A (rather complete) telling of the tragic 1910-1913 Terra Nova expedition, compiled from the author's memories and journals as well as the journals ofA (rather complete) telling of the tragic 1910-1913 Terra Nova expedition, compiled from the author's memories and journals as well as the journals of other men present. Rather complete, I say, because this begins with departure; the packing and sea voyage sections could probably be skimmed, but I've been itching to read about the close quarters & logistics of historical sailing so I appreciated them. The slow cascade from petty errors to great tragedy is more profound, more linear, in retrospect and/or knowing the hero worship/criticisms of Scott to which Cherry-Garrard is responding. But as that narrative builds:
Cherry-Garrard is unexpectedly adroit, moving through tone and time, the long slow trudge of sledging and setting up depots to living among fellow explorers to the overwinter journey to obtain emperor penguin eggs which, frankly, is the titular worst. He's funny, morbidly so, both intentionally and in the horror of hindsight; I took multiple pauses to independently research topics like historical British artic exploration gear (particularly clothing and sleeping bags), and, sincerely, this expedition was a hell of their own devising. The following summer's attempt at the pole reiterates some of the slow build of pacing and is a quiet, well-considered horror, a detailed account that avoids pure hero worship but also bitterness, that becomes something like a study of the stiff upper lip: persisting through suffering is not an accomplishment but a good way to elicit more of the same.
This isn't five stars in the sense of perfect; Cherry-Garrard, for all his care, still gives Scott too much credit and is absolutely a product of the echo chamber of his time; and, yes, the text occasionally drags. But in the sense of laughed, cried, would not stop talking about this with anybody in hearing range for a month--I'm obsessed. Exceeds expectation, surprisingly quotable, full of crunchy details but also honest in its character sketches and psychological focus, and, I agree: the worst journey in the world, remarkably evoked.
CW for animal abuse because, while the humans could by and large consent to suffer, the same was not true of the ill-husbanded dogs and horses of the expedition. Absolutely bonkers decision-making and self-justifications where the animals were concerned....more
Our super-cool protagonist returns home to stay with her pregnant twin sister, when homecoming and incipient romance shenanigans are interrupted by a Our super-cool protagonist returns home to stay with her pregnant twin sister, when homecoming and incipient romance shenanigans are interrupted by a werewolf attack. The smash cut to werewolf is appreciated, the ultra-short paragraphs and confessional tone have momentum, I did get through this. But this is a contemporary romance at its heart and, as such, not for me. The werewolf is a big part, and interestingly gross at times, but it's primarily thematic and it's repetitively thematic (transforming to a werewolf parallels various female losses of bodily autonomy), the rest of the plot is unexceptional, and it ends as conventionally as it can: werewolf problem? found a workaround. promiscuity? not once you get a boyfriend! social & body dysphoria during pregnancy? don't worry the baby will fix all that. Just read Tokuda-Hall's Squad, which has similar but more complex themes, a constrained length, and much sharper teeth. ...more
A young woman follows a goldrush expedition after they leave without her, journeying into distant woods. This is breathtaking: rich colors with such dA young woman follows a goldrush expedition after they leave without her, journeying into distant woods. This is breathtaking: rich colors with such depth, vibrant royal purples and blues, textured shadows and pale snows and the vivid warm tones of blood and fire. It's one of the most beautiful graphic novels I've ever read. Tamarit gives her characters distinguishing injuries and birthmarks that combat same face syndrome and introduce a lot of, well, character.
It's narrative that struggles, here. The overland journey is slow and contemplative and shadowed by danger; it's a compelling tone. But the themes of environmentalism and anticolonialism, however well-intended, have no nuance, offering only repetitive, unproductive messaging: all men are dangerous, humans are a blight on the land, etc. Such a letdown in such a gorgeous work....more
4.5 stars, rounded up for being very my thing. The chief citizens of an obscure village petition their king to put them on the map by sending the prin4.5 stars, rounded up for being very my thing. The chief citizens of an obscure village petition their king to put them on the map by sending the prince to fairyland, there to win the hand of a fairy princess and bring magic to the world. In a word, magical--which of course is the point, but magic is hard to write, magic which feels truly more-than-mundane, truly other. And this manages, primarily by inhabiting liminal spaces, boundaries crossed, worlds intermixing: bringing the alien beauty of fairyland into the fields we know is as crucial as the journey the other way, the vivacity and changeability of the moral world a necessary counterpoint to the danger and still beauty of fairyland. The plot rambles, wandering that borderland as it follows its two and a half plot threads, but it's as accessible as any modern mythic fiction/mythpunk. Transporting, funny, beautiful; more about premise than characters, but with memorable characters. This is on my reread list, bookmarked for spring or autumn or even winter: it has an indulgent, evocative voice that lends well to any seasonal setting and evokes many. ...more
4.5 stars rounded up. An instance of the Institute travels to the farthest reaches of the north to discover how one of its bodies died without its kno4.5 stars rounded up. An instance of the Institute travels to the farthest reaches of the north to discover how one of its bodies died without its knowledge. This is layers within layers of worldbuilding, from a parasitic hivemind to a rising competitor to the post-apocalyptic, highly speculative world that spawned them, and I love the styling: larger than life, gothic, chilly, horror-touched as parasites ought to be, with a prickly cast & an extremely dynamic narrative voice, especially on audio--Thorn goes absolutely ham with voices; it may be the most vibrant audiobook I've ever read. I'm compromised by my love of/fascination with the Institute, so the later emotional beats, while thematically grounded, didn't grab me as strongly as they wanted to; I'll be interested to see if I like them better on reread. Because I'll certainly reread. I think this is missing some readers who expect sci-fi or horror and are getting both plus an experimental first person PoV, and definitely this is a weird book, but the total and thoughtful commitment to that weirdness is a delight, not a drawback; I loved the hell out of this book....more
An interesting peek into an early reader; I'm enthusiastic about picture books, but have no experience reading this category/demographic, even as a yoAn interesting peek into an early reader; I'm enthusiastic about picture books, but have no experience reading this category/demographic, even as a young reader IIRC. This is in every way the expected telling of Balto's story, which is to say: simplifying the relay down to the big finale is reductive and aggrandizing. But it's also super engaging, so I can see why it would make this early reader stand out from the crowd. The illustrations don't do much for me; they're remarkably light on atmosphere, which is a lost opportunity given the extremity of the setting. All in all, not for me & not meant for me, but I'm not mad to've read it and gained some understanding of this category of children's books....more
4.5 stars? Rounded up, why not. While seeking an egg for Hanukkah latke, Asher is instead swept up by capmaking fairies in a journey to Jerusalem. The4.5 stars? Rounded up, why not. While seeking an egg for Hanukkah latke, Asher is instead swept up by capmaking fairies in a journey to Jerusalem. The illustrations resemble colored woodcuts with dark, slanting linework, dynamic and twisting; that magic and borderline-spooky edge is in the writing, too, which borrowed from Celtic mythology to whisk its protagonist away. Kimmel also wrote Hershel and the Hanukkah Goblins, so, dude loves a spooky Jewish story and, guess what, me too. () Atmospheric, weird, and a little free library find that I'm keeping for a winter reread....more
As a teen, blissfully happy in first love, our protagonist is confronted by the consequences of a strange event from her childhood. Teenage love, blacAs a teen, blissfully happy in first love, our protagonist is confronted by the consequences of a strange event from her childhood. Teenage love, blackmail, the world's weirdest superpower and a winter setting that fits it perfectly, and Cooney's remarkable, metaphor-laden, taut voice - the last of which elevates this far beyond ... what, its deserving? the YA thriller genre? maybe just my expectations. This is worth it for the childhood prologue alone, which is phenomenal; the teenage parts grow melodramatic, but I like that this finds so much tension in the lingering, haunting imprint of that one childhood evening. Of course an outsider wouldn't believe: our protagonist can barely believe - it's too strange, too unsettling, for her to view directly, and that strengthens the horror elements in a book that sometimes errs towards thriller territory. The thematic development has some YA heavy-handedness, but the uneasy ending is equally successful, especially compared to, again, my expectations of its particular trope.
Somehow, I never encountered Cooney as a kid, but she was ridiculously prolific, particularly in this genre. I'll have to look into more of her work....more
After the death of their young son, the family home of Starve Acre is a bleak, haunted place. Haunted in what way, dead for what reason, is revealed pAfter the death of their young son, the family home of Starve Acre is a bleak, haunted place. Haunted in what way, dead for what reason, is revealed piecemeal, taking an increasingly speculative bent. I like the atmosphere here, folk horror set within the bleakness and threatening fecundity of late winter turning to spring. But there's something about horror novels about the destruction of typical family units that always misses me. I swear I'm not trying to be contrarian, I get why it's such a fertile topic for horror, but it doesn't scare me and I'm much more team (view spoiler)[nursing a demon-hare baby (hide spoiler)]. So: fine, but not memorable....more
4.5 stars, rounded up. After his grandmother dies, Kit and his family move in with his grandfather in a small ex-mining town. Kit, thirteen, who share4.5 stars, rounded up. After his grandmother dies, Kit and his family move in with his grandfather in a small ex-mining town. Kit, thirteen, who shares a name with the victim of a mass mining accident, plays a game of Death. This is a story of intergenerational trauma: the imprint that mining deaths left on a community which has since radically changed; the loss of a family member, and stories passed between generations; Kit's antagonistic friendship with Askew, a schoolmate who's a victim of child abuse. Almond's voice is sparse, but his text is dense; the summary barely touches everything going on here. Characters double and foil each other; inset narratives and ghosts add a surreal magical realist element balanced by incredibly realistic dialog. The relationship between Kit and Askew is captivating, a dynamic, intense, queer bond between boys from different backgrounds, united by a shared vision from opposite ends of the spectrum: "You and me, we're just the same."
It's not a flawless book. The coda runs overlong and puts too neat an end to beautifully complex themes; it turns out that intergenerational trauma is surprisingly easy to heal! who knew; how convenient. But many middle grade books about capital-d Death feel like award-bait; this is affecting but it's also weird and nuanced and has a Alan Garner-like dreamy quality. I loved it....more
2.5 stars. After her wealthy father dies, our protagonist inherits nothing but her birth father, a goosekeeper and known thief. She build a new place 2.5 stars. After her wealthy father dies, our protagonist inherits nothing but her birth father, a goosekeeper and known thief. She build a new place for herself in the world while unraveling the secrets of her birth.
This (plucky protagonist, creepy manor, issues of class and protagonist identity, mysterious origin story, supernatural/gothic elements) reminded me a lot of Beatty's Serafina and the Black Cloak, which probably means I was spending more time noticing the tropes and pacing of modern gothic/fantasy MG than I was paying attention to this specific book. Take that as you will, but I think it indicates a lukewarm response. This is fine. I like the spooky atmosphere; the plotting is adequate but perhaps over-explained because this lacks the sense of the numinous which is what I love best in MG fantasy....more
In the wake of the world-altering fallout of the previous book, the cast copes with the return of lost ancient gods and the consequences of their counIn the wake of the world-altering fallout of the previous book, the cast copes with the return of lost ancient gods and the consequences of their countries' long war. I hugely disagree with criticisms of the magic system in this series, because that's easily my favorite part: magic is regional, fluid, and fuzzy, and while it's pointedly dissatisfying not to have easy answers, the result is something much more convincing and compelling for its nuance. I really enjoyed the middle worldbuilding sections on account.
Unfortunately, I'm a lot less interested in the sudden-onset found family vibes that permeate this book, and I lost the thread a bit in the climactic action: characters sacrificing/dying/(view spoiler)[returning (hide spoiler)] is thematically apropos but I hate it anyway, and when combined with a found family it makes the a tolerably-happy ending too predictable. Further, the writing hasn't significantly improved during the course of this series, although the quirks seem to change each volume; this time, a lot of onyx eyes and flat, quippy one-liners. There are elements of this series which I sincerely admire, and I don't regret reading it, but the execution leaves much to be desired....more
Our protagonist et al. head overland as their nations are trapped in an endless winter, seeking a magical forest where she can speak to the gods. ThisOur protagonist et al. head overland as their nations are trapped in an endless winter, seeking a magical forest where she can speak to the gods. This is a better book than the first in the series, but I don't think it's because the voice is meaningfully improved; I've only adapted. (Awkward sentences and comma splices abound; the repeated descriptions of a "beautiful, terrible boy" are ridiculous.) But the focus on the worldbuilding and the messy, compelling magic system--particularly the protagonist's relationship with magic/the divine--compels me. And while the interpersonal dynamics are unforgivably tortured, it's a fun torture: longing repressed by guilt, made more interesting by the larger forces at work on the cast. I'm still not convinced this series is good, but so far I don't regret continuing. ...more
2.5 stars. A cleric infiltrates her enemy's capital, aiming to assassinate their king. Okay: the writing here is atrocious. I can't say if it's object2.5 stars. A cleric infiltrates her enemy's capital, aiming to assassinate their king. Okay: the writing here is atrocious. I can't say if it's objectively worse than most YA or just more evidence of why I avoid the genre (although it at least isn't another example of the first person present tense curse). It does its best to undermine all its potential, but there's a lot of that: A conflict between divine magic (from questionable gods) and blood magic (with overtly problematic ethics); aesthetic gore and wintery war-torn nations; the tension of courtly politics, doomed desires, and deception. I dig the vibes; the worldbuilding developments at the 60% mark recaptured much of my attention. But I sure hope the sequels are better written, because there's only so much "he was a glorious monster, tragically beautiful"-style writing I can take. ...more
Elena wakes from the events of the previous book to find herself changed, and convinces Stefan and Damon to work together to help her protect her homeElena wakes from the events of the previous book to find herself changed, and convinces Stefan and Damon to work together to help her protect her home from a dangerous outside force. Turning the protagonist of a monster boyfriend/YA paranormal romance into (view spoiler)[a straight-up vampire this (relatively) early (hide spoiler)] is brilliant, actually, and I like the tone: simultaneously sorrowful, tense, and still a power fantasy, it continues to flatter the surprising strengths of Elena's unlikable characterization. And again, the vampire bits are great, distinctive and intimate. Unfortunately the action and denouement have a hammy tragedy which is a lot less interesting. I've been pleasantly surprised by this series, but I'm definitely not here for the plot. ...more
In order to protect her vampire boyfriend, our protagonist seeks out his much more dangerous brother. Young adult paranormal romance always requires sIn order to protect her vampire boyfriend, our protagonist seeks out his much more dangerous brother. Young adult paranormal romance always requires suspension of belief in order to buy the premise of "ancient vampire is content to love a teenager and perpetually attend high school" and that's fine, it's just the buy-in for the genre; but the plot here is a lot of teenage drama, so much that I don't want to be there and the vampires hanging around feel even less convincing.
But! The uncanny early coming of a grim winter is delightfully gothic, the vampire scenes in this series have been consistently great, and, perhaps controversially, I love Elena: her humbling as a queen bee and the fact that this makes her (often irritating) bossiness and pride a source of strength is, sincerely, a great character arc. This is trash reading for sure, and its flaws bug me, but it's as often great trash....more
This is absolutely a premise I've encountered in fiction: a family patriarch uses geography and social isolation to indoctrinate his family into a selThis is absolutely a premise I've encountered in fiction: a family patriarch uses geography and social isolation to indoctrinate his family into a self-lead cut. And Kizzia takes a novel-esque approach, with a nonlinear narrative and a dual-stream narrative that tracks the family's external perception & interactions alongside its internal events. It's not so much "the truth is stranger than fiction"--just that the truth is compelling and painfully real. The escalations from suspicions of familial weirdness to first-person testimony of the father's abuse feels like a participant discovery in a distinctly culpable way: what warning signs will onlookers dismiss in favor of believing in the romance of a distant wild setting and a certain set of social aspirations? (And what petty community disputes will or won't finally bring those issues to a head?) Nuanced, eminently readable, evocative but in a way that recognizes how those same evocative elements can be leveraged as tools of grooming and abuse....more
DNF at 60%. I've had mixed to positive experiences with Jones's other work, and really didn't expect to bounce off of this. There are absolutely effecDNF at 60%. I've had mixed to positive experiences with Jones's other work, and really didn't expect to bounce off of this. There are absolutely effective ways to play animal harm in fiction against the way fiction/society glorifies or dismisses human harm, particularly against people of color; I expect that's at the heart of this text and that it does it well. But I wasn't up to the challenge or the tone. Perhaps I'll try again in a future November....more
Reading A Series of Unfortunate Events, that expectation of suffering, felt very Jewish, and when I researched Snicket to discover he was Jewish it waReading A Series of Unfortunate Events, that expectation of suffering, felt very Jewish, and when I researched Snicket to discover he was Jewish it was validating, secret, a key framework for the books ... so I love that there's also a distinctly non-secret Jewish book, no hidden framework, just a Jew latke real fed up with the cultural dominance of Christianity/Christmas.
When Snicket's humor works, boy does it work for me; this is absurd and relatable. The illustrations would be better with more variety: a more dynamic screaming latke, please & thanks. But the ironic, iconic red cloth & gold foil binding is perfection....more
A little girl is befriended by the secretive, unpopular outsider who introduces her to the elven village in her back garden. This is a memory from my A little girl is befriended by the secretive, unpopular outsider who introduces her to the elven village in her back garden. This is a memory from my middle school-ish years that I haven't touched since then; I still prefer that memory (wherein the elf houses are more aesthetic and play a rather more prominent role), but I'm surprised how well this holds up. It succeeds because the elves (who, of course, aren't real) are such a flexible metaphor--not just for making one's own magic or escapism, but for finding magic and beauty where others refuse to look for it: for reclaiming Otherness. The MG problem novel always feels like Newberry bait (and this won the medal of honor), but this is less hamfisted than most; I like the prickly, fickle characterization and the protagonist feels like a child, overwhelmed by the situation at hand, given no clean resolution, really only able to change and empower herself with the hope that that still counts for something....more
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