4 because it's the only thing I could make fit and I am also fine with reading it if no one else does. So, either of us (or any team member!) could read it, and then with all my books in place we would just need someone to read for a D title from the following list (hope I didn't miss any):

Divergent, Daughter of Smoke and Bone, Dark Places, Dracula, Dark Matter, Dune, Dead Witch Walking, Dorothy Must Die, Dry, Daisy Jones & the Six, Dark and Deepest Red, Dear Martin, Dumplin', Daisy Darker, Divine Rivals, Dead of Winter

Teddie wrote: Only knowing a little about The Dirty War and Argentinian unrest during this time, I wonder whether this book is an attempt to exorcise some of the demons from that era; using the Darkness as a defined evil in an attempt to make explicable the rampant torture, abuse, and murder happening then. Juan is human, and cares for his son and his dead wife, but is simultaneously an instrument of the Order, and ruthless in pursuit of his own goals and survival. There were perhaps many like him during this time."

Oooh Teddie that's a really insightful take.

DQs Day 1 : Beginning of book - 12% ("... the seal of the summons, the permission, the welcome.")

1. This book opens with a father and son in what seems like a mysterious and dangerous situation, and there is a startling mix of normalcy, grief, and dread all juxtaposed with one another as we slowly learn more details. How did it make you feel? Do you think this was a good start?

I thought it was super effective. The way the story opened was very intriguing, with a strong feeling like it's an almost-normal world where there's just something a bit off, like a simmering strangeness to Juan's perceptions and behaviors. It felt like I was waiting for a hammer to fall, without knowing what that hammer would be. It drew me in right away.

2. We learn through Juan's perspective that young Gaspar has inherited the ability to see ghosts. The first sighting occurs in a hotel, which would inevitably remind many readers of The Shining, even though the context is different (apart from them both taking place in late 1970s/early 1980s)! Do you think the author did that on purpose? And did you find the ghost super creepy, or were you totally unfazed?

Suuuuper creepy! My brain went "CREEPY LADY HOTEL GHOST" and immediately jumped to The Shining (the movie; I haven't read the book), and I actually said aloud, "Oooooh creepy here we go!" and my partner was like "What the heck are you reading?" I would bet cold hard cash that the author did that on purpose. Although it is implied in the book that there are tons of ghosts around because of the political climate at the time (i.e., this was during a military dictatorship when many people were "disappeared"), the author was born in the 1970s and various interviews and profiles show that she sure knows her literary and cinematic horror references.

3. There is a rather abrupt POV switch from Juan to Tali. Why do you think the author chose not to tell the story only from Juan's POV? Did you appreciate the switch? Why or why not?

I found the switch a little jarring at first, but soon came to enjoy Tali's POV a lot. Her personal history with (and unrequited love for) Juan humanized both of the characters for me, and getting some of that backstory from her side was probably the only way we would get it at all, at least at this point in the story. I don't see how it could have come from Juan without being awkwardly shoehorned in: what with his fixation on Rosario and his health issues and his being a little bit up his own butt, his POV sections just wouldn't lead to any reflection on Tali's experience. I think he has affection for her, but is mostly using her for various purposes of expediency. When we eventually switched back to Juan's POV, I missed Tali but felt like I understood Juan a lot better. I hope we get more POV switches, whether it goes back and forth between Juan and Tali or whether more perspectives are introduced later.

4. We learn about a secret Order of which Juan and Tali are both members. Rosario -- Gaspar's late mother and Tali's half-sister -- was a member too. Juan is trying to keep Gaspar away from the Order. From what has been revealed or hinted so far, do you have any predictions as to what the Order is all about? Do you think Juan is doing the right thing in keeping Gaspar away? Do you think Juan is a good father, overall?

Seems like some sort of Death Cult. Not really clear if it's related to Simonetti's Chapel of the Dead that was described as being on the same land as Tali's shrine and house. If Tali is a member I'm thinking maybe the Order can't be all bad? Like, maybe they have some good intentions, especially in the face of the bad political climate? But obviously they're not good either, if they mean harm to a child, had a hand in Rosario's death, and/or just generally go around killing people. I really don't know what to think yet other than a general "Yikes!" reaction. I think Juan is doing the right thing by trying to keep Gaspar away from the Order, and I do think he seems like a good father overall. I don't approve of that big smack that Juan gave Gaspar to get him to leave Tali's house, but I suppose it's in keeping with the parenting style of the time and place.

5. Juan and Gaspar encounter many kind and generous strangers. Juan is paranoid but also good at reading people (not sure if that's part of his "powers" or simply part of his personality), and doesn't seem to have any problem using them for his own ends. Do you have any thoughts on these interactions so far? And for those readers who are more familiar with Argentina: do you think the author is using Juan's interactions to attempt some social commentary on the Argentina of 40+ years ago, vis-à-vis the police, sexuality, etc.? Or could this book be taking place anytime, without much difference? (I realize that Argentine history may not be worth discussing until we've read more of the book, but I think it's an important enough topic that we can keep coming back to it again and again as the story unfolds!)

I suspect that being good at reading people is part of Juan's powers, such as they are, and I think him having no problem using people is part of his paranoia and his not wanting to let anyone get too emotionally close to him. Like, maybe if he uses people for his own ends it's easier to feel detachment, and to accept the feeling,than it would be if he just didn't interact much with anyone at all. He uses Tali, he's apparently using Andrés (though I'm not sure how yet because I haven't read ahead as of this typing!). I do appreciate that even as he remains detached, he still wants his son to have normal interactions, like with random kids at the beach, and let him stay open to the better parts of life. It lends weight to the idea that Juan is sacrificing himself in multiple ways in order to give Gaspar a chance at a normal life. Or at least as normal as possible given that Gaspar also sees ghosts!
I am not especially familiar with Argentina or any other South American country beyond what I can read in history books and online. I have never traveled there, and have no familial connections. I do have a very close childhood friend whose parents came to the USA from Chile in the 1970s to escape the Pinochet regime. He, like me, was born in NY in 1981 so he didn't personally experience dictatorship but he's told me a few of his parents' stories and it sounds not dissimilar to what was going on in neighboring Argentina. I would assume that a lot of what's presented in this book is specific to the time and place, but some cultural things might be the same today -- like the importance of religion to many, and the fear expressed about what could happen to two men discovered having sexytimes together in a rural area (the Chilean friend I mentioned happens to be gay, and he says there's still tons of homophobia in rural Chile where he's recently been spending months at a time). I would be very curious to learn whether that's truly still the case across South America.

DQs Day 1 : Beginning of book - 12% ("... the seal of the summons, the permission, the welcome.")

1. This book opens with a father and son in what seems like a mysterious and dangerous situation, and there is a startling mix of normalcy, grief, and dread all juxtaposed with one another as we slowly learn more details. How did it make you feel? Do you think this was a good start?

2. We learn through Juan's perspective that young Gaspar has inherited the ability to see ghosts. The first sighting occurs in a hotel, which would inevitably remind many readers of The Shining, even though the context is different (apart from them both taking place in late 1970s/early 1980s)! Do you think the author did that on purpose? And did you find the ghost super creepy, or were you totally unfazed?

3. There is a rather abrupt POV switch from Juan to Tali. Why do you think the author chose not to tell the story only from Juan's POV? Did you appreciate the switch? Why or why not?

4. We learn about a secret Order of which Juan and Tali are both members. Rosario -- Gaspar's late mother and Tali's half-sister -- was a member too. Juan is trying to keep Gaspar away from the Order. From what has been revealed or hinted so far, do you have any predictions as to what the Order is all about? Do you think Juan is doing the right thing in keeping Gaspar away? Do you think Juan is a good father, overall?

5. Juan and Gaspar encounter many kind and generous strangers. Juan is paranoid but also good at reading people (not sure if that's part of his "powers" or simply part of his personality), and doesn't seem to have any problem using them for his own ends. Do you have any thoughts on these interactions so far? And for those readers who are more familiar with Argentina: do you think the author is using Juan's interactions to attempt some social commentary on the Argentina of 40+ years ago, vis-à-vis the police, sexuality, etc.? Or could this book be taking place anytime, without much difference? (I realize that Argentine history may not be worth discussing until we've read more of the book, but I think it's an important enough topic that we can keep coming back to it again and again as the story unfolds!)

Day 6 - Chapters 48 - End

25. We have a classic final act twist, of who Pytkis actually is. Was that expected? Did the resolution of the puzzles make sense?

I had started to suspect that maybe one of the royal advisors had a twin but I was not expecting it to be the prince himself, or that the prince we'd met already was not actually the prince but Pytis the whole time! This resolution made sense and I can see that there were indeed a few breadcrumbs, looking back, but I must admit I did feel just a tiny bit annoyed that the twin thing was so "classic soap opera" in a book that was otherwise so inventive.

26. How do you feel about the world building at the end of the book? And the characters? Do you find the world coherent? The people believable?

I do still love the world building and the characters. I appreciated how this book built on what RJB started in the previous installment largely by taking Ana and Din to an entirely distinct part of the Empire's map to interact with a very different part of society -- a part that's both part of the Empire and not. It feels like a lived-in world, which is a big part of what makes the characters believable within it.

27. Happy days! Din has free choice to continue working with Ana. Was this party of the ending satisfactory? Do you agree with the view that having a strong justice system is essential to the formation of a good future, regardless of the form of government? (at least, that's broadly the gist I got - the Empire and the Kingdom of Yarrow are neither depicted as good outcomes, nor a renewed ruling Khanum class....)

Very good that Din continues to work with Ana by choice, and that he sees the value in his job even though it is more abstract than what the folks on the wall, for example, are doing to protect the Empire. I'm not sure what is meant by a "strong" justice system but I think that a fair justice system is essential… not that it's so easy to maintain such a system, or even to agree on what is or is not fair. In this book it does seem like the characters believe the Empire is at least trying to do good, fundamentally, but is made up of people, and people are easily corrupted. I'll be curious to see if RJB continues to explore this in the next book -- especially what with the revelations we got about Ana, plus the Empire's seeming reverence for the Khanum.

And about that author afterword?

That was interesting. When I'm choosing what to read I don't really make the distinction between a book that came out in 2015 versus 2025 so I don't always notice patterns in how contemporary fantasy/sci-fi authors are presenting government structures and whatnot. Books more than 10 years old do often feel a little dated but it's usually more obvious in terms of, like, gender dynamics and such. Now I feel like I should pay more attention to other patterns too, and see how fantasy fiction might be collectively evolving over time in response to real-world political events. I mean, it's no surprise that such an evolution would be taking place when you look back at how authors were writing in response to, for example, Post-Colonialism or the Cold War. I guess it's just harder to notice while its happening in one's own lifetime.

Day 5 - Chapters 40 - 47

20. This section had several important questions. Malo speaks about being naukari and what she expects will happen when the empire leaves. The previous section has the Kardas mention that it is not the Empire’s job “to wade into the affairs of other cultures and scold them into decency.” Who do you think is in the right in this discussion? Also, do you think the author is also making a commentary on real world events and if so, what?

I do think the author is commenting on real-world conflicts, which is precisely why it's not a black-or-white situation. Like, I can see it from both sides, regardless of whether my own personal perspective would lead me to believe that one of those sides has the moral high ground. It just isn't always so simple when one is talking about entrenched cultural norms, values, religion, etc., not to mention the potential for complex political fallout.

21. Thelenai created Pyktis in many ways. In sort of Dr. Frankenstein and monster parallel. Who do you feel at this point in the story is more to blame and if you have read further or a re-read, did the end of the book change your opinion? Please use spoilers if you are a re-read or read ahead.

I'm coming back a while later to answer Day 5 & 6 DQs so I've obviously finished the book, but I will just say that while I have complicated feelings about Thelenai's entire operation, I never actually thought that Thelenai "created Pyktis" in the way this question points. Even at this point in the story.

22. On a lighter note, fantasy books, especially if set in a more pre-Industrial age setting, often have an awe of the sea moment as Din does on the boat. Have you even felt overwhelmed by something in nature, such as the sea, but also a mountain or other natural feature? Do you think this is less common in books with more modern technology and why if you agree or disagree?

I'm not sure I've ever felt overwhelmed or awed, per se, by something in nature. The closest feeling I can think of is sometimes when I'm on an airplane I get that little childlike moment of "even after all these years it still amazes me that humans figured out how to make giant metal flying machines"! As for that feeling of awe being less common in books with more modern tech, I disagree -- I can think of plenty of sci-fi books where someone expresses awe at a particular technology, or space station, or planetary feature, or what have you. I think it's just human nature to feel these things to at least some small degree (or large, depending on the person!) and so it gets expressed pretty often via fiction too.

23. The augers are bothered by not being able to predict the outcome. Why do you think they could not predict this, and do you think this is a limit of their power?

Well if one does not have all of the info relevant to a situation, one cannot accurately predict what's going to happen! I think that's all there is to it. The real limit is that they think they know everything when they actually don't. And come to think of it, that seems like a common theme in mystery/detective novels, including this one. People think they know what's going on, or at least want to just "close the case" and be done with it, but more puzzle pieces just keep popping up and shifting into place.

24. There is a lot of imagery in this section of especially of the shroud itself. Do you picture it like any real building or image from a movie or book?

I have a hard time picturing the shroud. But insofar as I can try to picture the shroud, I see it as a building that's been wrapped by the artists Christo and Jeanne-Claude, except instead of fabric the wrapping is made of some kind of fibrous green algae, and since I don't know what the building looked like before being wrapped, it seems like a large lumpy mass with strange angles and corners. (I remember in the first book having a hard time picturing the leviathans. I think RJB does this on purpose!)

Okay, YAY on the 2000s book, but *sad face* on the defenestration.

😄😢
I am a rollercoaster of feelings, lol.

Uhhh I just realized something -- I have one of my currently-reading books set for the task "Set in the 2000s" but I was interpreting that as anytime in the 21st century, like 2000 and up. But now I am thinking that th task is meant to specify 2000-2009, and my book is not super specific about it. It was published in 2014 and takes place around the same time but it's not really explicitly stated.
Should I move it to a different task, just to be safe? If so, we will need a different "2000-2009" book for the Wheels Mini 🙁

I found a book that has "defenestration" in the text, but the task says it has to be "defenestrate / defenestrated"!
If the Caps Group/Mods say "defenestration" is acceptable, I will read for it in the next round!

Melindam wrote: "If we put it to Rung 2, following mine, then maybe adding Steelheart (not Claire's as that has a snug place in ladder1), then Alysa's book could follow. 🤔"

That works, if you (or anyone) reads Steelheart. Move my book to whatever ladder rung works best :)

Just finished a short book that I decided to read because I needed an extra break from the extremely disappointing Libriomancer. Wow what a waste of a great idea.