2021 EDIT: It must have been fifteen years since I last read 'Finding the Fox'.
Funny how things, but most prominently adults, in books, might seem cool to child readers; but when you're an adult reader, suddenly those things appear, in fact, creepy and even sinister. Owen Hind, and a lot of the other adult characters, are so untrustworthy and borderline abusive. Is the kidnapping and gaslighting Owen really a good guy, when his words and actions make him look just as bad as the actual, obvious bad guy at Tregarren College? How often does he physically and psychologically harm young Dax to force him to change from a boy into a fox, and back again, for his "own good"? Dax is at least twelve years old!
'Finding the Fox' seriously isn't as innocent and simple a children's book as it seems, appropriately enough.
Other things that bothered me are:
Dax's cartoonishly evil stepmother (wow that trope is incredibly harmful), and his stereotypically girly and pink-and-doll-loving little half-sister;
The plot holes at the beginning: Why doesn't Dax try to break a window in the garden shed he is trapped in? Why didn't he think beforehand to prop something up against the shed door if it's known to slam itself shut in the wind, in October, in England? This is where Dax first transforms into a fox, and so he squeezes through a hole in the back of the shed to escape - but then, later, when he needs to go back inside as a boy before his stepmother catches him, why doesn't he just go in by the door and trap himself again, instead of wasting time breaking the same hole to make it bigger for him to crawl through?;
I still find Dax's Cola friend Gideon to be funny, but he can be a thoughtless git and, like the adults, borderline abusive - on page 114 of my copy, he actually gives Dax a Chinese burn, suddenly and non-consensually, just to prove that a Cola healer can heal him! I'm sure Dax would have taken you at your word, Gid! Or you could have given yourself a slight burn or cut to be healed, without hurting your new friend whom you've just met and whom your first encounter with involved you "accidently" hitting him in the face with a football when he'd woken up in bed. Little dick;
Poor Lisa. She really doesn't receive enough sympathy. The majority of the characters in this book are kind of mean, and sullen, moody and antisocial Lisa, ironically, is one of the least mean. The eleven-to-twelve-year-old girl is traumatised, her life is in ruins, her "gift" is a curse. She needs a hug;
There's the lack of deep worldbuilding when it comes to the mediums and psychics in the Cola Club. Like, ghosts, sprits and the afterlife are a regular feature to them and everyone else in the school - messages "from the other side" are passed to students all the time - so where does that leave the people with different faiths and religions there? Or the people without either? Aren't anyone's beliefs being questioned and challenged on a huge scale by this revelation? Faith and worship are mentioned on page 269, but it's only in relation to Dax having faith in people again after joining the Cola Club. Nothing else about it is explored;
And, on the subject of death, conveniently none of the Cola kids can contact their dead mothers' spirits. Maybe the reasons for why this is, and why they have no living mothers to begin with, are explained in a sequel. While we're at it, why did the weather in their areas turn absolutely mad and stormy at the time of their births? Most pressing of all: where do Dax's clothes go whenever he transforms into a fox, that magically reappear when he turns back into a boy? I'm sure the reasons for why these kids are so special will turn out to be very silly.
'Finding the Fox' is fun for younger audiences, however. 'Harry Potter' fans may well be attuned to the series. "Good, clean fun"? Eh. But it's entertaining, for all genders.
Final Score: 3/5
Original Review:
Another book I remember reading at school. This is an entertaining and well-written action fantasy with a comic book edge. Reads like 'Harry Potter' (main male protagonist, secret school for children like himself, mysterious adult figures etc.) and 'X-Men' for middle schoolers (the superkids' school is called COLA: short for Children Of Limitless Ability. How cute). But 'Finding the Fox' has enough memorable characters - each with their own charm and charisma - and set pieces, that it's not really fair to compare it to other franchises.
Being a children's book the story is rather simple, with an obvious villain, but it contains many fun elements. The main boy Dax is realistic but nice and smart enough without coming across as boring compared to the funny and chocolate-loving Gideon, the troubled psychic Lisa who jogs around the school at night, and Dax's COLA guardian Owen whose trust will be questioned throughout the book.
The descriptions of Dax turning into a fox are surprisingly realistic. You feel for Dax and how he must be coping with this sudden change in his life. Finding out you're a shapeshifter can be cool but also dangerous, and some people might want to use you or kill you...
How Dax interacts with the other colourful characters is also believable. And there are tense scenes, such as whenever Dax shapeshifts in the worst of situations, proving that just because you write a book for children about kids with superpowers, doesn't mean the story has to be dumbed-down. Ali Sparkes has talent and she uses the best of her abilities in writing 'Finding the Fox'.
Also, among the mysteries concerning their existence, every COLA students' mother died when he or she was just four-years-old. How, and why? Keep reading the series and maybe we'll find out!
A light but great read that made my heart smile whilst reading it. What fun it must be to be a teen and a part of COLA, making fantastic friends there!
Final Score: 4/5
Thursday, 8 August 2013
Book Review - 'The School for Good and Evil' by Soman Chainani
2020 EDIT: Reading this junk again has made me angry and upset. To think that I once loved it and thought it to be groundbreaking and a game changer in terms of subverting fairy tales and LBGTQ rep in children's books. What horseshit. I was a fool. A fool who was tricked; who didn't know any better; who never expected any better from other stories at the time.
I won't be fooled anymore. I will no longer demand anything less than real, authentic, explicit queer rep.
Because queer kids and teens deserve better.
The first book in 'The School for Good and Evil' series isn't as well written as I remember it, but because of my unfortunate knowledge of the dreadful, awful sequels, I could no longer enjoy it as a standalone. I could spot the queerbaiting too easily. The first chapter even uses the word "queer", for fuck's sake. It's an empty promise that goes nowhere.
'The School for Good and Evil' was never about girl love or even friendship - it's an illusion, a lie, a tease. It's a safe storybook that only pays lip service to modern progressive storytelling and characters for young audiences. It's as conventional a Disney fairy tale as you would expect. It's as cowardly as Disney is in its queer rep as well, and in 2020 I can no longer tolerate queerbaiting, and promising to give long-marginalised groups of people, who desperately wish to see themselves as heroes in the media, a voice and a presence; only to turn around and betray them at the last minute and give them absolutely nothing in return for their support.
In reading the first three books in 'The School for Good and Evil' series, what I come away with is the message that girls are in fact trapped in old, traditionalist, propaganda fairy tales, and they will end up either alone or married to an arsehole prince who does not respect them. This is insulting, insidious, and heartbreaking. Young girls, kids - everyone - deserves better than this codswallop.
And I loooooooooooooooaaaaaaaaaaaaaaaaathe Tedros. I hate that violent, entitled, smug, whiny, misogynistic, condescending little wanker so fucking much. Even seeing his name on a page is enough to make me wince and immediately fill up with dread. Among his many, many faults, he tries to kill both Agatha and Sophie multiple times throughout this series - throughout the first book! - and his allegiance to either is as fickle and fragile as wet toilet paper. Let's face it: Tedros loves no one but himself. He is on no one's side but his own. Why does anyone like him? Why does Agatha like him, let alone love him? Girl love and support is sacrificed for him?! Why does the author expect the readers to sympathise with this murderous shit? Tedros never changes! He never grows up! Fuck this.
Also, Dot the Never student only exists for the author to make lazy fat jokes at her expense. Anyone who is fat isn't treated with respect. On page 166, it is mentioned that Sophie does not trust fairy godmothers, because she does not trust fat women. (Huh? Why? I dunno, and are all fairy godmothers "fat"? Is that a universal thing?) This is never called out on. Subversive, my arse. That was when I knew I was done with this book, and with this terrible series.
More information about this hurt and betrayal of a series can be found on another review of mine here.
I am forever done with 'The School for Good and Evil'. It could have been so much better than what it ended up being. Such wasted potential. If only all of the characters were allowed to be queer (no coding, no plot and character developments that are shoved aside and ignored indefinitely, no baiting - but overt rep, please, no cop-outs). THAT would have broken the fairy tale and freed everyone trapped within it.
But there is no freedom or reflection of reality and real people to be found here. Only more Disneyfication BS.
I can come up with no witty or creative way to leave the review here. I can't be bothered to. I just never want to think about 'The School for Good and Evil' ever again. It is officially dead to me.
Final Score: 2/5
'In the forest primeval
A School for Good and Evil
Two towers like twin heads
One for the Pure
One for the Wicked
Try to escape you'll always fail
The only way out is
Through a Fairy Tale'
I had forgotten how much I love it when something far exceeds my expectations. It's been so long since that's happened; that, even as an adult, a story (one for children no less) can still surprise and engage me so. I had forgotten how wonderful it feels to get teary-eyed at an ending of a book.
'The School for Good and Evil' has left me with strong feelings I haven't experienced since reading 'Daughter of Smoke and Bone' - well, okay it's not that great, but it's on that level of epic heart, boldness and magic.
I'd say it compliments its awesome book trailer.
I had thought of so many fancy reviewing styles I could write with to convey just how much this novel affected me. But then I thought: It deserves an honest and straightforward review, so I'll keep it simple.
'The Evil attack. The Good defend...'
'The School for Good and Evil' is a fairy tale to twist all fairy tales. It's about two girls from the secluded village of Gavaldon, Sophie and Agatha: polar opposites who may or may not be genuine friends. Under contrived circumstances they get whisked away by the mysterious School Master to the School for Good and Evil - as for the past two-hundred years two children from Gavaldon have gone missing every few years or so. Those children - known as 'Readers' - have to attend their school lessons in separate castles - one for beautiful 'Evers' and one for nasty 'Nevers' - in order to achieve and star in their own fairy tale; thus restoring balance between good and evil.
Or so it is said.
And to fail or get low points can mean a fate worse than death.
Beautiful Sophie ends up in Evil and witchy Agatha ends up in Good. According to the laws of the School Master and a fairy tale-writing pen called a Storian, their destinies are opposed to each others'; and a princess and a witch can never be friends. But can their fates be changed and entwined? Which of them is the princess and which is the witch anyhow...?
'The Evil punish. The Good forgive...'
I will now talk about the characters, as they carry out the story's intended purpose:
Sophie - she is a cartoon parody of a prima donna who thinks she is good and pure, but treats those she considers lower than herself with no respect. She loves pink, beauty products, beauty sleep and cucumbers. And to top off the princess cliches, she has a dead mother (seriously, why don't all fantasy heroines get a pass for being "good" just by having a dead mother? It frees them of a positive and experienced female role model at any rate). She even befriends the graveyard hermit Agatha so that the feared School Master will think her so good he will kidnap her and put her in the Good school, where she'll graduate and be a princess in her own fairy tale. She is, in truth, shallow and selfish and has no dignity. But she is hilarious, since things never go as she plans - with twisted results. She becomes so obsessed with being Good in an Evil environment - just to win the heart of a boy she wants to be rescued by - that a dark side to her tale builds up and takes a hold of her soul. She becomes less of a traditional princess in a fairy tale and more of a tragic figure; due to the reality that comes with her childish wish.
'The Evil hurt. The Good help...'
Agatha - my favourite character. Have you ever felt yourself to be ugly because other people treat you so, or say so? To be "ugly" is widely considered to be the worst thing ever because, from our youth, we absorb all these fairy tales that basically tell us that only physically beautiful people get their happily ever after. Ugly and therefore evil people get punished or ignored. That is Agatha's symbol in this story in a nutshell. She thinks she is ugly and people treat her as such, so she thinks she is worth nothing. Only her friendship with Sophie gives her a purpose in life, and makes her come out of her lonely shell in her graveyard home with her mother (who is alive; an ingenious subversion once Aggie's role is fully realised) and her cat. She doesn't believe in fairy tales and the School Master at first, which is interesting. But during the course of the story she discovers that perhaps her attitude and lack of self-confidence are the reasons people see her as being "ugly" and a witch. She is in truth brave, intelligent, loyal and loving, and will do anything for the only friend she's ever had. She could be a hero in her own fairy tale, despite being a "witch". And a girl.
'The Evil take. The Good give...'
Tedros - the prince of 'The School for Good and Evil' and the son of King Arthur. Tedros is a deconstruction of what you'd expect of a fairy tale prince. He may appear handsome, loyal and brave, but in actuality he is the sort of alpha male depicted in TV sitcoms whom in real life women would dump after knowing him for a few days or less. He is chauvinistic, talks down to his "princesses", never learns from his mistakes, and he lets his daddy issues affect his trust issues and his views on women. He has his sympathetic side however; he is torn in his role as a traditional and superficial storybook prince and as someone who cannot repeat the failings of his father - someone who can be a real hero. What does it mean to be a hero exactly? While he does do genuine heroic deeds, he is still condescending, stubborn and stupid. So yeah, Tedros is pretty handsomely terrible, thus so is the novel's romance. But as it turns out the romance is meant to be imperfect, and it's not the focus of this fairy tale.
The focus is the friendship between Sophie and Agatha. The Trials and Circuses and Deeds they take a part in for their schools all come down to their ever-changing bond. They change themselves, and each other: for better or worse. Without giving anything away, I'll just say that this novel has one of the very few love triangles I have seen which ends both unexpectedly and perfectly.
'The Evil hate. The Good love...'
There are loads of other characters who play their roles to the right effect, but the main three are the most vital for the author's intent.
'The School for Good and Evil' deconstructs our childhood fairy tales. Soman Chainani asks questions and brings up arguments I'd never thought of before - and probably never would have if I'd never read his book. He asks just why Good has to be pretty and why Evil has to be ugly: why does there never seem to be an in-between/gray area in fairy tales? Why do princesses who do nothing but let princes risk their lives protecting them get to live happily ever after?
Being "good" and "evil" depends on our actions. But that can easily be corrupted into a simpler and more superficial idea - meaning "good" = light and beautiful, and "evil" = dark and hideous-looking. This division is harmful, damaging and damning, especially to susceptible young people - and the author acknowledges this and builds it up for a most thrilling and heart-wrenching of ever afters (the climax).
Really, I could go on forever after about how the book subverts and twists this and that fairy tale convention, but I've gone on long enough already.
'The School for Good and Evil' is fantastic. Aside from its intelligent reflections on our favourite childhood fantasy stories, it reminded me strongly of old Disney films which were also no doubt an influence (it also made me think of the newer productions, 'Enchanted' and 'Brave', which are two of my favourite films). It is very creative and cartoony, but surprisingly dark and intense for a children's book. There are elements of 'Wicked' (the musical), 'Swan Lake' (with the school crests and everything), 'Harry Potter' (obviously) and 'The Hunger Games' - with two children being picked out for dangerous and even deadly tasks in between their "lessons".
Criticisms could be made that occasional parts are rushed or too slow, and that some characters are not as well developed as others, and their actions are confusing or contrived. Some people may call it a predictable kid's book, regardless of the creative content and the emotional weight given to the characters.
But I don't care. 'The School for Good and Evil' does its job, and far exceeds expectations in how far it goes in doing that job well. There were parts that made me go "Wait, what the -?" but then made me draw breath and go "Ohhh so that's why this person did that...". That's a mark of a great read right there.
Wonderful, wonderful book about fairy tales and friendship, and how people truly are imperfect, even in childlike stories. Love takes on many forms, and romance comes and goes, but friends and enemies can last a lifetime.
It is up to us - not a destiny pen writing in blood - to find in our hearts what is the right thing to do; whether or not we are lost in the Woods.
It is up to us to search for our happily ever after.
Final Score: 5/5
P.S: So... how old are Sophie and Agatha and the other students meant to be again?
P.P.S: I can easily see 'The School for Good and Evil' being a Tim Burton movie (before the 2000's, that is), and an animated one in any form. I'd love to see a film adaptation, as long as they don't botch the ending, which I have a feeling might be changed drastically...
I won't be fooled anymore. I will no longer demand anything less than real, authentic, explicit queer rep.
Because queer kids and teens deserve better.
The first book in 'The School for Good and Evil' series isn't as well written as I remember it, but because of my unfortunate knowledge of the dreadful, awful sequels, I could no longer enjoy it as a standalone. I could spot the queerbaiting too easily. The first chapter even uses the word "queer", for fuck's sake. It's an empty promise that goes nowhere.
'The School for Good and Evil' was never about girl love or even friendship - it's an illusion, a lie, a tease. It's a safe storybook that only pays lip service to modern progressive storytelling and characters for young audiences. It's as conventional a Disney fairy tale as you would expect. It's as cowardly as Disney is in its queer rep as well, and in 2020 I can no longer tolerate queerbaiting, and promising to give long-marginalised groups of people, who desperately wish to see themselves as heroes in the media, a voice and a presence; only to turn around and betray them at the last minute and give them absolutely nothing in return for their support.
In reading the first three books in 'The School for Good and Evil' series, what I come away with is the message that girls are in fact trapped in old, traditionalist, propaganda fairy tales, and they will end up either alone or married to an arsehole prince who does not respect them. This is insulting, insidious, and heartbreaking. Young girls, kids - everyone - deserves better than this codswallop.
And I loooooooooooooooaaaaaaaaaaaaaaaaathe Tedros. I hate that violent, entitled, smug, whiny, misogynistic, condescending little wanker so fucking much. Even seeing his name on a page is enough to make me wince and immediately fill up with dread. Among his many, many faults, he tries to kill both Agatha and Sophie multiple times throughout this series - throughout the first book! - and his allegiance to either is as fickle and fragile as wet toilet paper. Let's face it: Tedros loves no one but himself. He is on no one's side but his own. Why does anyone like him? Why does Agatha like him, let alone love him? Girl love and support is sacrificed for him?! Why does the author expect the readers to sympathise with this murderous shit? Tedros never changes! He never grows up! Fuck this.
Also, Dot the Never student only exists for the author to make lazy fat jokes at her expense. Anyone who is fat isn't treated with respect. On page 166, it is mentioned that Sophie does not trust fairy godmothers, because she does not trust fat women. (Huh? Why? I dunno, and are all fairy godmothers "fat"? Is that a universal thing?) This is never called out on. Subversive, my arse. That was when I knew I was done with this book, and with this terrible series.
More information about this hurt and betrayal of a series can be found on another review of mine here.
I am forever done with 'The School for Good and Evil'. It could have been so much better than what it ended up being. Such wasted potential. If only all of the characters were allowed to be queer (no coding, no plot and character developments that are shoved aside and ignored indefinitely, no baiting - but overt rep, please, no cop-outs). THAT would have broken the fairy tale and freed everyone trapped within it.
But there is no freedom or reflection of reality and real people to be found here. Only more Disneyfication BS.
I can come up with no witty or creative way to leave the review here. I can't be bothered to. I just never want to think about 'The School for Good and Evil' ever again. It is officially dead to me.
Final Score: 2/5
A School for Good and Evil
Two towers like twin heads
One for the Pure
One for the Wicked
Try to escape you'll always fail
The only way out is
Through a Fairy Tale'
I had forgotten how much I love it when something far exceeds my expectations. It's been so long since that's happened; that, even as an adult, a story (one for children no less) can still surprise and engage me so. I had forgotten how wonderful it feels to get teary-eyed at an ending of a book.
'The School for Good and Evil' has left me with strong feelings I haven't experienced since reading 'Daughter of Smoke and Bone' - well, okay it's not that great, but it's on that level of epic heart, boldness and magic.
I'd say it compliments its awesome book trailer.
I had thought of so many fancy reviewing styles I could write with to convey just how much this novel affected me. But then I thought: It deserves an honest and straightforward review, so I'll keep it simple.
'The Evil attack. The Good defend...'
'The School for Good and Evil' is a fairy tale to twist all fairy tales. It's about two girls from the secluded village of Gavaldon, Sophie and Agatha: polar opposites who may or may not be genuine friends. Under contrived circumstances they get whisked away by the mysterious School Master to the School for Good and Evil - as for the past two-hundred years two children from Gavaldon have gone missing every few years or so. Those children - known as 'Readers' - have to attend their school lessons in separate castles - one for beautiful 'Evers' and one for nasty 'Nevers' - in order to achieve and star in their own fairy tale; thus restoring balance between good and evil.
Or so it is said.
And to fail or get low points can mean a fate worse than death.
Beautiful Sophie ends up in Evil and witchy Agatha ends up in Good. According to the laws of the School Master and a fairy tale-writing pen called a Storian, their destinies are opposed to each others'; and a princess and a witch can never be friends. But can their fates be changed and entwined? Which of them is the princess and which is the witch anyhow...?
'The Evil punish. The Good forgive...'
I will now talk about the characters, as they carry out the story's intended purpose:
Sophie - she is a cartoon parody of a prima donna who thinks she is good and pure, but treats those she considers lower than herself with no respect. She loves pink, beauty products, beauty sleep and cucumbers. And to top off the princess cliches, she has a dead mother (seriously, why don't all fantasy heroines get a pass for being "good" just by having a dead mother? It frees them of a positive and experienced female role model at any rate). She even befriends the graveyard hermit Agatha so that the feared School Master will think her so good he will kidnap her and put her in the Good school, where she'll graduate and be a princess in her own fairy tale. She is, in truth, shallow and selfish and has no dignity. But she is hilarious, since things never go as she plans - with twisted results. She becomes so obsessed with being Good in an Evil environment - just to win the heart of a boy she wants to be rescued by - that a dark side to her tale builds up and takes a hold of her soul. She becomes less of a traditional princess in a fairy tale and more of a tragic figure; due to the reality that comes with her childish wish.
'The Evil hurt. The Good help...'
Agatha - my favourite character. Have you ever felt yourself to be ugly because other people treat you so, or say so? To be "ugly" is widely considered to be the worst thing ever because, from our youth, we absorb all these fairy tales that basically tell us that only physically beautiful people get their happily ever after. Ugly and therefore evil people get punished or ignored. That is Agatha's symbol in this story in a nutshell. She thinks she is ugly and people treat her as such, so she thinks she is worth nothing. Only her friendship with Sophie gives her a purpose in life, and makes her come out of her lonely shell in her graveyard home with her mother (who is alive; an ingenious subversion once Aggie's role is fully realised) and her cat. She doesn't believe in fairy tales and the School Master at first, which is interesting. But during the course of the story she discovers that perhaps her attitude and lack of self-confidence are the reasons people see her as being "ugly" and a witch. She is in truth brave, intelligent, loyal and loving, and will do anything for the only friend she's ever had. She could be a hero in her own fairy tale, despite being a "witch". And a girl.
'The Evil take. The Good give...'
Tedros - the prince of 'The School for Good and Evil' and the son of King Arthur. Tedros is a deconstruction of what you'd expect of a fairy tale prince. He may appear handsome, loyal and brave, but in actuality he is the sort of alpha male depicted in TV sitcoms whom in real life women would dump after knowing him for a few days or less. He is chauvinistic, talks down to his "princesses", never learns from his mistakes, and he lets his daddy issues affect his trust issues and his views on women. He has his sympathetic side however; he is torn in his role as a traditional and superficial storybook prince and as someone who cannot repeat the failings of his father - someone who can be a real hero. What does it mean to be a hero exactly? While he does do genuine heroic deeds, he is still condescending, stubborn and stupid. So yeah, Tedros is pretty handsomely terrible, thus so is the novel's romance. But as it turns out the romance is meant to be imperfect, and it's not the focus of this fairy tale.
The focus is the friendship between Sophie and Agatha. The Trials and Circuses and Deeds they take a part in for their schools all come down to their ever-changing bond. They change themselves, and each other: for better or worse. Without giving anything away, I'll just say that this novel has one of the very few love triangles I have seen which ends both unexpectedly and perfectly.
'The Evil hate. The Good love...'
There are loads of other characters who play their roles to the right effect, but the main three are the most vital for the author's intent.
'The School for Good and Evil' deconstructs our childhood fairy tales. Soman Chainani asks questions and brings up arguments I'd never thought of before - and probably never would have if I'd never read his book. He asks just why Good has to be pretty and why Evil has to be ugly: why does there never seem to be an in-between/gray area in fairy tales? Why do princesses who do nothing but let princes risk their lives protecting them get to live happily ever after?
Being "good" and "evil" depends on our actions. But that can easily be corrupted into a simpler and more superficial idea - meaning "good" = light and beautiful, and "evil" = dark and hideous-looking. This division is harmful, damaging and damning, especially to susceptible young people - and the author acknowledges this and builds it up for a most thrilling and heart-wrenching of ever afters (the climax).
Really, I could go on forever after about how the book subverts and twists this and that fairy tale convention, but I've gone on long enough already.
'The School for Good and Evil' is fantastic. Aside from its intelligent reflections on our favourite childhood fantasy stories, it reminded me strongly of old Disney films which were also no doubt an influence (it also made me think of the newer productions, 'Enchanted' and 'Brave', which are two of my favourite films). It is very creative and cartoony, but surprisingly dark and intense for a children's book. There are elements of 'Wicked' (the musical), 'Swan Lake' (with the school crests and everything), 'Harry Potter' (obviously) and 'The Hunger Games' - with two children being picked out for dangerous and even deadly tasks in between their "lessons".
Criticisms could be made that occasional parts are rushed or too slow, and that some characters are not as well developed as others, and their actions are confusing or contrived. Some people may call it a predictable kid's book, regardless of the creative content and the emotional weight given to the characters.
But I don't care. 'The School for Good and Evil' does its job, and far exceeds expectations in how far it goes in doing that job well. There were parts that made me go "Wait, what the -?" but then made me draw breath and go "Ohhh so that's why this person did that...". That's a mark of a great read right there.
Wonderful, wonderful book about fairy tales and friendship, and how people truly are imperfect, even in childlike stories. Love takes on many forms, and romance comes and goes, but friends and enemies can last a lifetime.
It is up to us - not a destiny pen writing in blood - to find in our hearts what is the right thing to do; whether or not we are lost in the Woods.
It is up to us to search for our happily ever after.
Final Score: 5/5
P.S: So... how old are Sophie and Agatha and the other students meant to be again?
P.P.S: I can easily see 'The School for Good and Evil' being a Tim Burton movie (before the 2000's, that is), and an animated one in any form. I'd love to see a film adaptation, as long as they don't botch the ending, which I have a feeling might be changed drastically...
Monday, 5 August 2013
Book Review - 'Carrie' by Stephen King
2020 EDIT: Things to note on rereading:
1. In some ways I can tell that 'Carrie' is a debut novel. I don't mind that there are no chapters, for it makes for a more flowing, impacting reading experience. But there are instances of inconsistency in the writing, such as once or twice there being no gaps in between character POVs, making for a confusing and jarring roadblock that takes you out of the story. It could have used a better editor.
2. The book can get very long-winded and over-descriptive at times, when it's not necessary. That segment explaining how Billy Nolan got the pigs' blood into the gymnasium in the first place is just painful. We didn't need to know every single step, told in minute detail, of how he executed the act. We didn't need to know how he did it, period. And who cares what a car looks like and how it works?!
3. Stephen King, at least in his earlier years, based on this and 'Firestarter', would casually drop in the N-word in his books. Plus little drops of homophobic language in the text, which I'd rather not repeat here when it comes to 'Carrie', other than it is on page 162 of my copy.
4. On the subject of problematic content, 'Carrie' also contains antisemitism. A girl, Frieda Jason, is said to have no chance of becoming prom queen because she's a Jew (page 107). Granted, it's from the POV of Chris Hargensen, but for someone like me, who's been reading a lot about WWII lately, and about the extent of the monstrous slaughter of over six million Jewish people in one of the worst examples of humanity's capacity for evil in history, it is beyond awful. And later, in a POV segment from someone who isn't evil, Frieda is described as having a 'letter-opener nose' (page 133). You did not just do that, Stephen King. You did not, could not. How dare you. What did Jewish people ever do to you?
5. Plus this, perhaps the most overt moment of sexism:
''This contest [the voting for king and queen on prom night] insults women!' Myra Crewes called with uneasy good nature.
'It insults men, too!' George Dawson called back, and there was general laughter. Myra was silent. She had made her token protest.' - page 153
6. Page 166. That mystifyingly un-self-aware commentary on Disney's 'Song of the South' is just cringeworthy.
7. On page 146, it is said that Carrie's father Ralph had stopped her mother Margaret from killing her when she was a baby... despite him being dead before Carrie was born. Maybe this is Margaret imagining that he had stopped her. Or imagining that his ghost did. But this isn't eluded to in the text at all, so it is very likely a huge continuity error.
Overall, 'Carrie' is an enjoyable, entertaining horror novel, containing clever narrative devices. The characters are interesting, and feel real and alive (the main ones, anyway; a lot of the side players are just names on the pages). It is a stunning, if messy, prelude to a prolific writing career that will span decades. Just be wary that in a few respects it is a product of its time. I still enjoy the 1976 film.
Final Score: 3/5
Original Review:
My first Stephen King novel. A bit embarrassing, I know, but I'm glad I've finally gotten around to reading his stuff. The main reason why I didn't before is because horror is not my favourite genre, though I know King doesn't write just that. But anyway, on to what I thought of 'Carrie'.
A well-written, perspective, sad but enjoyable and addictive read. I get the feeling that King knows how to make the ridiculous believable, and he does this with a touch of needed sympathy from the readers.
Bullying is a subject I feel strongly about, and 'Carrie' pulls it off in a way that makes you really feel for the victim's plight. You want Carrie White to stand up for herself, even if it means exacting revenge in the most horrific way possible; karma to the horrific things done to her. All because she is naive and different. This short book builds up to a tragedy that could have easily been prevented if Carrie had had enough of the right help from people (started by Miss Desjardin, who is awesome) who were either too shy or afraid of her background to give it to her.
Each character is vivid, flawed and sympathetic. King understands human beings and their reactions to certain things terrifically (like joining in to pick on a bully victim). In groups, they are sheep with a leader, but individually they are their own person. Though I was a little confused at first that there's more than one character called Tommy and Billy. Chris and Billy (the main man) are wonderful villains you love to hate. Sue Snell will spend the rest of her life feeling guilty for a destruction that might have been, in the root of it all, her fault.
The scariest I found this book to be are the scenes with Carrie and her pious mother. They really bring you on the edge of your seat without being overly manipulative or silly. Carrie clearly sees that her treatment from her Momma is awful, caused by reasons that are unfair and hypocritical (Margaret can't seem to understand or accept that if no one committed the "sin of intercourse", the human race will die out). I also loved and could really picture when Carrie started using her telekinesis to stand up to Margaret.
The excerpts from "books", the articles on the tragedy and the phenomenon of Carrie White, and the symbolic, foreshadowing instances involving blood - they all create effective and chilling imagery.
Overall, apart from a few inconsistencies in the writing (so was Carrie's father dead before or after her birth? Or did he die beforehand and come back in Margaret's hallucinations?), 'Carrie' is a great read. I will be reading more from Stephen King in the future, just to see how far he has progressed from this.
Final Score: 5/5
1. In some ways I can tell that 'Carrie' is a debut novel. I don't mind that there are no chapters, for it makes for a more flowing, impacting reading experience. But there are instances of inconsistency in the writing, such as once or twice there being no gaps in between character POVs, making for a confusing and jarring roadblock that takes you out of the story. It could have used a better editor.
2. The book can get very long-winded and over-descriptive at times, when it's not necessary. That segment explaining how Billy Nolan got the pigs' blood into the gymnasium in the first place is just painful. We didn't need to know every single step, told in minute detail, of how he executed the act. We didn't need to know how he did it, period. And who cares what a car looks like and how it works?!
3. Stephen King, at least in his earlier years, based on this and 'Firestarter', would casually drop in the N-word in his books. Plus little drops of homophobic language in the text, which I'd rather not repeat here when it comes to 'Carrie', other than it is on page 162 of my copy.
4. On the subject of problematic content, 'Carrie' also contains antisemitism. A girl, Frieda Jason, is said to have no chance of becoming prom queen because she's a Jew (page 107). Granted, it's from the POV of Chris Hargensen, but for someone like me, who's been reading a lot about WWII lately, and about the extent of the monstrous slaughter of over six million Jewish people in one of the worst examples of humanity's capacity for evil in history, it is beyond awful. And later, in a POV segment from someone who isn't evil, Frieda is described as having a 'letter-opener nose' (page 133). You did not just do that, Stephen King. You did not, could not. How dare you. What did Jewish people ever do to you?
5. Plus this, perhaps the most overt moment of sexism:
''This contest [the voting for king and queen on prom night] insults women!' Myra Crewes called with uneasy good nature.
'It insults men, too!' George Dawson called back, and there was general laughter. Myra was silent. She had made her token protest.' - page 153
6. Page 166. That mystifyingly un-self-aware commentary on Disney's 'Song of the South' is just cringeworthy.
7. On page 146, it is said that Carrie's father Ralph had stopped her mother Margaret from killing her when she was a baby... despite him being dead before Carrie was born. Maybe this is Margaret imagining that he had stopped her. Or imagining that his ghost did. But this isn't eluded to in the text at all, so it is very likely a huge continuity error.
Overall, 'Carrie' is an enjoyable, entertaining horror novel, containing clever narrative devices. The characters are interesting, and feel real and alive (the main ones, anyway; a lot of the side players are just names on the pages). It is a stunning, if messy, prelude to a prolific writing career that will span decades. Just be wary that in a few respects it is a product of its time. I still enjoy the 1976 film.
Final Score: 3/5
Original Review:
My first Stephen King novel. A bit embarrassing, I know, but I'm glad I've finally gotten around to reading his stuff. The main reason why I didn't before is because horror is not my favourite genre, though I know King doesn't write just that. But anyway, on to what I thought of 'Carrie'.
A well-written, perspective, sad but enjoyable and addictive read. I get the feeling that King knows how to make the ridiculous believable, and he does this with a touch of needed sympathy from the readers.
Bullying is a subject I feel strongly about, and 'Carrie' pulls it off in a way that makes you really feel for the victim's plight. You want Carrie White to stand up for herself, even if it means exacting revenge in the most horrific way possible; karma to the horrific things done to her. All because she is naive and different. This short book builds up to a tragedy that could have easily been prevented if Carrie had had enough of the right help from people (started by Miss Desjardin, who is awesome) who were either too shy or afraid of her background to give it to her.
Each character is vivid, flawed and sympathetic. King understands human beings and their reactions to certain things terrifically (like joining in to pick on a bully victim). In groups, they are sheep with a leader, but individually they are their own person. Though I was a little confused at first that there's more than one character called Tommy and Billy. Chris and Billy (the main man) are wonderful villains you love to hate. Sue Snell will spend the rest of her life feeling guilty for a destruction that might have been, in the root of it all, her fault.
The scariest I found this book to be are the scenes with Carrie and her pious mother. They really bring you on the edge of your seat without being overly manipulative or silly. Carrie clearly sees that her treatment from her Momma is awful, caused by reasons that are unfair and hypocritical (Margaret can't seem to understand or accept that if no one committed the "sin of intercourse", the human race will die out). I also loved and could really picture when Carrie started using her telekinesis to stand up to Margaret.
The excerpts from "books", the articles on the tragedy and the phenomenon of Carrie White, and the symbolic, foreshadowing instances involving blood - they all create effective and chilling imagery.
Overall, apart from a few inconsistencies in the writing (so was Carrie's father dead before or after her birth? Or did he die beforehand and come back in Margaret's hallucinations?), 'Carrie' is a great read. I will be reading more from Stephen King in the future, just to see how far he has progressed from this.
Final Score: 5/5
Book Review - 'The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making' by Catherynne M. Valente
2020 EDIT: I was sort of right the first time I read this. Now, on the second read, I fully understand the meaning behind my niggling doubts.
My biggest issue with this book is that I couldn't really connect to any of the characters, least of all the lead, September. Even in a fantasy book like this one, no one seems real, or well rounded; they just go along with things, and move forward, because that's what the plot requires them to do. Whatever inner struggles are voiced - either in dialogue or in the narrative - they are mostly lip service; chances for character development are regularly ignored, and the characters act like pieces for the author to put in one place/predicament and then another, with barely a struggle, if that makes sense. No one is allowed to think or feel deeply, if at all, about their own actions. Any instance of such is rare and never lasts long.
The whole of 'The Girl Who Circumnavigated Fairyland' is hugely creative and imaginative, but it's a bit too weird and random for me, and it couldn't keep my attention for long. Thus some of the charm is lost, and the whimsy and humour feel forced. In my opinion the story doesn't get exceptionally good until the end, and when the villain's tragic backstory and motivation is revealed.
'The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making' - Not for me, I'm afraid, but I'd recommend others try reading it if they haven't already. A creative, if boundless, disconnected and hit-and-miss, experiment in otherworldly fantasy and fairy tales.
Final Score: 3/5
Original Review:
The moment I heard about this book with its overly-long title, premise and cute illustrations, I knew I had to get it. What can I say, I'm a sucker for women's or girl's magical coming-of-age stories, such as 'The Wizard of Oz' and 'Alice in Wonderland'. No matter how many disappointing entries of that archetypal hero's journey I read, I never stop looking for more. I keep hoping to find that special gem which manages to be somewhat original and still magical and charming, with a lot going for it in terms of strength of imagination and characters.
'The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making' isn't quite one of those gems I was counting on, but in the end it comes close. Let me explain.
When I started reading it I wasn't that impressed. The setting and characters weren't wholly original, and the worldbuilding - while never distracting from the plot - I still didn't connect to. There were details added in that seemed to have nothing to do with the overall story. For example, the chapter with the witches near a beach, with their magical Spoons - the stolen Spoon could have been anything for the hero to have a quest looking for, I thought - and their 'wairwulf' husband. Everything seemed random and confusing just for the sake of it (like the character names, i.e. Goodbye the witch).
I get that Ms Valente perhaps intended to write a parody/deconstruction of the 'Alice in Wonderland' coming-of-age type story. But it still felt like she was trying too hard to be whimsical sometimes, with not much heart, and with descriptions that got very wordy in the vocabulary department. But this did not bother me so much, as I kept reading on.
Maybe I needed to get used to the style? Odd, since I thought I loved fantasy and weirdness...
I did think that the out-there analyses were charming, such as how Ms Valente says that all children are Heartless, some More or Mostly so. So of course she wouldn't write September (great unusual name for a heroine, made even better by the fact she was born in May), the protagonist, to be perfect - she is twelve, after all. Another example of this kind of cute philosophy is:
'When you are born your courage is new and clean. You are brave enough for anything: crawling off of staircases, saying your first words without fearing that someone will think you are foolish, putting strange things in your mouth. But as you get older, your courage attracts gunk and crusty things and dirt and fear and knowing how bad things can get and what pain feels like. By the time you're half-grown, your courage barely moves at all, it's so grunged up with living. So every once in a while, you have to scrub it up and get the works going or else you'll never be brave again. Unfortunately, there are not so many facilities in your world that provide the kind of services we do. So most people go around with grimy machinery, when all it would take is a bit of spit and polish to make them paladins once more, bold knights and true.' - Page 60
The addition of the key and its story is a nice touch as well. Other things in this book that I found to be genuinely fantastical and thought-provoking came in later chapters, like the ones with the flying feral bicycles, the personification of Death, and September transforming in more ways than one. They made me stop and think, "Wow, how creative. Turns out this isn't so random, and when it is it can be colourful and also heartwarming."
I remember also smiling at the unconventional beginning, where September is met with the magical characters of the Green Wind (creepy bugger, I thought) and the Leopard of Little Breezes within the first couple of pages. They are like, "Come to Fairyland with us or wash yellow teacups," and she's like, "Okay then." Very funny twist when you think about it, and it really made me think Parody.
September herself is a rather unconventional heroine for these sorts of tales: She's practical and smart but flawed. Again she is twelve-years-old and the author never forgets that fact.
The picture I got of pumpkins and their orangeness and their link to Autumn was one of the whimsical effects 'The Girl Who Circumnavigated Fairyland' had on me as a reader, when it comes to colourful metaphors.
I really liked A-Through-L the dragon, oh, I mean Wyvern... err, Wyverary. He is funny, cute, kind and loyal to September. His origin is very interesting and imaginative as well, and that's putting it mildly.
The Marquess I didn't care for much as a villain at first, but then the ending came along and I nearly cried while reading her backstory. Such a tragic character with an original tragic past. Without revealing spoilers I will say this: you really do understand why she puts Fairyland under cruel restrictions and rules. Childhood and stories can be a blessing and a curse.
Overall, when I finished 'The Girl Who Circumnavigated Fairyland' and re-read some of the lyrical passages and their deeper meanings, I grew to appreciate and like what Valente has done, especially with her metaphors. So despite the parts that I love and the others not-so-much, this is a well-written and sweet coming-of-age fantasy. It's not hard to see why an author like Neil Gaiman would love this book, since the comical writing style and outer-world concept is similar to his own line of work, but is still poetically different. The story, for me anyway, may seem like nothing new at first, but soon I came to really care for it, mostly for the characters and their plights.
I would recommend it to both child and adult audiences, since it talks down to neither and is a bit harrowing and scary in parts, such as near the end where little September is alone and the stakes are risen much higher than before (and this is the part where she actually builds herself a ship that circumnavigates Fairyland).
Final Score: 4/5
Also, I saw the trailer on YouTube after I'd read 'The Girl Who Circumnavigated Fairyland'. Now I adore the novel even more! The video is wonderfully-put together and SJ Tucker's imaginative and mysterious song is perfect for advertising to a wider demographic.
My biggest issue with this book is that I couldn't really connect to any of the characters, least of all the lead, September. Even in a fantasy book like this one, no one seems real, or well rounded; they just go along with things, and move forward, because that's what the plot requires them to do. Whatever inner struggles are voiced - either in dialogue or in the narrative - they are mostly lip service; chances for character development are regularly ignored, and the characters act like pieces for the author to put in one place/predicament and then another, with barely a struggle, if that makes sense. No one is allowed to think or feel deeply, if at all, about their own actions. Any instance of such is rare and never lasts long.
The whole of 'The Girl Who Circumnavigated Fairyland' is hugely creative and imaginative, but it's a bit too weird and random for me, and it couldn't keep my attention for long. Thus some of the charm is lost, and the whimsy and humour feel forced. In my opinion the story doesn't get exceptionally good until the end, and when the villain's tragic backstory and motivation is revealed.
'The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making' - Not for me, I'm afraid, but I'd recommend others try reading it if they haven't already. A creative, if boundless, disconnected and hit-and-miss, experiment in otherworldly fantasy and fairy tales.
Final Score: 3/5
Original Review:
The moment I heard about this book with its overly-long title, premise and cute illustrations, I knew I had to get it. What can I say, I'm a sucker for women's or girl's magical coming-of-age stories, such as 'The Wizard of Oz' and 'Alice in Wonderland'. No matter how many disappointing entries of that archetypal hero's journey I read, I never stop looking for more. I keep hoping to find that special gem which manages to be somewhat original and still magical and charming, with a lot going for it in terms of strength of imagination and characters.
'The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making' isn't quite one of those gems I was counting on, but in the end it comes close. Let me explain.
When I started reading it I wasn't that impressed. The setting and characters weren't wholly original, and the worldbuilding - while never distracting from the plot - I still didn't connect to. There were details added in that seemed to have nothing to do with the overall story. For example, the chapter with the witches near a beach, with their magical Spoons - the stolen Spoon could have been anything for the hero to have a quest looking for, I thought - and their 'wairwulf' husband. Everything seemed random and confusing just for the sake of it (like the character names, i.e. Goodbye the witch).
I get that Ms Valente perhaps intended to write a parody/deconstruction of the 'Alice in Wonderland' coming-of-age type story. But it still felt like she was trying too hard to be whimsical sometimes, with not much heart, and with descriptions that got very wordy in the vocabulary department. But this did not bother me so much, as I kept reading on.
Maybe I needed to get used to the style? Odd, since I thought I loved fantasy and weirdness...
I did think that the out-there analyses were charming, such as how Ms Valente says that all children are Heartless, some More or Mostly so. So of course she wouldn't write September (great unusual name for a heroine, made even better by the fact she was born in May), the protagonist, to be perfect - she is twelve, after all. Another example of this kind of cute philosophy is:
'When you are born your courage is new and clean. You are brave enough for anything: crawling off of staircases, saying your first words without fearing that someone will think you are foolish, putting strange things in your mouth. But as you get older, your courage attracts gunk and crusty things and dirt and fear and knowing how bad things can get and what pain feels like. By the time you're half-grown, your courage barely moves at all, it's so grunged up with living. So every once in a while, you have to scrub it up and get the works going or else you'll never be brave again. Unfortunately, there are not so many facilities in your world that provide the kind of services we do. So most people go around with grimy machinery, when all it would take is a bit of spit and polish to make them paladins once more, bold knights and true.' - Page 60
The addition of the key and its story is a nice touch as well. Other things in this book that I found to be genuinely fantastical and thought-provoking came in later chapters, like the ones with the flying feral bicycles, the personification of Death, and September transforming in more ways than one. They made me stop and think, "Wow, how creative. Turns out this isn't so random, and when it is it can be colourful and also heartwarming."
I remember also smiling at the unconventional beginning, where September is met with the magical characters of the Green Wind (creepy bugger, I thought) and the Leopard of Little Breezes within the first couple of pages. They are like, "Come to Fairyland with us or wash yellow teacups," and she's like, "Okay then." Very funny twist when you think about it, and it really made me think Parody.
September herself is a rather unconventional heroine for these sorts of tales: She's practical and smart but flawed. Again she is twelve-years-old and the author never forgets that fact.
The picture I got of pumpkins and their orangeness and their link to Autumn was one of the whimsical effects 'The Girl Who Circumnavigated Fairyland' had on me as a reader, when it comes to colourful metaphors.
I really liked A-Through-L the dragon, oh, I mean Wyvern... err, Wyverary. He is funny, cute, kind and loyal to September. His origin is very interesting and imaginative as well, and that's putting it mildly.
The Marquess I didn't care for much as a villain at first, but then the ending came along and I nearly cried while reading her backstory. Such a tragic character with an original tragic past. Without revealing spoilers I will say this: you really do understand why she puts Fairyland under cruel restrictions and rules. Childhood and stories can be a blessing and a curse.
Overall, when I finished 'The Girl Who Circumnavigated Fairyland' and re-read some of the lyrical passages and their deeper meanings, I grew to appreciate and like what Valente has done, especially with her metaphors. So despite the parts that I love and the others not-so-much, this is a well-written and sweet coming-of-age fantasy. It's not hard to see why an author like Neil Gaiman would love this book, since the comical writing style and outer-world concept is similar to his own line of work, but is still poetically different. The story, for me anyway, may seem like nothing new at first, but soon I came to really care for it, mostly for the characters and their plights.
I would recommend it to both child and adult audiences, since it talks down to neither and is a bit harrowing and scary in parts, such as near the end where little September is alone and the stakes are risen much higher than before (and this is the part where she actually builds herself a ship that circumnavigates Fairyland).
Final Score: 4/5
Also, I saw the trailer on YouTube after I'd read 'The Girl Who Circumnavigated Fairyland'. Now I adore the novel even more! The video is wonderfully-put together and SJ Tucker's imaginative and mysterious song is perfect for advertising to a wider demographic.
Thursday, 1 August 2013
Book Review - 'The Last Unicorn' by Peter S. Beagle
2020 EDIT: No doubt about it, 'The Last Unicorn' is a beautiful book. It was written to be reread again and again. Contained within its enchanting pages is a bit of everything: it is funny, sweet, dynamic, clever, witty, complex, and above all charming. It is like the best, most colourful poem in prose form - posy, lyrical, a soulful sonnet, among the actual extracts of fun poetry in it.
It is ethereal, and breathtaking, like seeing the whole world anew, from the top of the highest snowy mountain, and looking at the rich rosy horizon at sunset.
'The Last Unicorn' reminds me of snowdrops and sea foam, butterflies and horse hay, moon flowers and willow trees, house cats and brimstone, lovely pastures and dark ruins. One of the greatest fantasy books ever, it is to be read by all ages, throughout all times. A gorgeous fairy tale.
Final Score: 5/5
Original Review:
A mystical, rich, touching, fun, and stunningly-written fairy tale. I admit to having had the film in mind whilst reading this - I couldn't help it, I saw it first - but in prose form, I can say that the book is better.
'The Last Unicorn' contains wonderful passages such as:
'The unicorn lived in a lilac wood, and she lived all alone. She was very old, though she did not know it, and she was no longer the careless color of sea foam, but rather the color of snow falling on a moonlit night.' - p.1,
'The magician crept as close to the unicorn's light as he dared, for beyond it moved hungry shadows, the shadows of the sounds that the harpy made as she destroyed the little there was to destroy of the Midnight Carnival. But another sound followed them long after these had faded, followed them into morning on a strange road - the tiny, dry sound of a spider weeping.' - p. 54,
'He was the color of blood, not the springing blood of the heart but the blood that stirs under an old wound that never really healed. A terrible light poured form him like sweat, and his roar started landslides flowing into one another. His horns were as pale as scars.
For one moment the unicorn faced him, frozen as a wave about to break. Then the light of her horn went out, and she turned and fled. The Red Bull bellowed again, and leaped down after her.
The unicorn had never been afraid of anything. She was immortal, but she could be killed: by a harpy, by a dragon or a chimera, by a stray arrow loosed at a squirrel. But dragons could only kill her - they could never make her forget what she was, or themselves forget that even dead she would still be more beautiful than they. The Red Bull did not know her, and yet she could feel that it was herself he sought, and no white mare. Fear blew her dark then, and she ran away, while the Bull's raging ignorance filled the sky and spilled over into the valley.' - p.133-134,
... and there are countless other examples of simple yet imaginative writing. Truly one of the finest fantasy novels I've read.
There is so much I could talk about regarding 'The Last Unicorn'. It's a deceptively simple story, with memorable and flawed characters, epic themes, symbols, a reconstructing of fairy tale tropes and archetypes, and has an action-packed and bittersweet-but-satisfactory ending. I'll just write what I've learned from reading this beautiful book.
Its themes are self-discovery, self-worth, destiny, pre-destiny, belief, and finding that we are all living in a fairy tale in our own minds and souls. The unicorn gives in to her curiosity and leaves her safe-haven forest to go on a dangerous journey to find others of her kind, and learns that not everyone believes in unicorns anymore. No human has seen one in a long time - times have changed, and stories told by grandparents become myths. No one believes in the unicorn, and she is all alone, at first...
Schmendrick the magician, who saves the unicorn from a witch's imprisonment, is the bumbling ally with a mysterious past. He feels a need to prove himself by working his magic, for better or for worse; magic which he cannot undo when he is not ready. He is a comic relief character who is deeper and wiser than even he knows.
Molly Grue - one of my favourite characters - is a grouchy woman who, deep down, never stopped believing in her girlish dreams and fancies. She is in tears upon laying eyes on the unicorn for the first time. She is very human and vulnerable, but practical and as sympathetic as the other humans the unicorn encounters. I have to add that it's great to see, in a fantasy story, an older woman who is an ally and not a villain. Good subversion.
The old King Haggard of the cursed valley of Hagsgate is unsatisfied with everything in life. He is depressingly bored; a spoiled recluse from his own kingdom, and finds that only unicorns can lift his spent spirits even a little bit, for a little while. He has everything, except a complete soul: He is an example of what greed and getting everything you want can do to a human being.
Haggard has no real love for his son, Prince Lir, who he sees as another case of wasted entertainment in his existence. Lir is not like the king, and will find that life is worth living if you go out and do things for that one special goal that keeps you motivated.
Each character - human or animal - in 'The Last Unicorn' sees unicorns in different ways. Some in awe, some as a means to an end, some as something to protect, or possess, or love and never let disappear from the world. But above all they see themselves in the magical, pale white-horned creatures.
The last unicorn herself is set to be the protagonist, however while she experiences internal and external changes during the course of the story, she unknowingly changes the lives of the other characters. This book is about clinging to belief and the purposes in life; externally it does not have to be a fantasy, but internal goals of varied types of fulfilment are important in any genre. Hence 'The Last Unicorn' is one of the most creative and clever examples of an Epic Fantasy I've happily come across.
There are images and symbols: Snow, the sea, princesses, magicians, pureness, and cats that talk only when they feel like doing so. These elements are scattered throughout the story and work imaginatively in a fantasy. They fit in with the purpose-finding theme. 'The Last Unicorn' is a basic children's fairy tale, but one with enough cleverly thought-out subtext and richness to read to both young and old minds. I could read it loads of times.
As delicate and mysterious as a unicorn, I love this treasure. Now I am interested in the horned horses - in myth and in stories. I am only sorry I did not review it sooner; I might have had more things to talk about and discuss.
A recommended read for those who love and believe in the power of fantasy.
Final Score: 5/5
It is ethereal, and breathtaking, like seeing the whole world anew, from the top of the highest snowy mountain, and looking at the rich rosy horizon at sunset.
'The Last Unicorn' reminds me of snowdrops and sea foam, butterflies and horse hay, moon flowers and willow trees, house cats and brimstone, lovely pastures and dark ruins. One of the greatest fantasy books ever, it is to be read by all ages, throughout all times. A gorgeous fairy tale.
Final Score: 5/5
Original Review:
A mystical, rich, touching, fun, and stunningly-written fairy tale. I admit to having had the film in mind whilst reading this - I couldn't help it, I saw it first - but in prose form, I can say that the book is better.
'The Last Unicorn' contains wonderful passages such as:
'The unicorn lived in a lilac wood, and she lived all alone. She was very old, though she did not know it, and she was no longer the careless color of sea foam, but rather the color of snow falling on a moonlit night.' - p.1,
'The magician crept as close to the unicorn's light as he dared, for beyond it moved hungry shadows, the shadows of the sounds that the harpy made as she destroyed the little there was to destroy of the Midnight Carnival. But another sound followed them long after these had faded, followed them into morning on a strange road - the tiny, dry sound of a spider weeping.' - p. 54,
'He was the color of blood, not the springing blood of the heart but the blood that stirs under an old wound that never really healed. A terrible light poured form him like sweat, and his roar started landslides flowing into one another. His horns were as pale as scars.
For one moment the unicorn faced him, frozen as a wave about to break. Then the light of her horn went out, and she turned and fled. The Red Bull bellowed again, and leaped down after her.
The unicorn had never been afraid of anything. She was immortal, but she could be killed: by a harpy, by a dragon or a chimera, by a stray arrow loosed at a squirrel. But dragons could only kill her - they could never make her forget what she was, or themselves forget that even dead she would still be more beautiful than they. The Red Bull did not know her, and yet she could feel that it was herself he sought, and no white mare. Fear blew her dark then, and she ran away, while the Bull's raging ignorance filled the sky and spilled over into the valley.' - p.133-134,
... and there are countless other examples of simple yet imaginative writing. Truly one of the finest fantasy novels I've read.
There is so much I could talk about regarding 'The Last Unicorn'. It's a deceptively simple story, with memorable and flawed characters, epic themes, symbols, a reconstructing of fairy tale tropes and archetypes, and has an action-packed and bittersweet-but-satisfactory ending. I'll just write what I've learned from reading this beautiful book.
Its themes are self-discovery, self-worth, destiny, pre-destiny, belief, and finding that we are all living in a fairy tale in our own minds and souls. The unicorn gives in to her curiosity and leaves her safe-haven forest to go on a dangerous journey to find others of her kind, and learns that not everyone believes in unicorns anymore. No human has seen one in a long time - times have changed, and stories told by grandparents become myths. No one believes in the unicorn, and she is all alone, at first...
Schmendrick the magician, who saves the unicorn from a witch's imprisonment, is the bumbling ally with a mysterious past. He feels a need to prove himself by working his magic, for better or for worse; magic which he cannot undo when he is not ready. He is a comic relief character who is deeper and wiser than even he knows.
Molly Grue - one of my favourite characters - is a grouchy woman who, deep down, never stopped believing in her girlish dreams and fancies. She is in tears upon laying eyes on the unicorn for the first time. She is very human and vulnerable, but practical and as sympathetic as the other humans the unicorn encounters. I have to add that it's great to see, in a fantasy story, an older woman who is an ally and not a villain. Good subversion.
The old King Haggard of the cursed valley of Hagsgate is unsatisfied with everything in life. He is depressingly bored; a spoiled recluse from his own kingdom, and finds that only unicorns can lift his spent spirits even a little bit, for a little while. He has everything, except a complete soul: He is an example of what greed and getting everything you want can do to a human being.
Haggard has no real love for his son, Prince Lir, who he sees as another case of wasted entertainment in his existence. Lir is not like the king, and will find that life is worth living if you go out and do things for that one special goal that keeps you motivated.
Each character - human or animal - in 'The Last Unicorn' sees unicorns in different ways. Some in awe, some as a means to an end, some as something to protect, or possess, or love and never let disappear from the world. But above all they see themselves in the magical, pale white-horned creatures.
The last unicorn herself is set to be the protagonist, however while she experiences internal and external changes during the course of the story, she unknowingly changes the lives of the other characters. This book is about clinging to belief and the purposes in life; externally it does not have to be a fantasy, but internal goals of varied types of fulfilment are important in any genre. Hence 'The Last Unicorn' is one of the most creative and clever examples of an Epic Fantasy I've happily come across.
There are images and symbols: Snow, the sea, princesses, magicians, pureness, and cats that talk only when they feel like doing so. These elements are scattered throughout the story and work imaginatively in a fantasy. They fit in with the purpose-finding theme. 'The Last Unicorn' is a basic children's fairy tale, but one with enough cleverly thought-out subtext and richness to read to both young and old minds. I could read it loads of times.
As delicate and mysterious as a unicorn, I love this treasure. Now I am interested in the horned horses - in myth and in stories. I am only sorry I did not review it sooner; I might have had more things to talk about and discuss.
A recommended read for those who love and believe in the power of fantasy.
Final Score: 5/5
Book Review - 'Keturah and Lord Death' by Martine Leavitt
2019 EDIT: Rating's changed due to becoming aware of how unhealthy and codependent the main romance in this book is. The heroine gives up everything to be with Death, thus disappearing from her loved ones' lives forever. I don't remember why. What do they even see in each other? They barely know one another, having spent only a few night times together, with Keturah fearing for her life in Death's presence. Then there's the love square, and the annoying obsession the village girls have in wanting to find her "true love". With a man, of course. Tide-By-Rood sure is a bachelor town! Keturah should have stayed single and independent, or been queer; those would have been clever twists on the fairy tale retelling. But she's passive, stupid, and domesticated. I've also grown to really hate romances in YA; I barely tolerate them anymore.
'Keturah and Lord Death' is a weird one, and not in a way that has aged well. Nice writing, though.
Final Score: 3/4
Original Review:
I first wanted to read 'Keturah and Lord Death' because I saw a review that compares the book's writing to that of Laini Taylor's. That and the premise sounded really interesting. A girl who charms Death himself by telling him stories in order to prolong her life? Sounds like a smart heroine for a book set in times during which fairy tales would have been written by man. I'm always game for old tales written from a modern perspective and the like: made even better when the tale itself is original. And since 'The Book Thief', I've been wanting to read another book about Death personified; to see another interpretation of it (and I mean this in the least morbid way possible).
And in the end, after reading through the lovely, memorable prose and characters and themes and symbols, I've come to the conclusion that yes, I enjoyed 'Keturah' very much.
Slight issues to have with it could be explained away; and it all does come down to interpretation of a work of art. After thinking about it, here's what I interpret:
'Keturah' is a romance, through and through. The romance itself has lots of build-up and suspense, with many red herrings along the way (there's not so much a love triangle present as there is a love square). I genuinely wasn't sure who village orphan girl Keturah Reeve was going to end up with, or if she ends up with nobody: that she is better off single and independent. But in a romance novel - a good romance at that - the girl has to decide on her own who is her 'true love' (the author really hammers in that phrase in the book to the point of parody) and what her own thoughts and feelings tell her if she is unsure exactly what she wants. No magical charm or other outside influence can tell her what she truly wants and believes, particularly in a partner in life and death. Love is complicated like that.
As for the theme of the pure, innocent virgin falling for the dark, dangerous man being "moral", I like to think that the author is going deeper into it than past fairy tales have done ('Beauty and the Beast' was originally meant to get girls to accept arranged marriages and men for who they are, or so I've heard).
Keturah herself is not as strong as I would have liked her to be. She is rather meek, and bakes and cooks. But for her time (which remains ambiguous, like a true fairy story) she is passionate, caring, and has dreams and doubts and fears, but never gives up. She has a brain and uses it to her advantage over Lord Death, who falls for her for her imagination and daring bravery over him, and not strictly for her beauty. Keturah is in fact anything but passive, and she helps the people of her village of Tide-by-Rood anyway she can. But she is conscious of its mortality and decay, no matter how much people and places are cleaned up and made to look presentable for kings and queens.
Another thing to note is that Keturah knows she is beautiful - judging by how many men at Tide-by-Rood fancy her, including, typically, a lord's son. She has no low self-esteem. Her grandmother tells her that her storytelling skills will not get her a man, and that her beauty will be enough (plus her cooking) - oh how Keturah proves her wrong! as is shown throughout her story about her survival and the consequences of her own actions.
She even has to prevent a plague from killing everyone she holds dear at home - so the stakes are risen, and do not just involve her love life.
Maybe Lord Death symbolizes the imperfect man, as indeed no man can be perfect. This is shown in the relationship between Gretta and Tailor (there are other romances in 'Keturah', in its different forms). Lord Death is lonely in his existence, and may require a bride to ease that loneliness. He will want Keturah because she tells stories outside of his world, and they may hit closer to home than he would think possible. She fascinates him, and vice versa, in the many complex emotional reactions that can be expressed when facing death. And love; which can be just as frightening in its unpredictability.
And even taking away the love and romance aspect of this book, it is overall a well-written, well-structured story containing many unique magical symbols and motifs - such as the seemingly immortal hart, the eye charm from Soor Lily the witch, and the plague fruit. These are interwoven seamlessly. 'Keturah' has themes of friendship - I adored Gretta and Beatrice - and of accepting people for who they are. Because no one, not even Death personified, is perfect. We are all complex, and a powerful fairy tale can show us that.
And there you go, my thoughts on 'Keturah and Lord Death'. It's a lovely and well-thought out story that would really pass as an old fairy tale; one that isn't too old-fashioned, but Gothic and almost dreamy in its prose and medieval substance. It's filled with dark themes, tension, and the nature of love.
I wish the heroine could have been a bit stronger and more self-aware. But she and the rest of the characters are nonetheless imperfectly beautiful in their own way.
There is magic to be found here. There is magic to be found in love, life and death. To be haunted by this magic is to realize ourselves.
Final Score: 4/5
'Keturah and Lord Death' is a weird one, and not in a way that has aged well. Nice writing, though.
Final Score: 3/4
Original Review:
I first wanted to read 'Keturah and Lord Death' because I saw a review that compares the book's writing to that of Laini Taylor's. That and the premise sounded really interesting. A girl who charms Death himself by telling him stories in order to prolong her life? Sounds like a smart heroine for a book set in times during which fairy tales would have been written by man. I'm always game for old tales written from a modern perspective and the like: made even better when the tale itself is original. And since 'The Book Thief', I've been wanting to read another book about Death personified; to see another interpretation of it (and I mean this in the least morbid way possible).
And in the end, after reading through the lovely, memorable prose and characters and themes and symbols, I've come to the conclusion that yes, I enjoyed 'Keturah' very much.
Slight issues to have with it could be explained away; and it all does come down to interpretation of a work of art. After thinking about it, here's what I interpret:
'Keturah' is a romance, through and through. The romance itself has lots of build-up and suspense, with many red herrings along the way (there's not so much a love triangle present as there is a love square). I genuinely wasn't sure who village orphan girl Keturah Reeve was going to end up with, or if she ends up with nobody: that she is better off single and independent. But in a romance novel - a good romance at that - the girl has to decide on her own who is her 'true love' (the author really hammers in that phrase in the book to the point of parody) and what her own thoughts and feelings tell her if she is unsure exactly what she wants. No magical charm or other outside influence can tell her what she truly wants and believes, particularly in a partner in life and death. Love is complicated like that.
As for the theme of the pure, innocent virgin falling for the dark, dangerous man being "moral", I like to think that the author is going deeper into it than past fairy tales have done ('Beauty and the Beast' was originally meant to get girls to accept arranged marriages and men for who they are, or so I've heard).
Keturah herself is not as strong as I would have liked her to be. She is rather meek, and bakes and cooks. But for her time (which remains ambiguous, like a true fairy story) she is passionate, caring, and has dreams and doubts and fears, but never gives up. She has a brain and uses it to her advantage over Lord Death, who falls for her for her imagination and daring bravery over him, and not strictly for her beauty. Keturah is in fact anything but passive, and she helps the people of her village of Tide-by-Rood anyway she can. But she is conscious of its mortality and decay, no matter how much people and places are cleaned up and made to look presentable for kings and queens.
Another thing to note is that Keturah knows she is beautiful - judging by how many men at Tide-by-Rood fancy her, including, typically, a lord's son. She has no low self-esteem. Her grandmother tells her that her storytelling skills will not get her a man, and that her beauty will be enough (plus her cooking) - oh how Keturah proves her wrong! as is shown throughout her story about her survival and the consequences of her own actions.
She even has to prevent a plague from killing everyone she holds dear at home - so the stakes are risen, and do not just involve her love life.
Maybe Lord Death symbolizes the imperfect man, as indeed no man can be perfect. This is shown in the relationship between Gretta and Tailor (there are other romances in 'Keturah', in its different forms). Lord Death is lonely in his existence, and may require a bride to ease that loneliness. He will want Keturah because she tells stories outside of his world, and they may hit closer to home than he would think possible. She fascinates him, and vice versa, in the many complex emotional reactions that can be expressed when facing death. And love; which can be just as frightening in its unpredictability.
And even taking away the love and romance aspect of this book, it is overall a well-written, well-structured story containing many unique magical symbols and motifs - such as the seemingly immortal hart, the eye charm from Soor Lily the witch, and the plague fruit. These are interwoven seamlessly. 'Keturah' has themes of friendship - I adored Gretta and Beatrice - and of accepting people for who they are. Because no one, not even Death personified, is perfect. We are all complex, and a powerful fairy tale can show us that.
And there you go, my thoughts on 'Keturah and Lord Death'. It's a lovely and well-thought out story that would really pass as an old fairy tale; one that isn't too old-fashioned, but Gothic and almost dreamy in its prose and medieval substance. It's filled with dark themes, tension, and the nature of love.
I wish the heroine could have been a bit stronger and more self-aware. But she and the rest of the characters are nonetheless imperfectly beautiful in their own way.
There is magic to be found here. There is magic to be found in love, life and death. To be haunted by this magic is to realize ourselves.
Final Score: 4/5
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