I tend to love dystopian and post-apocalyptic stuff. I don’t think it’s because I’m a worst-case-scenario kind of person, it’s that I love the ingenuity and creativeness with which the author has created the world, and also the way the characters rise (or don’t) to the occasion.
I picked up The Rule of Three, by Eric Walters, with the expectation of enjoying it, and I did…to a certain extent. The initial premise, which is basically the end of technology, was a familiar one (although the obvious conclusion—electro-magnetic pulse—is never mentioned). Suddenly, everything dies—computers, cell phones, electricity, all late-model cars run by computer—and all anyone can think of is to return to their homes to regroup, check on their families, and figure out what will happen next.
The apocalypse is set in present day, with the disaster happening now, to people like us, and it’s done plausibly, making it relateable. But…there are some major flaws.
The book is set in a suburban community with a small police force, and the protagonist’s mother is the police chief. Next door to Adam and his mother and siblings lives a somewhat mysterious retired guy, Herb, who quickly becomes the driving force behind finding and keeping security and promoting survival in their immediate neighborhood of about 1600 people. Herb’s extensive life experience in international covert operations (we assume he was CIA) makes him the oracle, and Adam is his willing disciple.
The good thing about this novel is the way it lays out the likely progression from unease to panic to lawlessness in the event of a catastrophe so overwhelming. The bad thing about it is that it does so with much less sense of drama and suspense than it should. In some cases it feels more like a survivalist handbook than a story. There are a lot of ingenious ideas and solutions to problems that would naturally arise from such a situation, but they are revealed without impact, as if anybody could think of them. Obviously the writer has done his research, but the delivery is too matter-of-fact for
this kind of story.
Each time a challenge arises, whether it’s looters at the grocery store, a valuable tanker full of gasoline that needs protecting, or bigger decisions about how to bring the community together, Herb has an answer. He is depicted as the chess master, always eight steps ahead, and the police chief and everyone else—including the supposedly “bad” people—are content to follow his lead once he speaks up in his soft and reasonable voice and simply explains the facts. Dissenters are rapidly brought around to his point of view.
The idea that people would respond positively to a person with natural leadership qualities isn’t surprising; but the supposition that this one man has all the answers, has plotted out the logical progression, and rises to meet every occasion and deflect the worst that could happen is a little god-like. Not to mention the fact that his basement might as well contain a lamp with a subservient genie in it, bringing upstairs all good things—canned food, hand grenades—in the nick of time.
Large parts of the book are obviously written for teens, giving Adam’s inner thoughts about his friends, the girl he likes, his worries about his missing dad (he’s a pilot, stranded by the emergency in Chicago—they all hope). But there is a lack of spontaneity in the writing that causes Adam to come across as stiff and awkward and makes the scenes of friendship and love unexciting in the same way that the serial problems are solved too easily.
For me, the best part about the book was Adam’s love of flight and his adventures piloting his ultralight in pursuit of information for the community. I probably enjoyed that so much because in my 20s I was a typesetter for three aviation magazines, including one exclusively about ultralights, so I recognized a lot of the jargon and enjoyed the depiction of soaring over the countryside in what is basically a glorified lawnmower with seats and wings. (In all the time I worked for the aviation mags, I was never persuaded into the air in one of the homebuilt aircraft they featured.) But these scenes were not enough to redeem the rest of the tale from its somewhat wooden tone.
This is a three-part story, with the first book ending after one big challenge to the community’s autonomy, with the promise of fallout to be revealed in the next book. I will probably read book #2, just for closure, but I’m not sure I’ll stick it out through a third one, and if I had read a few of the reviews on Goodreads I might not have gotten involved with book #1 in the first place. I appreciated the chapter appended at the end with the details of what one should have on hand to survive such an eventuality more than I did the book preceding it.
If this sounds like the kind of book you might enjoy, my recommendation would be to instead seek out an oldie but goodie, Pat Frank’s Alas Babylon, for a similar story with a lot more human interest and a starkly realistic resolution to replace the somewhat pat answers offered by this one. You would also appreciate Lucifer’s Hammer, by Larry Niven and Jerry Pournelle, 629 pages of disaster-driven excitement.
Finally—a suspenseful story that I actually enjoyed! Take Me With You, by Tara Altebrando, is a combination of science fiction and suspense…although the science fiction is so close to reality that you could drop that out of the description with some justification. When I say that the events of this book could be “near future,” I’m talking weeks or months,
Four teenagers who attend the same school but barely know one another—Eli, Marwan, Eden, and Ilanka—are all summoned via the school’s messaging app to report to the music teacher after school about “an important matter.” When they arrive, there’s no sign of the teacher, and after waiting for a while, they think it must have been a mistake and prepare to leave. But there is a small black cube sitting on one of the desks, and as they talk it over, its sides light up with messages:
They all agree that it’s weird, and the best thing might be to walk away, and then…
“TAKE ME WITH YOU…OR ELSE” appears on the cube, immediately followed by a fire alarm going off. As they evacuate, Eden grabs the cube and shoves it into her backpack, setting in motion a bizarre interval in all their lives as the instructions from the cube grow more arbitrary and more adamant and they all scramble to meet its demands. When one of them decides to disobey, there are scary consequences that make them all wonder how this is going to end.
The thing I think I liked the most about this book was that the characters, although invested in this mystery, were multi-dimensional (and multi-cultural, by the way) and had a lot more going on in each of their lives, so that the advent of the cube was mostly an irritant and an inconvenience (at least at first) rather than the main thing on which they were all focused. Too many YA books are mono-focused, and unless it’s very well done, it gets monotonous. But in this book, which takes on the topics of stereotyping, anxiety, grief, and racism, Eden has boy problems and family issues, Marwan and his family (and their restaurant) are experiencing xenophobia for being Egyptian, Eli is a gamer who is more comfortable in his created world than in the real one, and Ilanka is busy figuring out priorities, trying to decide whether it is more important to her to be accomplished or to be happy. So interaction with the cube either accentuates their dilemmas or brings up new ones to distract them, and becomes a part of the story rather than the whole. It also brings them together as a unit as a result of outward motivation rather than choice, which shows all of them how little they knew the people around them and how, if they paid attention, they might find previously unrecognized value in their classmates.
As for the cube itself…a fairly classic story of artificial intelligence gone wrong, but with the advantage that it’s something that could actually happen. Consider all the data collection, spying, and hacking that is already going on in the world. Then think about Alexa, already able to a degree to self-program, by learning from repeated experiences and providing what you want or need in your home or car. Now give her a little boost, so she is aware enough to become curious about human interactions and to experiment with your reality by trying out things you haven’t requested or approved, with little critical judgment about what is trivial and what is potentially catastrophic. Now you have the propelling idea.
The story, which is presented from the teens’ multiple viewpoints (mostly according to who is currently in possession of the device), is a compelling page-turner. I wanted to know what would happen to the characters, and I also wanted to know the origins and rationale behind the device and why it was presented to these four, at this time, and for what reason(s).
The whole tale definitely makes you think about the various uses of technology, and how vulnerable we are when we allow its intrusion too far into our lives. It’s time to wake up and make the hard choices about tech: whether to surrender to it, tame it and keep it on a tight leash, or banish it in the name of autonomy. This could be a great book for a group discussion in a book club. Pair this with Cory Doctorow’s For the Win to expand your ideas on this topic.
As do many, I love a good twin story. I’ve always been fascinated by the idea of being a twin, probably because I’m an only child and so have never had a sibling, period. The idea of having one who looked just like me has appealed ever since childhood days with the dual incentives of the 1961 version of The Parent Trap, starring Hayley Mills, released when I was an impressionable nine-year-old and, two years later, the advent of The Patty Duke Show (in which American Patty has a British cousin, Cathy, who looks just like her, and can pass if she can manage the accent).
In the YA novel The Secrets We Keep, by Trisha Leaver, there is a lot happening on top of the two protagonists being twins. Ella and Maddy are in their senior year and, although they were inseparable and likeminded up through middle school, in high school there came a parting of the ways. Maddy somehow managed to ascend almost instantly to the heights of popularity, including being both a star athlete and the girlfriend of the prom king, while Ella, more independent and less outwardly motivated, got over her initial hurt at Maddy leaving her on the sidelines, made one close friend in Josh, and focused on scholastic achievement and art. She and Josh have plans after high school that include the Rhode Island School of Design, while Maddy seems wholly taken up with the high school experience. And although each girl has chosen the path that seems right for her, there can’t help but be some bad feelings between them as a result of those choices. Ella feels simultaneously excluded and put-upon, as Maddy avoids her most of the time but still relies on Ella to bail her out by lying to their parents and even taking an occasional Spanish test for her so Maddy doesn’t flunk out. Maddy, on the other hand, doesn’t understand why Ella won’t make an effort with her appearance and her social status, and feels like Ella is judging her when Maddy prioritizes the frivolous over the serious. Ella is tired of being “the sensible one” to their parents while Maddy gets to be carefree and irresponsible, while Maddy resents Ella’s good standing.
All of this comes to a head one rainy night when Maddy calls Ella in the wee hours to come fetch her from a party. Ella grudgingly goes, but the two get into a fight on the way home that ends in catastrophe when Ella jerks the wheel in irritation and the car hydroplanes into a tree. Ella wakes up two days later in the hospital; not only does she not remember the accident, but she also doesn’t remember who she is. There is a boy in her room, however, who seems familiar to her and keeps calling her Maddy, so she assumes that’s her name. It’s only a day later, after her parents and friends follow Maddy’s boyfriend’s lead in believing that she is Maddy that she realizes everyone has made a mistake and she is actually Ella. When she discovers Maddy is dead and that the last words they shared were hateful, Ella is overwhelmed by guilt and grief. She also sees how glad her parents are that she is alive, and jumps to the conclusion that they would prefer Maddy to Ella if they had to pick a sole survivor. In this confused and heartbroken state of mind, Ella decides that Maddy deserves to have the life she wanted and therefore, Ella will give it to her by becoming her.
This is where the whole thing began to break down for me. I could understand the mistaken identity thing and the survivor being reluctant to reveal she wasn’t who everyone thought she was, especially given that she assumes they would all have preferred her sister to herself. What I couldn’t fathom was Ella believing that it would make any difference to anyone but her whether she continued life as Maddy. She certainly can’t make anything up to Maddy; Maddy is dead. And whether or not her belief is true that everyone would have preferred that Maddy be the survivor, the idea that she can pull this off is laughable.
First of all, her sister is co-captain of the soccer team, up for a scholarship to college. Ella doesn’t play soccer. Second, she’s been with her boyfriend, Alex, for more than two years, and they have been having sex during all of that time. Ella is a virgin. Third…oh hell, there is no third. Maddy is dead! You can’t change that. You can’t be her. Get over it.
I guess it’s possible that grief could drive someone to these ridiculous lengths for a day or two, but…weeks? Weeks of pretending to be dumber than you are (Ella was in all Honors classes while Maddy is barely passing), less artistic (Maddy doesn’t draw), more fashionable (Ella hasn’t got a clue and resorts to old photos of Maddy to put outfits together), and reluctant to even exchange a kiss with your steady boyfriend of two years? Weeks of letting your parents believe this lie? Weeks of betraying your best friend by pretending not to know him? All in the goal of “giving Maddy a life”? C’mon.
Then there’s the whole sub-plot when Ella finds out that Maddy did something really bad and wants to put it right but doesn’t want to give herself away. The whole thing was so anti-climactic it might as well not have been included.
I guess I’m just on a roll for picking out suspense novels with implausible plots this week. There are a lot better books about twins out there, too, from the Bobbsey Twins to The Man in the Iron Mask! Or hey, go watch one of the two versions of The Parent Trap, 1961 or 1998: Deception is minor, hijinks ensue, true love wins, the end. Much the better choice.
So, on the Facebook page “What Should I Read Next?” a lot of people have been touting the book The Midnight Library, by Matt Haig, as a really good read. I took note because, as you know if you read this blog, I love books about books and reading, plus I’m a former librarian. Also, the description sounded intriguing! So the next time I had a break in my reading schedule, I remembered that there was a book about books that I wanted to read, and…I somehow ended up with The Left-Handed Booksellers of London, by Garth Nix.
It’s on my Kindle, which The Midnight Library is not; but I’m pretty sure that I have a physical copy of that book floating around my house somewhere (although I may have confused it with The Librarian of Auschwitz, which is definitely in my living room pile), so I will get to it. But in the meantime…Garth Nix!
I have several friends who are huge fans of Garth Nix, particularly of his Abhorsen series that begins with the book Sabriel, and also the series containing The Keys to the Kingdom. I have picked up the book Sabriel several times meaning to read it, and then put it down again, because the whole necromancy theme doesn’t, in general, appeal to me. But people whose reading tastes I trust have consistently raved about him, so last year I purchased his YA book Newt’s Emerald as a remainder from Book Outlet. The description roped me in because Nix said he was inspired to write this historical fiction based in Regency England by one of my absolute faves, Georgette Heyer. And he got all the details right, plus he added magical elements, but…there are some books that—no matter how much you enjoy them in the moment—are just not memorable. There was absolutely nothing wrong with the book, but the things that were right with it were not quite enough. I liked it, it was cute, it was mildly entertaining, and…that’s it. So I wasn’t sure, when I started Left-Handed Booksellers, of what my experience would be.
I can definitely say that I liked it much better than I did Newt’s Emerald. There were several things that made it instantly appealing. First, it’s a “quest” book. The protagonist, Susan, is enrolled in art school for the fall semester in London, but decides to come a few months early, for several reasons: She wants to scope out her new surroundings, having visited London before but never lived there; she wants to try to pick up some work waitressing in a café to put some extra spending money by for the school year; and, last but not least, she wants to find her father. Her mother, an exceedingly vague lady whose manner most assume is the result of an excessive intake of drugs during the 1960s, has never told her who her father is, and in fact Susan isn’t positive Jassmine even knows for sure. But Susan, with a keen desire to find out, has written down a list of men her mother has mentioned over the years, and has collected a few artifacts that might be related to him in some way, and she is fully prepared to play detective.
Unfortunately, her first research foray is not only unsuccessful, but lands her in the middle of a situation with which she is not prepared to cope. The first man on her list was a vaguely gangsterish fellow named Frank Thringley, who used to send her a birthday card every year, but before she can question him, he is turned to dust by an exceedingly handsome young man wearing a glove on his left hand like Michael Jackson. Merlin turns out to be a left-handed bookseller, and explains to Susan that along with the right-handed ones, he is part of an extended family of magical beings who police the mythic and legendary Old World when it intrudes on the modern world, in addition to running several bookshops. This is the second thing that makes the book appealing: It is full of beguiling concepts and characters that all hang together to make a plausible, if not entirely logical, alternate London, offering constant surprises as you continue to read.
Susan has drawn unwanted attention from the wrong people, both human and otherworldly, with her mere presence at the death of Thringley, and discovers that her best bet is to stick with Merlin and his sister, the right-handed Vivien, to gain some protection and some aid from the booksellers, while trying to find her father and, incidentally, helping the siblings with a quest of their own.
Although the main and two subsidiary protagonists in this tale are all around 18 years of age, I would not necessarily characterize this book as Young Adult, although I’m sure it would appeal to any teenager who likes fantasy. But I think it would equally appeal to any person who likes fantasy, regardless of age. It’s briskly paced and intelligently written, and immediately engages you in the story, which is full of fanciful descriptions of all the old-world denizens. There are lots of adventures, mysteries, and surprises contained within its pages, and it comes to a satisfying conclusion while leaving the door open for more possible stories about the booksellers of London, which I, for one, would welcome.
I don’t know how it stacks up to Sabriel, but based on my enjoyment of this book, I may decide it’s worth my while to find out someday.
I don’t know if anyone is dying for a reprise of my favorite books of 2020. Since I am such an eclectic reader, I don’t always read the new stuff, or the popular stuff. Sometimes I discover something popular three years after everyone else already read it, as I did The Hate U Give this past January (it was released in 2017). Sometimes I find things that no one else has read that are unbelievably good, and I feel vindicated by my weird reading patterns when I am able to share it on my blog. But mostly I just read whatever takes my fancy, whenever it comes up and from whatever source, and readers of the blog have to put up with it.
Anyway, I thought I would do a short summary here of my favorite reads for the year, and since they are somewhat evenly populated between Young Adult and Adult books, I will divvy them up
YOUNG ADULT DISCOVERIES
Fantasy dominated here, as it commonly does, both because fantasy is big in YA and because I am a big fantasy fan. I discovered a stand-alone and two duologies this year, which was a nice break from the usual trilogy and I think worked better for the authors as well (so often the middle book is weak and the last book is rushed in those cases).
The first was The Hazel Wood and The Night Country, by Melissa Albert, and although I characterized them as fantasy, they are truthfully much closer to fairy tale. I say that advisedly with the caveat that this is not the determinedly nice Disney fairy tale, but a real, slightly horrifying portal story to a place that you may not, in the end, wish to visit! Both the story and the language are fantastic, in all senses of the word.
The stand-alone was Spinning Silver, by Naomi Novik. The book borrows a couple of basic concepts from “Rumpelstiltskin,” turns them completely on their heads, and goes on with a story nothing like that mean little tale. There are actual faerie in this book, but they have more to do with the fey creatures of Celtic lore than with any prosaic fairy godmother. It is a beautifully complex, character-driven story about agency, empathy, self-determination, and family that held my attention from beginning to end.
The second duology was The Merciful Crow and The Faithless Hawk, by Margaret Owen, and these were true fantasy, with complex world-building (formal castes in society, each of which has its own magical properties), and a protagonist from the bottom-most caste. It’s a compelling adventure featuring good against evil, hunters and hunted, choices, chance, and character. Don’t let the fact that it’s billed as YA stop you from reading it—anyone who likes a good saga should do so!
I also discovered a bunch of YA mainstream/realistic fiction written by an author I previously knew only for her fantasy. Brigid Kemmerer has published three books based on the fairy tale “Beauty and the Beast” (and they are well done), but the books of hers I fell for this year were about typical teenagers with problems that needed to be solved and love lives that needed to be resolved. My favorite of the four was Letters to the Lost, but I also greatly enjoyed More Than We Can Tell, Thicker Than Water, and Call it What You Want.
These were my five-star Young Adult books for 2020.
As YA selections were dominated by a particular genre, so were my books in Adult fiction, almost all of them falling in the mystery section. But before I give you that list, I will finish up with fairy tale by lauding an original adult story that engaged me from the first page and has stuck with me all year: Once Upon A River, by Diane Setterfield. The fairy tale quality is palpable but the archetypal nature of fairy tales doesn’t dominate the story, which is individual and unique. It is the story of three children and the impact of their disappearances (and possible reappearance) on the people close to them, as well as on the inhabitants of one small town beside the river Thames who are caught up by chance in the events that restore a child to life. But the story encompasses more than her fate: It gives extraordinary insight into the issues of life and death—how much they are worth, how they arrive, how they depart, and what is the best way to pursue them.
Another book I encountered in 2020 that didn’t fall into the mystery genre or belong to a series was the fascinating She Rides Shotgun, by Jordan Harper. This was a short, powerful book by a first-time author, a coming of age story set down in the middle of a dark thriller that bowled me over with its contradictory combination of evil deeds and poignant moments.
And the last stand-alone mainstream fiction novel I enjoyed enough to bestow five stars was Just Life, by Neil Abramson. The story showcases the eternal battle between fear and compassion, and involves a deadly virus and a dog shelter in a fast-paced, gripping narrative that takes over the lives of four people. It made me cry, three times.
Most of the mysteries I enjoyed this year came from a “stable” of staple authors I have developed over the decades and upon whom I rely for at least one good read per year. The first is Louise Penny, whose offering All the Devils Are Here in the ongoing Armand Gamache series is nuanced, perplexing, and utterly enjoyable, all the more so for being extracted from the usual Three Pines venue and transported to the magical city of Paris.
Sharon J. Bolton is a reliable source of both mystery and suspense, and she didn’t disappoint with The Split, a quirky story that takes place over the course of six weeks, in stuffy Cambridge, England, and remote Antarctica. Its main character, a glaciologist (she studies glaciers, and yes, it’s a thing) is in peril, and will go to the ends of the earth to escape it…but so, too, will her stalker, it seems. The Split is a twisty thriller abounding in misdirection, and definitely lives up to Bolton’s previous offerings.
Troubled Blood, by “Robert Galbraith,” aka J. K. Rowling, is my most recent favorite read, and is #5 in that author’s series about London private detective Cormoran Strike and his business partner, Robin Ellacott. It’s a police procedural with a lot of detail in service of both the mystery and the protagonists’ private lives, it’s 944 pages long, and I enjoyed every page.
Finally, this year i discovered two series that are new to me, completely different from one another but equally enjoyable.
The first is the Detective Constable Cat Kinsella series by Caz Frear, which currently encompasses three books. I read the first two earlier in the year and promptly put in a reserve at the library on the third (which had yet to be published at the time), and Shed No Tears just hit my Kindle a couple of days ago. They remind me a bit of Tana French, although not with the plethora of detail, and a bit of the abovementioned Sharon Bolton’s mystery series starring Lacey Flint. Cat is a nicely conflicted police officer who comes from a dodgy background and has to work hard to keep her personal and professional lives from impinging one upon the other, particularly when details of a case threaten to overlap the two. I anticipate continuing with this series of novels as quickly as Frear can turn them out.
The second, which is a mash-up of several genres, is Charlaine Harris’s new offering starring the body-guard/assassin Gunnie Rose. I read the first two books—An Easy Death and A Longer Fall—this year, and am eagerly anticipating #3, coming sometime in 2021 but not soon enough. The best description I can make of this series is a dystopian alternate history mystery with magic. If this leads you to want to know more, read my review, here.
These are the adult books I awarded five stars during 2020.
I hope you have enjoyed this survey of my year’s worth of best books. I am always happy to hear from any of you, and would love to know what you found most compelling this year. I think we all did a little extra reading as a result of more isolation than usual, and what better than to share our bounty with others?
Please comment, here or on Facebook, at https://www.facebook.com/thebookadept. Thanks for following my blog this year.
I previously enthused here about The Merciful Crow, by Margaret Owen, and mentioned how excited I was to move on to the sequel, The Faithless Hawk. I picked that book up this week, and right away discovered two things I liked about it:
- It continued to be timely, in the same weird way as was the first book, as far as its association with current events is concerned;
- Although I had thought (I think because of the title of #2, which didn’t seem to indicate finality) that this was going to be a trilogy, it turned out to be a duology, complete in two books. I wouldn’t have minded reading more about these characters, but the second book was as tightly and dramatically written as the first, and you couldn’t ask for a better wrap-up. Since so many times a trilogy turns out to have either a weak second book or a rushed-to-be-completed third one, I was satisfied and happy with the arc of this two-book story.
The second book picks up about a month after the first one left off; Fie’s troop of Crows are still on the road, and they’re taking her Pa to a Crow way station, which is the equivalent of retirement. He will live there and provide safety and supplies for all Crow troops who seek sanctuary. While at his designated way station, Fie meets with an enigmatic caretaker who is supposed to be the contemporary stand-in for the mythical god “Little Witness.” But to Fie’s surprise, awe, and unease, the person she meets is the actual Little Witness, and she hints things to Fie about her past and her future that are truly disquieting. One of them is that Fie has not yet fulfilled her contract with the Covenant, which she thought she had met by saving Prince Jasimir and bringing him to the General who is keeping him safe while championing his cause. But apparently Fie’s indebtedness to the Covenant goes back many lifetimes and is, in fact, the reason why the Crows roam friendless on the roads.
Just when Fie is absorbing all of this, she and her troop learn of the death of the king, Surimir, by Plague, and they decide to make their way to the Prince, who is with General Draga and her son Tavin, Fie’s love (and the Hawk of the title). A short time after they reunite, however, they are all thrown into dismay and confusion by the machinations of Queen Rhusana, who will do anything to ascend the throne. Once again Fie realizes that the fate of the kingdom may rest on her unready but stubborn shoulders.
In The Merciful Crow, the focus was much more on the journey (both physical and metaphorical) made by Prince Jasimir, Fie, and Tavin, discovering more about the current situation of the kingdom and about each other, and specifically cultivating the romance between Tavin and Fie. By comparison, The Faithless Hawk focuses on a bigger picture: the system of magic, the history of the various castes’ birthrights, and politics in general. This book really fleshed out the world-building, but it didn’t neglect its characters; we also get to learn more about Fie and start to fathom why she is such a central character to this conflict.
The content I mentioned at the top of this review—about its being timely and in synch with current events—has to do with the examination of the entire system of governance, caste, and society. One character remarks,
“We made a society where the monarchs could ignore the suffering of their people because it was nothing but an inconvenience, and we punished those who used their position to speak out.”
I don’t want to give away the entire plot here, but a seminal part of this story is how the characters come to realize that if this world is going to work for everyone, simply substituting a new ruler at the pinnacle of the government probably won’t serve. The rules and systems need to be examined, and must adapt, change, or be abolished in order to make things safe for all people going forward. In The Faithless Hawk, it takes the predations of an unexpectedly corrupt ruler and the threat of a worldwide plague to make that plain.
Some trigger warnings about this duology: There are seriously gory, disgusting scenes with realistic and thorough descriptions of what has occurred; and the use of teeth in their form of magic/wizardry is creepy/troubling (especially to those of us with dental anxiety to begin with). But the books are well worth a few squeamish moments for their powerful portrayals. I hope this immersive fantasy gets the attention
Best friends Colby and Bev made up their minds in middle school that they were not going to be ordinary, were not going to do what everyone else does after high school—go to college, especially as a default. They may go to college someday, maybe even in a year, but in between, they want to have an adventure. They have been saving their money since they were 14, and are all set to spend some time with Colby’s mother in Paris (she’s there taking an immersion French class), and then go to Amsterdam, see a whole archipelago of islands and…who knows what else? The year is before them, and it’s up to them to choose. All their classmates are in awe of their plan, including sisters Meg and Alexa, the other two members with Bev in an enthusiastic (if not terribly good) girl band called The Disenchantments. The plan is: Graduate, spend a week on the road doing gigs with the band in small towns between San Francisco and Portland, drop Meg at her college there, take Alexa (who is a year younger and won’t graduate until next year) back home to San Francisco, and fly.
Imagine, therefore, how Colby feels when he pulls up in his uncle’s VW van to pick up the girls for their road trip, mentions to Bev (for the third time) that they really need to buy their plane tickets, and Bev blurts out that she has been accepted to the Rhode Island School of Design and isn’t going with him to Europe. She tries to play it off like a last-minute exciting chance that she got accepted…but we all know (as does Colby) that to get into a college you have to apply, to send transcripts and letters of recommendation and (for a prestigious art school) put together a portfolio. So this wasn’t exactly spontaneous, and yet Bev has gone along with him for months, supposedly sharing his enthusiasm for reading travel guides, making note of cool restaurants and must-see museums, and lying the whole time. And now they are shut up in a van together for a week, and Bev won’t talk or tell him why. It doesn’t help, of course, that Colby cherishes unrequited love for Bev.
This all sounds like a set-up for a slog through romantic teen angst, but it doesn’t turn out that way, not for the most part. For one thing, the chemistry between the four of them, the adventures they have while playing their gigs, and the good intentions of all involved—despite bad behavior—save the story from the utter mawkishness that it could have become. While relationships are important to the story, they encompass more than the romantic—we see the connections with family, friends, strangers that turned into friends, and strangers encountered once and left behind, and the book features some real moments with all of those.
The book was more of a quest for understanding and purpose, with Colby pondering his options for the next year. At that age, making a choice seems so definite and so daunting, but with Bev’s defection he is forced to realize that it’s really all up to him. Nina LaCour has set up a story that deals kindly and imaginatively with beginnings and endings, and captures both the intensity and uncertainty of teens on the cusp of adulthood.
It’s also a fun catalog of music preferences amongst the four, and the story of what it’s like to play your music in questionable venues you booked sight unseen, as well as a separate small quest to find out the origins of a tattoo—all of which lightens the mood from what could have been a fatally serious story.
I wish that whoever designed the cover had paid a little more attention. Some of the details of the four teens are right, and some are dead wrong, and it would have been so simple to dress them appropriately for this cover shoot so you could have teenagers say “Wow, that looks just like them!” The descriptions were vivid—why not go with them?
In terms of age group, I would say 15 and up.
Did I mention that I can’t resist a book with ravens, crows, or other corvids? Or a book that features an artist or painter? I found one that incorporates both, and bought it mostly based on its title and cover: An Enchantment of Ravens, by Margaret Rogerson.
The story in brief: Isobel is a portrait painter who lives in Whimsy, a town outside of time (it’s always summer there, the seasons never change) because it is adjacent to Faerie and the “fair folk” like to wander the town in their avid pursuit of what they call “Craft,” which is anything creative made by human hands. Faerie don’t “do” Craft—in fact, if they take up a pen, a brush, a sewing needle, they crumble to dust. So they are eternally fascinated by its expression, and will pay in valuable enchantments.
Although she has made many portraits of and for the fair folk, Isobel’s most esteemed patron is Gadfly, who seems particularly smitten with himself and for whom she has painted multiple pictures. One day Gadfly tells her he has recommended her to Rook, the autumn king, who wishes a portrait. This flusters Isobel, because of his rank and because he hasn’t been seen in a hundred years. But he turns out not to be so intimidating (although definitely self-regarding), and while painting him, Isobel and he develop an affinity for one another, although it is far stronger on Rook’s part than it is on Isobel’s. She knows better than to fall in love with a member of the fair folk—that would be to break the “Good Law,” and there are two choices after the law is broken: Death to both faerie and human, or the human drinks from the Green Well and becomes a faerie herself. Since she desires neither, she protects her heart and remains wary.
As she paints Rook’s portrait, however, she struggles for the first time with a likeness, and when she finally solves the problem, she has inadvertently painted human sorrow in the eyes of the autumn king. He is so incensed by this that he drags her off to his court to stand trial for this crime, and that’s the beginning of their adventure together.
I enjoyed reading the first part of this story quite a bit: The details of the painting were realistically rendered, and the banter between Isobel and her clients was entertaining, as were her behind-the-scenes thoughts and her back story. I gave a big sigh as I continued, however, because I thought to myself, This is going to turn into a typical mushy YA romance—they will probably fall in love and it will end disappointingly.
I was pleased and relieved to discover myself mistaken: Isobel has a lot more to her than do most YA heroines, and she sees her adventure with Rook as a task to endure and complete with the goal of getting back to her foster mother, Emma, and her twin “sisters,” March and May (they were formerly goat kids, turned into girls by a drunken fair one and adopted by Emma and Isabel). It is her stubborn resolution that saves her (and sometimes Rook) from misadventure for a good part of the book.
I won’t reveal more of the story; I will only say that while parts were predictable fairy tale trope, most of it is fresh and not typical. See for yourself—it’s not a long read, and I found it entertaining.
If you like it, you might also enjoy The Bride’s Farewell, by Meg Rosoff; Far, Far Away, by Tom McNeal; or Reckless, by Cornelia Funke, all of which are different from one another but share the quality of quirky original fairy tale with An Enchantment of Ravens.