Joseph Bédier's book is a retelling/amalgamation of a variety of primary sources concerning the Tristan and Iseult story. As such, it's a good introduJoseph Bédier's book is a retelling/amalgamation of a variety of primary sources concerning the Tristan and Iseult story. As such, it's a good introduction to the literature and a useful general overview. This edition offers an afterward that points to the primary sources adapted, which is useful as well for further reading. Bédier wrote in French, so this edition is a translation, and as such it's pretty straightforward and easy to read.
I haven't read the primary texts so I can't offer much in the way of analysis of the adaptation, but I didn't dislike reading these stories. My interests, both literary and academic, fundamentally do not lie here though so I don't have much to say other than "it was interesting" and "I'm glad I read it."...more
Nearly excruciatingly good. Nguyen's art is standout, his characters are complex, layered, and real, and the way fairytales were interwoven with sexuaNearly excruciatingly good. Nguyen's art is standout, his characters are complex, layered, and real, and the way fairytales were interwoven with sexuality, race, and general identity was fantastic. The Magic Fish is beautiful and kind, not because there isn't darkness in the world but because there is also light....more
This is not a fair thing to hold against a book for children, but the epigraphs at the beginning of each chapter generally rendered reading the chapteThis is not a fair thing to hold against a book for children, but the epigraphs at the beginning of each chapter generally rendered reading the chapter moot because they gave away any tension or twist that might happen within the chapter. This tended to weaken the momentum of the story, especially when it was at its most plodding.
Watership Down isn't always plodding though; there are parts that are deeply gripping, and the way the prose luxuriates in the natural world is especially compelling. I found that the first half of the book to be very effective survival horror and the second half of the book to be a somewhat tiring series of bad decisions by the lead characters which would have bothered me less if I thought Adams was presenting them as bad decisions on purpose.
I think Watership Down is at its best when telling stories of El-ahrairah; Adams is obviously drawing from many rich mythic/epic traditions, and he integrates them seamlessly when telling tales through Dandelion's voice. On a similar note, the story reaches its highest peaks when it becomes strange and disconcerting, either through Fiver's surreal visions or through the heightened reality of inter-species conflict.
That said, I do think the misogynistic foundations of the story really do deserve a mention. Whilst this book is obviously of a time hearkening back to an even earlier time, and regardless of what is naturalistically true or not of rabbits, the way the few doe rabbits are presented as objects rather than creatures is very remarkable. This isn't to say that the book has no merit because of this--it does--but it's a very striking omission and at times became profoundly distracting....more
A contradiction of a book, Girls made of Snow and Glass is a thoughtful meditation on womanhood, love, and fate. It is also badly in need of an editorA contradiction of a book, Girls made of Snow and Glass is a thoughtful meditation on womanhood, love, and fate. It is also badly in need of an editor.
I loved the general shape of the story; it feels like another knot in the complex explorations of the snow white fairy tale, a kinder but no less difficult version of the story where both the princess and the queen are people and, beyond that, women within a society that marginalizes women. It is very good in that regard. However the third act felt, to me, like it started to sag under a who's-on-first, what's-on-second style series of miscommunications and missed opportunities, to the point that when I finally reached the end of the story the emotion I was feeling most was frustration.
I'm of two minds in terms of that frustration: I think Bashardoust was trying very hard to write a story where these miscommunications stemmed not from circumstance but from character flaws, and I can respect that, but it felt like a lot of misses at the end were avoidable within the flawed parameters of our two protagonists. However, I will admit that on a personal level I simply did not like Lynet as a character, not because I felt she was a bad character but because she was the kind of person I have trouble liking, thus I'm not sure how fair my frustration actually is.
That said, I do stand by my needs-an-editor comment; it seemed like we were rehashing the central weaknesses of both protagonists more times than was truly necessary, and I felt that the text started to get quite repetitive. Furthermore, I don't think Bashardoust did the greatest job at representing the antagonistic forces within the story in a way that didn't come across as a little funny. I am all for stories about shitty dads, but the dad shittiness in here come across as shallow and a little funny, at least to me.
Of course, even with all those negative comments I still did consume this book in one sitting, so there's at least something very compelling here....more
I picked this up after its mention in This Is How You Lose The Time War without much knowledge about what it would be about. I'm still not sure what, I picked this up after its mention in This Is How You Lose The Time War without much knowledge about what it would be about. I'm still not sure what, exactly, I think about it, so I've gone with a neutral 3*, though I suspect I might revisit it sometime in the future and find myself liking it even more....more
I finished this book about a month ago, but I'm still not sure what to say about it. I couldn't put it down, for all most of the action is in the pastI finished this book about a month ago, but I'm still not sure what to say about it. I couldn't put it down, for all most of the action is in the past. Atwood's three protagonists are not only well-developed, but they all have extremely distinctive voices. Zenia is a ghost, or a dream, or a mirror, moving through the lives of Tony, Charis, and Roz and leaving destruction in her wake. She's a villain, if there ever was one.
Or is she? I've been trying to untangle what, thematically, Atwood was trying to say with the end of the novel and I still feel uncertain. Thematically, I think The Robber Bride functions more as an ars poetic (ars prosa?) than anything else, but I think Zenia's function as a non-woman of mythic proportions feels significant in a way that I quite haven't worked out. I think as much as Zenia ruined anything, she brought a kind of energy into the lives of the three protagonists that they were reluctant to surrender....more
I always find it hard to talk about books I really, really loved, because I find myself just saying how great everything was with very little in the wI always find it hard to talk about books I really, really loved, because I find myself just saying how great everything was with very little in the way of actual critical thought. But I loved The Apple Throne in a way that I haven't loved a book in a long time, and I think the book deserves as many kind words as I have to give.
I didn't like Astrid in The Lost Sun, because Astrid is the exact kind of person I find difficult in real life—her convictions seemed unshakeable, and I found her comfort with fate tiring. Gratton's other protagonists, Soren and Signy, are far more willing to forge their own paths, for better or for worse, and I think that probably makes them more relatable to most readers—it certainly did for me. But I think that's the greatest trick to Gratton's United States of Asgard—she takes so many varied, differing characters and brings them into conversation. Everyone is allowed to be wrong, and everyone is allowed to be right, and there's not always an answer either way.
Astrid is a beautiful character. Her voice is more poetic than either Soren's or Signy's, and it allows Gratton's writing to really sing. I love beautiful prose, but I think it's hard to sustain over a novel—so often a talented writer can overdo it, but Tessa Gratton knows when to let her words unfold and when to reign them in. Astrid sees the world so beautifully, so gently—she's isn't blind to terrible things happening, but here Signy revels in death and rot, and Astrid turns toward a kinder view. It shows in the writing, it shows in her thoughts, and it shows in her actions.
And Astrid's story is so, so powerful. On a purely superficial level, it's nice seeing the girl rescuing the boy for once. But Astrid's story is so much more than that—it's about choosing your own path when you don't want to abandon everything you already have. That's, possibly, the driving theme behind the whole series—choice, certainly, but choice that doesn't require ripping everything down to its foundations and creating it anew; choice, but productive choice, half struggle but also half acceptance. The book is beautiful and hopeful and triumphant, and it left me both warm and sad at the same time.
Sweeping thematic elements aside, The Apple Throne is just a damn good story. The plot is well-paced—there's the epic road trip that's characterized each of these books, the vibrant characters, primary to tertiary. There's danger and humor and laughter and darkness, and sometimes it was hard to focus on the words because I was so caught up in the plot. The story rests when it needs to and runs when it needs to and punches you in the face when it needs to and it all falls together so well.
If I had one critique, it's that the book could be a little bit longer—everything ties together so well, all the previous books and this one, setting up such a beautiful, changed, chosen future for Gratton's world, and I wish I might have seen a bit more of it. I do think the subplot between Amon and Sune could've used a scene or two more of elaboration, though I loved the note it ended on. Really, I just wish there had been about 100 more pages, even if Gratton was just describing everyone sitting together at a Wafflehouse.
As for the actual climax of the book, the conflict and it's resolution, well. (view spoiler)[I was heartbroken when Astrid and Signy met up and clashed earlier on in the book (even though the clash made perfect sense), and, as much as I've loved this series, I was sad that there wasn't a whole lot of female interactions driving the narrative. The ending, though, was so beautiful and wonderful—seeing three strong, diverse, amazing women come together and forge a brighter future was inspiring and delightful. (hide spoiler)]
There's so much more I can say. I love the physical friendship between Sune and Astrid and Amon, and I loved the disteant but real love Freya felt for Astrid. I loved the world, I love everything about Gratton's worldbuilding—I love her complicated, heavy rules and the dark cruelty of her Asgard and also all the light and beauty and energy. I loved the trolls and the elves and goblins and the vibrant landscapes, both real and fantastic. I loved her Loki and I loved her Thor and above all I loved her Freya. This is such an amazing book, and Tessa Gratton is such an amazing author, and there aren't enough superlatives in the world for me to truly articulate how good these books made me feel. I'm sad it's over, and I'm so, so glad I saved the short stories for last....more
Maybe I've read too much Riordan, or maybe I'm too old, but while this story had its moments, it didn't work for me. I didn't connect with Magnus the Maybe I've read too much Riordan, or maybe I'm too old, but while this story had its moments, it didn't work for me. I didn't connect with Magnus the way I connected with Carter & Sadie, or Percy, or any of the protags from HoO. Much in the same way that Riordan is my go-to for reimaging Greek myth, I keep wanting Tessa Gratton's Norse gods....more
Rosamund Hodge understands my deep and abiding need for awful people in love. Objectively, I'd say Cruel Beauty is probably three stars -- it's a goodRosamund Hodge understands my deep and abiding need for awful people in love. Objectively, I'd say Cruel Beauty is probably three stars -- it's a good, solid debut, but the writing lacks finesse, and I found some of the action sloppy and awkward. That said, I feel like I've been subtracting stars from things lately because they've hit be in a bad way, or for the wrong reasons, or really just failed to appeal to my interests. Inversely, Cruel Beauty gains stars from me because it is almost everything I love in a novel.
Nyx is a wonderfully complicated, if sometimes exasperating, heroine. Her choices tend to be genuinely awful, which is what I find so charming about her -- she's flawed, she's angry, she's selfish and bitter and still so, so heroic. Ignifex is pure delight, and Hodge describes the movements of both characters with such precision and vivacity that they really come alive on the page. The romance is not precisely organic, and it's not even really two awful people finding out that their awful bits compliment each other; really it's about two people trying and utterly failing to be heroic, and loving each other for their failures (amongst other reasons).
I loved Nyx's relationship with Astraia. I was really, really worried this book was going into some "but I'm not like other girls" BS but wow did I love Astraia. I loved how complicated their relationship was, all tied up in love and resentment and vengeance. I love, love, love how Astraia grew and changed, and I love how Nyx changed against her. Excellent use of foils, A+ job deconstructing crappy dichotomies between the flighty, shallow sister and the series, kick-ass one.
The actual world of Cruel Beauty is kind of weirdly crafted -- it's probably my biggest point of contention. The land of Arcadia is the remnant of some weird alternate-history Greco-Roman empire except people are frolicking about in waistcoats and ballgowns. I think this was Hodge's excuse to use Greco-Roman mythology as parallels and symbolism to the main plot, but the thing is that the book didn't really need those symbols -- it was strong enough on its own. And while I think the idea of this alternate history was an interesting one, it's not enough of a focus for the book for it to really work. I guess I feel like it was too specific to fit that kind of fairytale dream-world feel you'll find in some stories, and yet not specific enough to feel like a grounded, well-thought-out universe.
That said, the imagery and descriptions of the castle rooms are amazing. The sheer imaginative force that went into this book is impressive. The rooms Nyx encounters, and description of the people around her, the sense of place in this novel is really stunning. I'm really, really excited to buy my own copy of this one, and I'm really, really excited to see what Hodge writes next. Cruel Beauty is an amazing debut....more
So I really enjoyed this book; I thought it was well-crafted and poignant. There were some writing hiccups -- Miller reused a phrase or two in a way tSo I really enjoyed this book; I thought it was well-crafted and poignant. There were some writing hiccups -- Miller reused a phrase or two in a way that didn't seem intentional, and at one point shows Thetis as present in a scene, and then remarks the next chapter that they haven't seen her for a while. So. Obviously not perfect but still very good. The prose is especially good; it hits that mix of simple and poetic that really works for me, personally. The characters felt a little stilted at first, and there is a bit of being told things rather than being shown them, but I also feel like that was a stylistic choice that worked well for this particular narrative....more
The thing that stands out to me about Ursu's writing is the clarity and precision of her prose, a quality that is clearly not as well honed in her earThe thing that stands out to me about Ursu's writing is the clarity and precision of her prose, a quality that is clearly not as well honed in her earlier writing (or perhaps a bit obscured by the forced quirkiness). I know I am being unfair; every Greek mythology book I read will be compared to Riordan's Percy Jackson, but The Shadow Thieves really lacked the depth and breadth and complexity of Greek mythology, even Greek mythology watered down and quirked up. The actual villain was comically (read: obnoxiously) evil, and while I did like Charlotte and Zach, they never felt quite real to me as characters. I debated a while about finishing the trilogy (I had all three out from the library) and eventually decided to pass on the rest....more
As beautiful as it is ugly, The Strange Maid is a triumph of a story. Signy is a nuanced mess of a character, contrary and brave and foolish, young anAs beautiful as it is ugly, The Strange Maid is a triumph of a story. Signy is a nuanced mess of a character, contrary and brave and foolish, young and smart and strong. The book took a moment to hit its stride, and sometimes the pacing of certain reveals was confusing, but those are rather minor quibbles. I love Gratton's world--she transforms Norse mythology and world history deftly--but the relationships were probably my favorite thing about this book. I loved the relationship between Signy and Soren--the commonalities, but also the ideological strife. And I loved Signy and Ned. I feel like I didn't quite absorb everything on the first read, but I'm sure I'll revisit this book again and again....more
Pretentious without saying anything new, the poetry lacked subtlety and the story lacked direction. There was some really gross racial stereotyping goPretentious without saying anything new, the poetry lacked subtlety and the story lacked direction. There was some really gross racial stereotyping going on and I got tired reading about evil mothers. One or two clever turns of phrase, but otherwise the writing was dull and repetitive. The end had some redemptive qualities which were overshadowed by a slight twist in the last few pages. The mythology metaphor/retelling was forced, awkward, and insipid....more
I didn't want to put [the stories] in modern settings, or produce personal interpretations or compose poetic variations on the originals; I just wante
I didn't want to put [the stories] in modern settings, or produce personal interpretations or compose poetic variations on the originals; I just wanted to produce a version that was as clear as water. (p. xiii)
Pullman writes this in his introduction which is, frankly, the best part of the book. The stories in Fairy Tales From the Brothers Grimm are “clear as water”—clean, precise, and strangely lacking. A couple of times Pullman admits to re-structuring a tale to make it adhere to the rule of three, or adding a motive here and there. It's a strange kind of sanitation—I don't think Pullman is necessarily averse to the idea of a fairytale retelling, but he claims that isn't what he's doing; his improvements, of course, only shore up the inherent flaws in the narrative, or something like that.
What happens, though, with all these _ changes, is that the tales start to become very samey. Of course, considering Pullman has chosen several pairs of stories with identical ATU classifications, it isn't all his fault, but it does exacerbate an extant problem. As it stands, the book is a bit rough to read in anything but the smallest of doses.
I think, on a purely theoretical note, that the best way to organize fairy tales and folk tales isn't by “collection” (i.e. Grimm, Perrault, Anderson) but by similarity. Maria Tatar's The Classic Fairy Tales is a much better, albeit more academic, text. It lacks the breadth of Pullman's collection, but it's a better way to consume a set of stories that all contain the same root.
I did find Pullman's notes were somewhat illuminating but mostly somewhat obnoxious, and his invective against “sub-Jungian twaddle” at the end of “The Golden Bird” is unexpected and strangely vehement. I think, notes included, Pullman's collection would work as a text for a creative writing class focused heavily on narrative structure—contrasted, of course, against older translations. Pullman's notes do have a kind of academic feel to them, though to what end I couldn't quite tell. The notes, honestly, feel too short—I would've liked more, or at least more consistency in length.
All told, I don't really know how I feel about this book. I didn't hate reading it, but I didn't feel invigorated reading it, which I usually do when reading fairytales. The writing didn't shine, but it wasn't terrible either. Pullman's discussion about storytelling is interesting, but although sometimes he scratched at good concepts, he never successfully articulated anything I found particularly compelling. Also, and perhaps most egregiously, I'm not sure his improvements actually fixed anything—and some of his suggested-but-not-implemented improvements would reduce the already incredibly limited agency of Grimm's female heroines....more
I generally struggle to get into diary fiction, but Book of a Thousand Days is immersive, beautiful, and perfectly plotted. Dashti's voice is vivid anI generally struggle to get into diary fiction, but Book of a Thousand Days is immersive, beautiful, and perfectly plotted. Dashti's voice is vivid and unique, and her character is complex and fallible and so, so likable. I love how she was clever and practical and smart, but also naive and awkward and scared, and I also loved that Dashti's story was one about empathy and understanding. She wins through cleverness and loyalty and music, and there's something so refreshing and beautiful about that kind of narrative.
Craft-wise, the Book of a Thousand Days is nearly flawless. The story is paced well; the short diary entries keep the plot from dragging, and the longer action sequences build up tension very well after the instant gratification of the shorter passages. The illustrations usually work well, though I found the art style to be inconsistent; sometimes it looked as if the illustrations were done with a brush, other times the lines were hard and precise, almost as if the artist was using a pen. This is a nitpick, I know, but it did somewhat ruin the illusion of Dashti casually doodling in the margins.
The relationship between Saren and Dashti was very well done. As much as this book is Dashti's story, it is also Saren's story, and her growth is both subtle and surprising. I loved how the two girls developed a bond as much as I found Saren's manipulation of Dashti frustrating and upsetting. I do like how difficult and complex their relationship is; as loyal and compassionate as Dashti is, she can be scornful and cruel. Similarly, as fragile and selfish as Saren is, she shows moments of clarity and strength.
All of the other characters are well-done also. Tegus was probably the weakest of them, and he still shone through with such good humor and kindness that he at least felt real. I think the ending came a little too easily, but I also feel like the ending felt like it belonged in a old fairytale. I'm not sure if I'll ever revisit this one, but it was a stunning, beautifully crafted read....more