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The Awakening - L J Smith

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Ok so Alice read Vampire Academy and was like, THAT WASN'T TERRIBLE, and I have very low reading requirements these days, but am also bad at reading past the word 'vampire' in a title so THIS is a review of The Awakening: Being The First Book in the Vampire Diaries and while I can now vouch for Vampire Academy not being terrible, I'm afraid this one is.

Let us begin.

Elena is our sexy, sexy protagonist. She is wearing a 'deep rose ribbon' in her hair. I love when people are described as trend-setters and then show up in ribbons. (Edited to add: N'URRRR MIND, this book was published in 1991. You WEAR that ribbon, sistah.)

HAHAHA this crow is UNDRESSING HER with its EYES. She is so hot even the animals are like, Dat ass.

Elena is thinking about boys, and how much boys dig her, and how this gives her life meaning. 'After all, what was more important than boys?' I'd love for this to be Immature Elena Who Then Grows Into Someone Not Quite This Shallow, but if anything she only narrows her focus. What is more important than this one pale sexy Porche-driving bad boy?

(And now enter Stefan, a name we have not been able to take seriously since 1993.)

your publication date saves you yet again, L J Smith

Do you even need to ask? Stefan is a douche and Elena has a sad and Stefan is like, 'She was hurt...He didn't care. In fact, he was glad of it, and he hoped it would keep her away from him.' ZOMG I AM DANGERRIZ AND WILL HURT YOU TO SAVE YOU.

Ok, but then ELENA is like, 'She'd have him, even if it killed her. If it killed both of them, she'd have him.' FIRSTLY, this is a little melodramatic for a high school romance. Even though WE the READER are like, Yes, because he is a vampire, you having him will probably involve you being at least Nearly-Killed. And SECONDLY, she wants him so badly because...*scans up to previous paragraph*...ah yes. 'He'd snubbed her on purpose, and in front of Caroline.' DELIBERATE EMBARRASSMENT AND REJECTION IS SO SEXY.


Ok but Elena has Reasons for being like that. No boy has ever made her nervous, but when she spoke to Stefan, 'there hadn't been butterflies in her stomach - there had been bats.' VAMPIRE BATS?

And then she's like, Being made nervous is not a good reason to be into a guy. And I am like, HELLS YES, CHILD. LISTEN TO THAT THOUGHT.

quickly, before you think anything else

But then she's all, 'But there was also that mouth.' And I am like, NO, IGNORE THE MOUTH. THERE ARE MANY OTHER EQUALLY AS SCULPTED MOUTHS THAT WILL NOT GIVE YOU THE UNSETTLIES.

So that's happening. Meanwhile, I'm enjoying such awesome narration as:

'Oh, Bonnie,' she said, 'I'm glad you're back. Hello, Elena, Meredith.'
Elena and Meredith said 'hello.'
Some other conversation happens here but don't you appreciate knowing that Bonnie's sister said hello to Elena and Meredith and that they said hello back before she launched into important conversation and stuff? I know I do.

Ok and then Matt, who I forgot about until now but who is in love with Elena (obvs) but who has also befriended Stefan (weirdly), is like, I don't think Stefan's as confident as he seems. And Elena takes a paragraph to contemplate this completely novel form of character, the Secretly Confused And Unhappy Popular Kid. And then Elena tries to rope Matt into WINNING STEFAN'S HEART for her and Matt is giving her a dressing down for being selfish and self-absorbed, and she's like, *single perfect tear hovers unshed* and he's like, NO DON'T DO IT DON'T CRY I WILL DO WHAT YOU WANT.


Ok so now we're at the School Dance. Elena is there, Stefan is there. She asks if he's having a good time and then, presumably, he SAYS nothing (which is a socially weird way to respond to a question), but you probably won't notice because he THINKS 'I am now,' except you don't know he thinks it, Elena does. Elena 'knew it was what he was thinking; she could see it in the way he stared at her. She had never been so sure of her power. Except that actually he didn't look as if he were having a good time; he looked stricken, in pain, as if he couldn't take one more minute of this.' Wait, WHAT? It's like halfway through that paragraph, LJ remembered that this was supposed to be TORTURED teenage love, not the other kind that just goes and makes out behind the bleachers already.

Stefan stares at her and '[i]t was the most intense moment she'd ever experienced with a boy, but nothing at all was happening.' And this is sort of the book in a nutshell: nothing is happening, so you have to take Elena's word that it is INTENSE.

Ok and then Stefan does something Stefan-y (like, snubs her in public or something), so she goes off and flirts with a new group of friends and they 'welcomed her, admiring her, the boys vying for her attention. Jokes flew back and forth.' Smith may as well have been like, And the teenagers did teenagery things, you know, like the young people do, and also there was some sexual tension.

But then one of these boys CATCHES her attention and lures her away to paw at her in a church yard (IRONY), and Stefan is trying to get to her but he gets dizzy for reasons I forget. 'He needed...to go to Elena. But he was weak. He couldn't be...weak...if he were to help Elena. He needed...to...' ELLIPSES = SUSPENSEFULLERYNESS!

Eventually he rescues her (derr) but not before her bodice is ripped (hee!), and she 'pulled the remaining bobby pins out of her hair and used them to fasten the front of her dress together.' Bobby pins aren't literal PINS, though, is the thing.

And then he's all like, I'd better get you home, and she's like, 'Why do you hate me?' and I am like, This reads like badly-written Twilight fanfic except that at least in Twilight, it was well established that Edward hated Bella. Someone forgot to infuse that haterade into VD. Oh, and yes, the pub date. SOMEONE HAS GONE BACK TO 1991 AND WRITTEN BAD TWILIGHT FANFIC.



And then they establish that no one hates ANYONE and that Stefan actually loves her like woah and they have a MOMENT but he has to GO so he whispers goodbye, 'his eyes clinging to hers,' OH MY GOD THAT IS THE GROSSEST IMAGE. Romantic moment ruined.

Sidebar - Stefan on Elena: 'warm as sunlight, soft as morning, but with a core of steel that could not be broken.' I mean, there's lazy characterization and then there's just ripping stuff straight from the Book of Stock Characters.

So now they're together and things are swell. 'After a week of being with Stefan, she still felt a thrill of excitement just saying his name.' Isn't that sweet? She's still crazy about him after all these fucking days. But Elena has to go do...I forget again. Plan another dance? No, wait, the Halloween thing. Has to go plan the Halloween thing with her girlfriends, WHO ARE NOT STEFAN. '"He can live without you for one evening," said Bonnie callously' EMPHASIS MINE because no, 'said Bonnie WITH SURPRISING GOOD SENSE.' Is what you meant.

And the Halloween thing comes and someone is MURRRRDERED and everyone is like, Stefan did it. So Stefan is like, Oh shit, I must have killed that dude without noticing! May as well go drink all the bloods, then. Besides, I am SO THIRSTY. And I don't know much about vampires but I'm pretty sure they aren't SO THIRSTY after JUST HAVING DRUNKEN AN ENTIRE DUDE, so that was maybe a good clue right there that he hadn't done any blood-letting. I mean, what do I know, though.

Ok and we get to the part where Elena Finds Shit Out and she's listing off all Stefan's skills (he's having a low self-esteem moment) and she's like, You're quick, and he's like, Actually I'm NOT. 'Have you ever heard the saying "the quick and the dead," Elena?' HAHAHA PUNS. He is actually dead.

Finally Elena approaches Stefan's Terrible Secret and she's like, 'it's the end of the story, isn't it? That's behind all your walls, that's what you're afraid to let me see.' And lines like that always read like part of the story outline that the author forgot to replace with actual writing.

And then she finds out he's a vampire and that he and his brother had both been turned by the same girl (ew?) who then killed herself so they wouldn't fight about her (I am sort of making things up at this point because I skimmed the last bit) and Elena gets super mad about...something, and 'knew now what a towering rage meant.' Is a 'towering rage' a thing? This is not an expression I have heard.

Anyway, she something something cliffhanger but I guess I'll never know how it all ends because I AM NOT DOING THAT AGAIN.

I think I'm broken, you guys.

Two caterpillars. Coming soon: a review of Vampire Academy, which could not have been this terrible if it tried so it sort of lucked out on that score.

I have for you THREE things (and yet, this post is super long)

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THING THE FIRST. My sister is in an ARTY SHOW and, in glorious celebration, is giving away three of her lovely, creepy necklaces.


Hie thee there and win thee some jewelry. (Was there ever a word that looked less like a word? Jewelry.)

Thing the second. You guys. I had a review of Vampire Academy half-written and grand designs of tossing it up right after Vampire Diaries, but it is, oh my god, so hot here. The heat is sapping my will to live. And THEN my sister and mum came for a visit and we made homemade snickers bars, but the caramel didn't really caramelize and after a while I was just eating the nougat layer and I think that now they're gone I'm just going to make myself a pan of nougat and eat my feelings it.


But so ok, aside from all those vampire books, I've been mostly re-reading shit which does not make for reviewing because I already done that. Except maybe we have a little chatty chat about how books have held up over the years? Ok.

Today I read The Guernsey Literary etc etc etc what an idiotic title that one has, ANYWAY I was reading because my family just left this morning and I had a whopping sad. I was like, THIS BOOK WILL LOL ME but I forgot the really tragic bit in the middle, and the traceries of pathos throughout. BUT. Still so hilarious, mostly.

The Thirteenth Tale is still plotty and gripping but gets sort of WTF-y at the end. Good Omens isn't quite as funny as I remembered, but Cold Comfort Farm is. Atonement is hella depressing, I have no idea what I was doing reading that because I am re-reading to SOOTHE myself. Death in the Stocks is still nutty and delightful and ZANY. More Heyer in my life, please. What I Was is EVEN BETTER now that I know the Thing That Happens At The End.

We Have Always Lived in the Castle is still creepy in a way that I find endearing. I read all of A Little Princess imagining reading it to Eleanor, and then being slightly horrified at the racist bits and trying to figure out a way to edit those out. The classist bits are, I'm afraid, integral to the story. To Say Nothing of the Dog is the best, forever and always, and I would have followed it up with Doomsday Book but someone has borrowstolen my copy. Come, Thou Tortoise is even sweeter upon re-read, and the parts I had found unnecessarily whimsical I actually enjoyed.

In conclusion, here is a video of Eleanor, up four hours past her bedtime and trying to act like she's not tired.



 It's like when you're trying to sound really, really sober, because you are so very drunk. Open them eyes wider, babyling. You ain't fooling nobody.

Right?

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RIGHT?!?!?!

I miss you guys. I blame summer and the baby for all this radio silence.

Enemies on all sides.

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Edited to add: I am always posting this shit to the wrong blog.

Eleanor went swimming today and she was SO GOOD AT IT. Such splashing. Such cheerful noise-making! Such being held by a lifeguard!

But because I was in the pool with her, there are no photos. Alas. So you will have to content yourselves with this photo of her plotty feet.


And this photo of her trying to lick the camera.


And this photo of her playing her spoon-flute.


So sometimes when I'm feeding her, while I'm switching sides her thumb will make it's sneaky way into her mouth, and she'll suck on it for a second accidentally and then pull it out and look at it like, You traitor.

And then today, in her bath, she had just swirled her washcloth through the water and then brought it to her mouth and then took an enormous breath in through her nose and got water ERRRRWHERE up in her sinuses and was SO MAD, and so I gave her her washcloth (wrung out) to hold while I lotioned her up and she gave it the sternest talking-to.

This is not a book review. But it PRECURSES a book review.

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Because I owe you something for accidentally posting about my baby yesterday, I have a review for you tomorrow, and for TODAY I have VALUABLE INFORMATION.

DID YOU KNOW ABOUT LIBRARY ELF? I did not. And I finally got a Calgary library card today, and I am like, Do you guys email before or after books come up due? And the very nice librarian is like, We send you an email two weeks after something is due. And I am like, I am going to be paying all the overdue fees, because I am organized as balls.

And then she lowers her voice and is like, This isn't affiliated with the Calgary library at all, but you can sign up with Library Elf and they will track your account for you and email you ahead of your due date.

And I am like


and then I am like

and then I am like


and then I came home and put a majillion books on hold before remembering that 'book on hold' does not equate 'book read.' My child is going to get MAD neglected.

Vampire Academy - Richelle Mead

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This is what I meant to be reading when I accidentally read Vampire Diaries. Remember THAT? That was awful.

Let's just get this out of the way: words like 'dhampir' and names like 'Vasalisa Dragomir' cannot possibly be used in sincerity, because they are so, so dumb. Let us therefore assume that they are used SATIRICALLY and think no more of it. Also, my copy used the word 'describrd' which I GET is a typo but which I laughed at for WAY TOO LONG. And it wasn't even an ebook.

Ok. So, Rose and Lissa have escaped from Vampire Academy for reasons and then they are caught and brought back, but Something Is Not Right about Lissa and there are shady mentions of, like, a giant crow and a horrific accident and other general Spooky Things. And Lissa is (oh god, I'm going to get this wrong because I wasn't really paying attention to this part) a Moroi? Which is a vampire? Or maybe the Moroi are the royal vampires. ANYway, if a vampire deliberately drinks enough blood to kill a person, or various other Bad Deeds that I forget now, then they become a Strigoi, which is like a regular vampire only paler and immortal and evil. Because this is one of those books where vampires are not those things.

And because Strigoi are all like, KILL ALL THE MOROI (the more I type those words...), vampires need guardians (so, dhampirs [right? Shoot, I am awful at this]) and Rose plans on being Lissa's guardian one day and is practicing now by keeping WHATEVER IS TRYING TO GET HER from getting her. Because someone is putting, like, foxes with they throats slit into Lissa's room, and that is some threatening shit.

And vampires are all svelte young things, but because Rose is a dhampir, she has BOOBS and HIPS and boys are INTO IT. And I loved how she openly admits that her milkshake brings all the boys to her section of the quad, as opposed to all those heroines (SO MANY OF THEM) who are like, I am the ugliest. How I'll ever catch a man with these unruly breasts, I'LL never know. And Rose is so about the boys that she comes right back around to not being about the boys at all. I mean, she kisses all of them and likes it and then is like



because she's got a best friend whose back needs watching. And at one point a cute boy comes to her defense and she is like, Ha ha, fuck that noise. I can kick all the asses. And then she does.

Except there is ONE dude and UGGGGGH I guess this is sort of a spoiler but ultimately he's like, We cannot be together, and the reason is not that I am some sort of mysterious Bad For You that I will be super-vague about which will ultimately encourage you to keep chasing me, but is predicated on your affection for and responsibilities to your friend. So, like, ACTUALLY we cannot be together. I mean, I assume that they hook up in later books, but I plan on being grossly disappointed when that happens. For now?


And, as Alice and I have discussed at not nearly enough length on Twitter, it is dramatically compelling and quite a good read, despite what my inability to summarize the plot suggests. I just, I suck at things right now, you guys.

Seven caterpillars, alright?

I'mma be reviewing like a bad-ass now.

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So I finally got a driver's license which means I finally had ID with my address on it which means I FINALLY GOT A LIBRARY CARD. You guys. Calgary has all the oil so Calgary has all the munnay so Calgary libraries have all the books. ALL OF THEM.

now I have all the books

I am giddy with anticipations. And I'm not the only one.


Happy Sunday to us all, potato-cakes.

Every Day, Every Hour - Natasa Dragnic (transl. Liesl Schillinger)

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Too right, Your Majesty. Too effing right.

Ok so when books in translation are awful, I always struggle with knowing where to lay the blame. So I'm only going to say the one thing about the writing style, and then spend the rest of this review bitching about the problems I have with plot and assumptions and so forth.

Let's clear this up: if this is your jam - 'Everything was pointless. He went to the kitchen and got an apple. Took a bite. Greedily. He stared out the window. It was a hot spring day.' - then have I got the book for you. If you are like, WHY IS THERE SUCH A HIGH PERIOD:WORD RATIO? then I am like,


So. Luka is five and Dora is, if I am reading the text correctly, two when they meet and become besties, even though...I don't know if you know any two-year-olds and also five-year-olds but they are like different specieses. But ok, suspension of disbelief, I can buy that Luka and Dora are basically peers and have some mystical connection that nobody else understands and fuck mystical connections but ok, at this point I'm still on board.

And then some six years later Dora's family moves to Paris and WOE AND GRIEF and Luka becomes a painter who is perfect and breathlessly talented at painting and Dora becomes an actress and is pretty well the best actress ever and also they are both SOOOOOER GOODLOOKING and then they meet again as adults and swoon in tandem and I am like, Well this plot is entirely without conflict.

BUT. *glues hairs back onto head so that she can tear them out in a rage again* So after a few months of mad loving in which Luka doesn't phone home to let his family OR HIS GIRLFRIEND know that he's found his lost love, he returns to his village and his girlfriend Klara is all, I'm pregnant. And I am like, Hard luck, fella, because my sympathy-jug is not bone dry. YET. *glowers ominously*

So he marries her WITHOUT TELLING DORA WHO IS WAITING FOR HIM BACK IN PARIS. And when she finally phones and is like, The fuck? He's all, It's over, forever, farewell, etc. And I am like, Dude, tell her you knocked up your girlfriend and did the honorable. Don't give me this vague, melodramatic bullshit.

And in what will turn out to be something of a habit, Dora shows up in the flesh and Luka is like, Yeah, sorry about that, I'm married now and my wife is going to have my kid literally any second, and then they go and (in what will also turn out to be a habit) make adulterous sexy times and I know this sounds all soapy and kind of great but until now, most of the book has been these two yokels talking about how in love they are and reciting Spanish poetry to each other and picking shapes out of the clouds and so when Luka is like, We could kill her, I am like FINALLY SOMETHING IS HAPPENING. (Spoiler: they don't kill her. My hopes and dreams: crushed.)

Anywert, it turns out that Luka has stopped painting because he has a a family to support and the whole tone is like Klara is this dumpy whore who got herself empreggoed on purpose so that she could break up the Beatles and when the baby is finally born, he's like, 'This is the creature that has thrown his life into utter turmoil. Who has taken painting and Dora away from him. He cannot hate her. But he can't love her either.' And I am like, WEAR A CONDOM AND/OR STOP BANGING GIRLS YOU DO NOT WANT TO IMPREGNATE. You horse's ass.

the Broke Girl knows what's up

Then there's lots more of Luka and Dora running around together and the whole village being like *wink* and Klara being kind of a sad case and I'm obviously not supposed to feel sorry for her (that fertile whore) but I do. And then Dora is like, Come back to Paris with me! And Luka is like, *dramatic flail* I have chosen peace and simplicity and non-adultery and while that's probably the morally upstanding choice, they're such mopey dicks about it that I'm like, UGH, FINE, GO BE TOGETHER AND LET THE REST OF US GET BACK TO OUR NACHOS. But they aren't listening to me so Luka stays in the village and Dora goes back to Paris and then it's like the first half of New Moon with Dora thinking that she's going to die because her life is such a void etc.


'At one point, Dora isn't sure if she's breathing. She probably is. She looks at her rib cage, yes, it's moving, so breathing is happening.' That's like not knowing you're crying until you touch your face AKA Lazy Author Shit That Never Happens In Real Life And No Longer Sounds Poetic On Account Of How Only Terrible Authors Do That Now.

There's a lot of them moping around, bemoaning their horrible fates (the tag-line of the novel is 'Can true love defy fate?' and I am like, Fate is not THE INEVITABLE RESULT OF YOUR HORRIBLE CHOICES. YOU HAVE BROUGHT THIS ALL ON YOURSELVES. STOP BLAMING FATE FOR THINGS) and then Dora sneaks back into town for a carefully-timed week of RAMPANT SEX-MAKING that leaves her pregnant-on-purpose and THEN, years LATER Luka finds out that his daughter is not his daughter because Klara cheated on him (that whore) which leaves him free to finally go be with Dora! Only now she's married! Aaaaaaaand SCENE.

And maybe I'm not romantic or fourteen enough to still think that love excuses everything but these two behave like idiots. At one point, Dora is like, You could have just given Klara child support, and I'm like, YES, YOU COULD HAVE. And then Klara could have married someone ELSE instead of being stuck with somebody who sleeps on the couch and blames her for his artistic decline.

Ugh, you guys. Two caterpillars.

Requisite ass-covering: book received from publisher.

In the Garden of Iden - Kage Baker

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Two thumbs up and also a poke in the eye because honestly. Except Kage Baker is RECENTLY DEAD so I can't even JOKE about how I want to [redacted] a little bit.

So. Mendoza is a little Spanish lass captured by the Inquisition (yoiks) and then rescued by a member of Dr Zeus, Inc, which basically owns everything in the future and invented time travel so they could go back and invent immortality and then rescue, say, little girls in imminent danger of inquisitioning and make them immortal and then have them copy the genetic codes of stuff that has gone extinct so that in the future they can Jurassic Park that shit and then hey presto, whales again.


I swear to you it makes total sense, and Mendoza explains it really well and also winningly. She is the reason I was LOVING IT and I realized from, like, page three that I was going to LOVE IT and then you get to settle back into it and enjoy yourself and it's all the comfortable delight of a re-read with all the NOVELTY AND SUSPENSE of a first-time read so it's basically the greatest, until it's not.

So Mendoza is on her first field assignment (after she's been made immortal and trained up by Dr Zeus, Inc) as England enters the reign of Bloody Mary Tudor and I am like, Go on... because what an era. And Baker sows some very promising Seeds of Impending Doom vis a vis Prince Philip and I am like, Yes mmhmm yesssss, and THEN she goes prancing off into Tragic RomanceTown and leaves those Prince Phillip Seedlings to wither.

And, ok. Tragic RomanceTown is one of my favorite haunts. I LIKE KISSY TIMES AND ALSO WEEPIES. Even though I am sometimes like, Buhhhh, these guys, never let it be said that I don't enjoy two sweet young people being pleasantly and wittily amorous, especially if one of them is going to be fatally stabbed, or eaten by sharks, or accidentally poisoned. And you're watching it and you're like, Isn't this adorable. And right by your elbow is the old, old, old Mendoza all, Yes, it is adorable, isn't it. But her voice is incomprehensibly sad and you are like, What? Oh right, this is all going to go very badly.


So THAT part is great, in and of itself. And Baker's writing is so good. Mendoza is collecting samples in the garden and is all, I took my X (designed to look like a Y) and my M (designed to look like a Q) and 'my knife (designed to look like a knife)' and I am like, *chortle* and at one point, they are discussing the Pope but England is still, briefly, Protestant and so '"That for the Pope!" and Joseph spat elegantly, though he had to wrooch around a little to avoid hitting anyone' and I am like, 'wrooch' is exactly what he would have to do. I enjoy that sort of attention to detail.

And if the whole thing had just been all Blah blah immortal time-travellers blah ROMANCE blah then I would have been down. But Baker's writing cheques that her ass either CAN'T cash or is WAITING TO CASH AT A LATER DATE because there are many, many books in the series but I resent that sort of forcery. I am contemplating not reading the rest of the books out of SPITE (let us not fool ourselves, I have the next one on hold already).

So I really, really, really loved it, but I'm a little bit butthurt that it promised more than it delivered. I don't even know how to rate a book that is simultaneously so satisfying and so unsatisfactory. PARADOX.

Your advices, please.

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I am in the middle of a long essay on why Claudia from Incarceron sucks (she sucks so much, you guys) and should probably churn out a couple of reviewlettes for the books I've plowed through since then, but INSTEAD I will draw up a list of spooky books for R.I.P VII.

Let's check the TBR for anything that sounds ghostery...ah...White is for Witching, good.

Annnnd...


Ahhhhhm...


You guys, I've got nothing. Help a tiger out. I like atmospheric more than blood-spattered, The Little Stranger- and The Haunting of Hill House-style, and if it has torture or child-nappings I am OUT.

I await your suggestions. In return, I give you So Many Bees.


Incarceron - Catherine Fisher

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I wanted to have FEELINGS about this book but I am mostly feeling fly-in-the-room irritated, where it's not that big a deal and it's not that big a deal and STOP FUCKING BUZZING I WILL END YOU. (Edited to add: nope. Upon further consideration, it would appear that I have FEELINGS after all.)

All you need to know about the plot is that Once Upon A Time those in power sealed every criminal and degenerate and political undesirable and probably also a couple of village idiots into Incarceron, which is a prison but also alive and no one has been in or out since, and everyone on the Outside is convinced that the Inside (full of criminals and the descendants of criminals, you may recall) is now a Paradise because LOGIC.

(Also, you can tell that this is not one of those futures that Might Actually Happen because Incarceron is 'the noble sacrifice of the world's last reserves of energy to save the unredeemable, the poor, the despised' and if you look at where we're expending our energies now, you KNOW we're not offering the last of it to Those People.)

So. It is the prison and everyone is sort of dirty and bad except Finn, about whom I have no real strong feelings except that he is a Special Special Snowflake amidst a heap of that day-old snow by the side of the road, where it's all brown and there's dog shits in it. Basically I am bored of him.

Claudia, on the other hand, is sort of my main beef, because she sucks. I mean, she's a spirited, beautiful, wealthy (and probably coltish) young lass who flees her suitor by clambering up a tree like a common urchin. SUCH TOMBOYISH CHARM. Such disregard for How Things Are Done! And strong heroines are de rigeur right now and they SHOULD be, but you have to actually make them resourceful and clever and shit, not just ciphers.

Like, everyone keeps telling her how brave she is, but then she's looking for Jared's (her token wizard-person) room and it's KIND OF urgent and there are servants everywhere getting ready for the wedding but she's scampering around, 'not daring to ask one of them where Jared's room was.' Because they are so busy, the servants. And they aren't SERVANTS whose JOB it is to SERVE you. Including tell you where shit is. And then they find her dad's office and it's Mysterious and Jared is like, Something is not right in here and we should probably figure it out and she's all, NO THANKS IT'S DENNNNNGERIZZZ I'M OUT OF HERE. Brave little wench.

(Claudia's relationship with her dad is a whole other ball of what. Because he's Traditionally Stand-Offish, Fairy-Tale Style and then at one point she's like, How can he do this [make her marry Prince Caspar] if he loves me? And I'm like, YOU MUST HAVE FORGOTTEN HOW YOU SPENT THE ENTIRE BOOK UNTIL NOW ARTICULATING HIS COLD RUTHLESSNESS DID YOU FORGET ABOUT THAT. And then it gets dumb and goopy near the end in ways I am too tired to dissect but which are not properly set up and which left-field you, but not in the fun way.)


Ok and then there's Caspar, son of the new queen (who is beautiful and powerful and therefore A Bad Person) and whom Claudia is to marry. And she's all like, UGH HE IS THE WORST. And I get that having your marriage arranged for you when you don't really like your fiance kind of blows. But Caspar isn't the villain here, even though Claudia is like, He is the worst person ever. In fact, I present to you that she is the worst person ever. Because Caspar comes to find her in the garden upon arrival at her house (which is kind of nice) and she hides from him (which is mean) and he is like, Claudia, I am lost in your stupid hedge maze! And then has his manservant hack his way through and is like, Oh there you are. Say, isn't marriage going to be a bore? And I am like, HA HA YES, this fellow.

And then they feast and Claudia is like, Caspar continues to suck by eating and drinking a lot and talking about tournaments and his horse and boar-hunting, which are not things I enjoy and are therefore rubbish.


So she 'had listened with a fixed smile and had teased him with odd, barbed questions that he had barely understood' and I am like, WHO IS THE MASSIVE JERK HERE? That's right, Claudia, it's you. Caspar may be kind of a pompous ass but you are an ass ON PURPOSE.

Ok and then a bunch of adventury stuff happens and Claudia finds Finn in the prison and wants to bring him back because he is SPOILER the rightful heir (son of the good queen who died, not the bitchy queen who wants to rule and have power and things) and Attia (a girl Finn rescued because he is So, So Heroic) is all like, 'You don't really care if it's him, if he's Giles. All you want is to not marry this Caspar!' And Claudia is like THAT IS NOT TRUE *RIGHTEOUS THUNDERING INDIGNATION* but because I am the kind of person who reads books with my eyes and remembers them with my brain, I recalled this scene when (29 pages later) Claudia is like, 'Look, all I want is not to marry Caspar.' And characters can have contradictory motives, but that has to be what is happening, not just that you forgot what you were doing.

And then there's this tasty bit of writing:
"'You cannot be blamed.'
By no one but herself, she thought bitterly." UGH Claudia, even your THOUGHTS are grammatically terrible. By ANYone but yourself, you mean.

And at one point they end up at a guy's house and he has these glass globes with birds and things trapped inside them and she's like, 'It's as if he's made cages for them all' and I am like, No, those are LITERAL CAGES.


And Claudia aside, the book is too much like an old-timey RPG, where you acquire objects and knowledge about two screens before they will be useful to you.  Jared discovers that this Key Finn & Co have can hide you from Incarceron and communicates that to Kiero just before they have to hide to rescue Finn, and then Attia, who has not been pre-tasting Finn's food up to this point, grabs an apple from him and is all, I'm your food-taster, remember? And he's like, Yes, and I'm like, NO I DO NOT REMEMBER THIS and lo, the apple art poisoned. You have to sow your seeds earlier than that, is what I'm saying.

So on all available hands, blech. On the other, sneakily hidden hand, it did give me this line: 'The Warden sat opposite him, his black satin breeches creasing elegantly.' Hee hee, black satin breeches! OH LOOK HOW ELEGANTLY THEY CREASE. What does that even mean?

I am so bothered. Four caterpillars.

Reviewlettes!

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Eleanor has learned to nap proper, and I have learned to let the house go to seed while I curl up with a book (I'm a prodigy at this). Blogging I am still nicht sehr gut at. For you, eeensy reviews!

Falling Together by Maria De Los Santos

So Cat and Will and Penn were friends in college and none of them was sexually attracted to the others because THEY WERE FRIENDS and then Cat married an oaf and moved away and the three of them stopped being friends and now the oaf is like, Cat's missing, so Will and Penn and the oaf go off to find her.

And Cat and Will and Penn (and now just Will and Penn) are friends that don't exist in nature, the same way John Green teenagers don't, which makes them zippy and fun and preposterous to read about until Will and Penn start having longings and urges and not acting on them because they are such. good. friends.


And I was enjoying it up until then, because then they stop having amusing conversations and looking for their missing pal and start spending all their time talking about how beautiful and graceful the other is. The endless perfection of your beloved is like what you dreamt about last night...nerrrrrrbody cares.

Eight caterpillars for the first, let's say, half, and then six.

Don't Tell the Grown-Ups: Subversive Children's Literature - Alison Lurie

This was published in 1990, which means (among other things) that being homosexual is sandwiched between being alcoholic and subject to depressions in a list of Problems T.H. White Had, her 'contemporary' references are to, like, Jorge Luis Borges, Italo Calvino, and John Updike, and she describes an old ditty about a gypsy child as being 'still current.' So there's THAT.

I also feel like this is stuff we should all know by now, but this book falls squarely into my own personal Venn diagram of wheelhouse (my degrees are in Early Childhood Education and English Literature, respectively), so I don't know. Maybe it is new and fresh. It's engaging, anyway, even if you do feel sometimes like Lurie is much smarter than she's letting on. Give us the full force of your brains, woman! We can take it.

The title is a bit misleading, though, as the essays are less about the subversive nature of children's lit and more about the wacky lives led by those who write it (Beatrix Potter was a lark).

Seven caterpillars.

Sky Coyote - Kage Baker

Oh balls. It looks like I'm just going to have to go ahead and read all of these. (I already have the next one on hold.) Baker keeps dropping these little bombs and you have to read the other books to watch them explode and I both hate and am a CHUMP for this tactic.

I feel like nothing happened in this book, but I also ENJOYED IT MIGHTILY. So Joseph (who you may recall from the last book as 'the guy who wrooched') goes down to this Native American tribe all dolled up as their god Sky Coyote so that he can rescue them for posterity because they're about to be obliterated by the White Man. And then he does so, and that's sort of it.

But there's all kinds of stuff on the nature of faith and power that's sort of sneaked in there, which is how I like my thinky bits to be do you hear me Marilynne Robinson I still have not forgiven you for Gilead.

I will also take my thinky-bits in Conspiracy Keanu form

Very great and it gobbles up the hours. Also, Kirkus Reviews describes it as 'pellucid.' Oh, Kirkus.

Eight caterpillars.

It is late on a Sunday and I am BLOGGING.

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You guys. BBAW happened and I MISSED it. I was vacationing at my parents' house, eating their chocolate-covered almonds and various cheeses. But you know I appreciate you, right? I APPRECIATE THE FACE OUT OF YOUR FACE.

To prove it, I give you this e-card.


My undying esteem, it is in your pocket.

The House Next Door - Anne Rivers Siddons

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I am, you guys, so scared. Houses That Kill are one of my favorite genres, and also are THE WORST because I am always reading them in a house and then I start glancing over my shoulder like, What are you up to, wall?

So. It starts of with Colquitt (is that even a name? Is it, like, one of those super-WASPy names, like when grown men are called Duck and Skip and [do I dare? I'mma dare] Mitt?) being all, After all that had happened, we were resolved to warn people about the house even if it ruined us, etc etc etc and I am like, OOOOH, WHAT HAPPENED. And the whole rest of the book is like that, all That was the first truly vicious thing the house did, and That was a sign of the horrors to come, and you and Stephen King both know that I am a sucker for that.

Foreshadowing, I love your face. Visual puns, you are ok, too.

And then it is a while ago and Colquitt and her lovely husband and all their super WASPy friends are living happy, affluent lives and then this glorious house is built next door (I SEE YOU THERE, BOOK TITLE) and a young couple moves in and horrible things happen to them and they move out and another couple moves in and this repeats itself a couple of times and Colquitt is like, I think something is up with that house, and everyone else is like, Pfffffft, thereby combining my fear of Sentient, Malevolent Houses with my fear of People Not Believing You When You Insist That Something Is Not Right (see also: We Need To Talk About Kevin, a title with with which I fervently disagree because we need to never talk about Kevin again, is what we need to do).

And it is brooding and atmospheric as hell and I spent most of it being like


because please don't seek out my deepest weaknesses and then exploit them, house. Ok but THEN every so often it's all like, 'Razz and Foster sat at our feet like temple cats, imperious and stiff with their ignoring of the tuna fish. I put dollops of salad on two napkins and put them down on the flagstones, and after a minute or two they arched and stretched and seemed to discover the booty. In great surprised they sniffed, and then began to nibble daintily and with vast ennui at the fish.' And I am like, LOL YES cats are totally like that.

And then I went back to my terrified eating.

Eight caterpillars!

This book R.I.P.s it up. OH BUT WARNING, though, because a puppy dies.


I'm letting you know because I hate that sort of thing. It's no Patrick Nessian tragedy, it's just a walk-on puppy, and it's not gratuitous. AND THE BOOK IS SO GOOD. But 'ware, all the same.

Sunday afternoon altruism.

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Surprise, egglings, I will have a review for you tomorrow! I mean, I'd better, considering the shilling I'm about to do.


So my sister (of the art) makes jewellery of her arts, so if you cannot afford an entire art you can get it in miniature, wearable form. AND 10% of her proceeds go to Pin-ups Against Cancer, BUT since October is Breast Cancer Awareness Month, fully half, HALF of her proceeds will go to fighting the scourge (by which I mean cancer, obvs).


YOU CAN BUY YOURSELF A PRETTY AND IT CAN BE YOUR GOOD DEED FOR THE DAY.

Not today, though. Tomorrow. And for the thirty or so days after that.

The Poison Tree - Erin Kelly

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Ok so you guys remember how I'm super into foreshadowing? How, when an author is like, He would later very much wish he had not done that thing, or That was the last time I saw them alive, I am like Awwww yeah, things is about to get DIRE...eventually? So it turns out that it is possible to overuse that strategy, or to use it in such a way that I am like, If this isn't a severed head, I'm going to be very upset.

OBVIOUSLY this is a thing that E. Kelly does, and I am not just blowing off unrelated steam.

Ok so. Karen is driving Rex through London and their daughter Alice is all Tra la la in the backseat and Karen is like, I wonder what he thinks of London now, having been gone for ten years, what he thinks of the 'plugged-in pedestrians with white wires connecting their ears to their pockets' and I am like, YES, WE GET IT, IPODS AND SUCHLIKE and also WAS HE ON MARS? but no, he was in jail, which I guess is the same thing? Would you miss out on an entire technological shift if you were in jail?

Anyway. Karen keeps being like Ominous references to the past and Vague hints of dastardly doings  and by page, like, SEVEN, she is like 'It [the house they are gazing at unnecessarily and with unpleasant remembrance] looks innocent. But then, so do I.' and I am like, For real, woman. Either more specific foreshadowing or more story. Less driving through London thinking bleak thoughts.

OR A TIME WARP MAYBE. Flashback dance.

White wires! Plugged in! Man, this gif is extra-appropriate.

Ok so now Karen is young and straight-laced and in college and meets Biba, who needs a German translator and Karen just happens to speak all languages fluently, and they become besties and you know from Later-Karen's musings that Biba is probably dead or something and so you are like, Go on... And Biba is from money but charmingly poor and also CHARMING and charismatic and bohemian and Karen is unaware that this type of person exists because Karen has never read a book, apparently. Because yes, how droll, your friends have dreadlocks and are into leave-no-trace living and your brother's ex-lover lives with you and you have saris draped everywhere for ethnic flavor ISN'T THAT SO VERY JUST.


I don't know. There are some tropes I will never get tired of (mad wives! In the attic!) but the Uptight Rule-Follower meets Beautiful, Free-Spirited Girl Who Dresses Fabulously in Thrifted Dresses (Either Through Necessity Or From Caprice But Always Inappropriately To The Situation, Ball Gowns At Keg Parties And Such-Like OH MY GOD SHE'S A MANIC PIXIE DREAM GIRL I JUST FIGURED IT OUT) And Drinks Wine From The Bottle And Then Puts Her Cigarettes Out In The Last Inch Or So Of Wine, this is a very specific person and I keep seeing her and I am weary of her face.

But Karen is not, Karen is all over Biba and her brother Rex (this is where Rex comes in, P.S.) and if it hadn't been so, so insistent on how brooding it was, so em-effing cryptic about Rex's crimes (remember? Jail!) and then EXTRA-CAGEY about Karen's Other Secret, but not actually keeping it a secret, but like a toddler who's all, I know a secret and you are like, Byerrrrrgh, either tell me or don't tell me but stop telling me that you're not telling me, if it hadn't been so like that I would have really dug it because I really dig secrets.

For real, tho, my hair is big.

When you finally find out what Karen's Big Secret is you are like, Fiiiiiiiine, I guess that is actually pretty terrible of you. So, well-played, I guess. (But then you go back and read the bit in the middle where she's still trying to be mysterious and is all, 'I don't even know what law I have broken' and I am like, SERIOUSLY THO BECAUSE I DO AND IT IS A VERY BASIC ONE COMMON TO ALL LEGAL SYSTEMS.)

Also, can we all agree that first-person present tense is the stupidest of all tenses, and does not lend urgency to the scene like you think it is lending urgency to the scene?

I think what I'm failing to say is that this is actually a fun and gripping read if you can get over yourself. Getting over myself has never been one of my superpowers, except in the case of pastry. I am pretty indiscriminatory when it comes to pastries.

Seven caterpillars.

This book R.I.P.'s it up.

P.S I Love You - Cecelia Ahern

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So it was the readathon on Saturday and I couldn't participate because Joel was on call and Eleanor was all NEEDING ME and shit so I figured I'd just read P.S. I Love You in my spare moments and maybe have myself a good cry.

I am not having an appropriate emotional response to this book.

First of all, I can't get behind a couple whose biggest fight is about which of them is going to get up and turn the light off at night. Even if...no.  ESPECIALLY if one of them is dead, because this means that they'll never come around to fighting about the mortgage or SOMEONE'S behavior at the Christmas party or what have you.

everyone at every Christmas party ever

And then LATER, when Holly opens the note from Gerry that's all, Buy a bedside lamp you horse's ass (HA HA JK he is like, Spend a majillion dollars on a light source, my dearest love and the light source of my life and untimely death) and she is like, We could have bought a lamp ages ago and spared ourselves those fights, I am like, NO SHITS, but then she is like, 'perhaps neither of [us] wanted to end them. It had become a routine, something familiar that made [us] feel closer.' And I am like OH LE BARF.

Ok so back it up for the unaware: Holly and Gerry are perfect, but then Gerry dies (after being brave and noble through a short but ravaging illness) and then it's been two months already and everyone is like, You should be fine now, and she's like, I should, shouldn't I. I'mma go get my hairs did. (By her super-gay hairdresser. Whose 'honey-colored hair matched his honey-colored skin' and from then on in my head he is Nicole Kidman during her hyper-blonde, super-pale, taupe-wearing phase where she was all one color all the time.)

And Holly keeps being like OH UGH MY FAMILY well I guess they're not TERRIBLE I mean, Jack and I go out for drinks all the time, and then later on that same page I will reiterate that Jack and I go out for drinks all the time because we are CLOSE, and also I seem to really enjoy my younger sister and my parents are caring and adorable and I, to all appearances, really like them TOO, but of course I have an obligatory older stick-in-the-ass brother who I HATE and whose wife I also HATE and whose children I HATE so MY GOD YOU GUYS MY FAMILY. It's like 'Quirky Family Dynamics' is somewhere on Ahern's list of Novel Imperatives For Fun and Profit but she can't actually write quirky family dynamics, in the same way she can't actually write sarcasm but keeps tagging 'she said sarcastically' onto things that are not sarcastic.

Case in point: Ciara (who is OMG THE WILD ONE WHO TRAVELS AND GETS TATTOOS AND HAS CASUAL SEX) shows them all a tattoo on her ass (OMG SO WILD) and then later is like, Oh, I have a photo of me bungee jumping, and she reaches into her pocket, and 'everyone looked away just in case she was planning to reveal any more bits of her anatomy' like she was going to be all PSYCHE here are my boobs instead. Listen, reaching into your pocket is a totally normal thing to do after you've just been like, I have a photo here in my pocket that I want to show you, but her family has to be like LA, WE ARE SO SCANDALIZED. Because Ciara is the scandalous one. Q.E.D.

(Sidebar: Holly goes on at length about how awful her brother Richard and his wife Meredith are, those hyper-pedantic candy-depriving stock-comic-book-villain assholes, and then also their kids suck. And then when one of the kids is like WHINY CHILD ANTICS and one of the parents is like *superfluously rigid punishment* Holly is like, Well good, I'm glad they are brats so that I can enjoy their being chastised. Which, having established that their parents are tools and that the children are young enough to have no real agency re: the appropriateness of their behavior, you are pumped to see them punished? All this is to say, Holly is sort of a b.)

(OH MORE OF THAT SAME SIDEBAR: Ciara comes back from Australia with prezzies and 'Meredith quite comically wasn't given anything' and I'm like ha ha I wonder why she hates you all and if I was Meredith I would ALSO be like,


which Meredith does, and Holly is all like, *quizzical face?* like you expect her to stick around after you've been shitting on her for hours. YOU are the mean girl, Holly. You.)

And then there are stupid things, like Holly walking over to the fireplace and then, half a paragraph later, walking over to the fireplace again, or finally opening the envelope from Gerry because '[s]he was tired of punishing herself about what could be inside it, so she was determined to end her silent torture of herself,' emphases MINE but endless narcissistic spiral of selves AHERNS.

Or like how, as a teenager, Holly caught boys by 'stay[ing] quiet and flirt[ing] with her eyes, fixing them on her favorite boy and not moving them till he noticed.'


Or, it's Holly's 30th birthday but also, like, three months after Gerry died so Holly just wants to have a quiet girls' night out (a quiet, black-out-drunk girls' night out which no one remembers afterwards. I really hope a later plot point is that Holly shagged some random and is now pregnant), and her friends show up with prezzies and Ciara gets her a 'battery-operated...[ellipses implies a sexual implement, screams of laughter ensue]' and then Holly is like, 'Well, I'll definitely need this.' GET IT? Because her husband is DEAD? So she needs a...you know what? No.

Holly, you are awful. I don't care if the last letter Gerry writes you is all like, Now move on with your life and go marry Jeremy Renner. I am not sad for you and I don't believe your alleged sadness and *I* want to marry Jeremy Renner.

He wants to marry me, too

I put this down in the middle of a paragraph, like, 70 pages in, and I think it's down for the count.

DNF!

Beyond the Wall: Exploring George R R Martin's A Song of Ice and Fire - edited by James Lowder

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You guys may recall that I used to read critical essays for fun school credit and profit not looking stupid in class. In those days, I spent a lot of time being like, Derrida I will punch you in the mouth, but now I kind of miss it.

So I crack this open to the first title and I'm like, Awwwww, Literature Reference And/Or Pun, Colon, What the Essay is Actually About! Nostalgia! And then the first essay sucked. And here I was, all excited that we have critical thinking on pop culture phenomena, and it's TERRIBLE. And if you are constructing a collection of essays, you put your strongest essay first and your second-strongest last (or vice-versa), so I'm like, Byerrrrgh, this is going to be awful.

Ha ha, way to subvert my expectations, essay collection. Because after this not entirely convincing essay which makes the argument that the books are capital-R Romantic (or have Romanticism in them? I mean, I guess? But show me a work of fiction today that doesn't have a byronic hero in it, them suckers are so de rigeur), we're given a fascinating and compelling essay on the use of sexual conduct to discern morality in a society where slaying people is kind of a social asset. Like, how can you tell if Sir Stabby over there is honest or stinky? Ah yes, he raped them womens. (Or put them in a binder! Hey-O, two-day-old political jokes! Whatever, take this e-card instead.)

This dude is cool, tho.

Ok so what else is in here. Ooh, an interesting but appallingly-written essay on PTSD in Ice and Fire in which the author uses the word 'enfranchise' a lot, as well as that cautious, over-defensive speech of the non-professional talking about a sensitive subject. I get that you're trying really hard not to imply that PTSD is awesome, you don't have to sandwich every 'But Arya rises above it and becomes enfranchised' between 'Now PTSD is clearly terrible' and 'Though she is no less traumatized.' You can't use both hands to make your argument if one of them is covering your ass all the time.

Oooh, or this essay on the particular challenges of rendering SoIaF into graphic novel form! And not just the usual How do we retain the soul of the piece while changing its structure (which I GET is a legitimate struggle, but it's the most obvious translation difficulty I can think of), but, like, how do we not get into legal trouble by portraying a 13-year-old Danaerys BEING VERY SEXXED by a horse lord? Because even drawing what is essentially kiddie porn is legally prohibited, but then Danerys' youth and sexual exploitation/discovery of her sexual powers is kind of her entire character arc, (that PLUS ALSO DRAGONS).

As always with essays, the more specific ones are the more compelling ('Petyr Baelish as a psychopath' is a better topic than 'Magic, amirite guys?'). The quality of writing varies wildly, as does the distribution of people who believe their arguments strongly enough to stand behind them, and people who 'seems' and 'perhaps' all the juice out.

On the whole, though, this pleases me greatly. Moar of this nerdery, world. Agreed?

Agreed. Agreed. Agreed. Agreed.

Eight and a half caterpillars for the best essays, four for the worst ones.

Reviewlettes!

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My first Real Winter (With Snow And Shit) has begun, and I am very like UGH THE COLD *makes apple crumb cake to warm the house and also to have apple crumb cake)* because we haven't figured out things like where the pilot light is to turn the heat on TO WARM THE HOUSE WITH HEAT.

All of which is to say, I can only peek my hands out from the blankets long enough for reviewlettes.


Mendoza in Hollywood - Kage Baker

First of all, the covers on these books, I can't even. They are so awful. Covers notwithstanding, I am going to end up reading all of these but I am going to be pissed about it if this is the way it's going to go. Mendoza in Hollywood features Mendoza as the narrator again (derrr) and I infinitely prefer her, but I wish Gage could find something else for her to do besides fall in love with someone tall and principled and then (oh my god spoiler) watch him die for those principles.

Ok so it's the late 1800s in California and Mendoza rolls up to rescue some random plants from extinction by sneaking bits of them off to her Employers In The Future (because Mendoza is immortal and a botanist etc all this) and the first two thirds, where she hangs out with immortal cowboys and gets shot at a bunch, is great but is ALSO just a way of situating her in a time and place where she can meet aforementioned Tall Man With Principles.

The writing and adventuring is super fun and good, but HOLY LORD WOMAN THINK OF A NEW PLOT ARC.

Eight caterpillars, minus one for frustration.

The Virginian - Owen Wister

What with True Grit and The Sisters Brothers, reading westerns seems like A Thing now. Or maybe just A Thing People I Know Are Doing, And In My Toddler-like Ego-Centric Worldview That = Everyone. But this. The Virginian comes up in Stephen King's Dark Tower series, and I'm trying to get back to the way I used to read before book blogging, where I followed any old rabbit trail because I had no other way of getting book recs.

And it WORKED this time, because The Virginian is great. I don't even know, it's just ambly and western and the Virginian falls for a lady and there's a bad dude who hates him and a shootout at the end and it's basically the plot of Tombstone minus Val Kilmer.

You are, indeed.

And there are all these nutty side-stories like where Em'ly the chicken keeps trying to roost a pile of rocks or whatever and they give her a litter of puppies to raise, or where the Virginian is herding a bunch of dudes (including the one what hates him) back from a job Elsewhere and there are rumblings of mutiny and he has to outsmart them all, and you can see how S.King's Roland is based off of said Virginian, because he is cool and collected and clever. If you get the illustrated 100th anniversary copy, though (this book is ollllld), the final illustration is a Spoily McBastard. Avert your eyes.

I don't know. Something about this sort of straight-up storytelling with a friendly, affable narrator and songs that run to seventy-nine verses, seventy-eight of which are 'quite unprintable,' it pleases me.

Eight caterpillars.

The Pun Also Rises: How the Humble Pun Revolutionized Language, Changed History, and Made Wordplay More than Some Antics - John Pollack

I thought I loved puns. I have never been so wrong. Pollack quotes some dude praising the pun 'when it is used sparingly and is really extempore,' and maybe that is my beef with Puns in Print And Particularly In This Book, because they are SO BELABORED. And numerous. Numerous like hell.

And if you don't immediately catch the pun, you are like, That's really just an awkward way of saying that thing you just said. Like the title, por ejemplo, which is all sorts of clunky EVEN WHEN you get the 'more than some antics/semantics' joke (and which could be improved on BOTH counts by inserting the word 'just,' says me).

Anyway, a history of puns is probably more interesting if it is more like Here is how a pun works to revolutionize language/change history and here is an example of that, rather than Here is how etc and HERE IS A TERRIBLE UNRELATED PUN LOL. Because really, puns do things like help children learn to think creatively and non-literally, which is NEAT, but I can't see how neat it is past your painful creativity. Book, you were terrible. Puns, I can never be mad at you.


Four caterpillars.

Restaurant Man - Joe Bastianich

Unrepentant douchebag was sort of my type for most of my teens and waaaay too much of my early twenties, which may be why I am now like, That guy.

I hate that guy.

But, how do I say this. Joe Bastianich is hell of arrogant, but CHARMINGLY SO. Not like Edward Cullen/Christian Grey 'charming' where it's code for 'emotionally abusive' but, like, he is just so passionate about food and restaurants and shit that when he'll say things like, 'You think you've had bolognese, and then you try Mario's and you just want to weep at the tragedy your life has been,' while the sentiment behind that is cocky bullshit, it is EARNEST cocky bullshit, and also I love hyperbole and you know it.

And he's really very all, I was an idiot at this time and then this stupid thing happened, or I was very young and didn't know things, so when he's like, So and so is a pretentious bully, you're like, You know what, that guy probably is.

Seven caterpillars and also he talks about food a lot in a way that made me ravenous.

Eleanor reviews Sharing and Caring

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Following in her mama's footsteps.


Also, GROW SOME HAIR, CHILD.
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