Category / Novels

by booksoverlookedblog

Indie Review: OMG UR a Teenager!

I’m a Reedsy Discovery reviewer! I received a free ARC of OMG UR a Teenager! by Leslie Young for this review.

⭐⭐⭐⭐

Twelve-year-old Kat Cruz can’t wait for her next birthday. Before she can become a teenager, though, she’ll have to make it through seventh grade. The year starts off rough when her parents buy the most run-down house in the neighborhood, and a bully snaps a picture of Kat in front of her new house. She’s constantly stuck babysitting her younger brother, who thinks he’s a superhero. Kat’s editorials in the school newspaper make a splash, but not always in a good way. She’s also crushing on her new neighbor, Will, despite the fact that his mom doesn’t seem to like her. With new challenges every day, will Kat make it to her thirteenth birthday in one piece? 

OMG UR a Teenager by Leslie Young is a contemporary slice-of-life novel full of clear, crisp writing that makes it easy for young readers to get into the story. The relatability will keep them invested throughout the book. Kat experiences things that many kids going through pre-adolescence face: bullying, the excitement and mortification of buying your first bra, and changing family dynamics. Most of all, she wants to be seen as the mature nearly-teen she is, not a child and permanent babysitter for her little brother, Max. Tween readers will understand exactly how she feels, and adults will easily recall both the joys and pains of middle school.

Kat’s family dynamic is true to life as well, with well-intentioned parents who don’t understand their daughter’s point of view, an annoying little brother that Kat loves (even if she wants to kill him sometimes), and her vivacious grandmother whose Alzheimer’s puts extra strain on the family. Kat’s and Max’s relationship is developed particularly well, showing their closeness (especially in the climax), even if they don’t always get along. However, Gran’s storyline wasn’t as well-developed, making her inclusion in the book feel unnecessary.

At times the story can feel disjointed, such as an abrupt cut from summer to Halloween. Like Gran’s story, some plot points are dropped without a conclusion. Kat’s narration is also, at times, too mature to be realistic for a twelve-year-old. While adult readers might have to stretch their suspension of disbelief at some of Kat’s inner monologues, tween readers may find her insights useful in their own lives.

Overall, OMG UR a Teenager is a warm-hearted, relatable story for tweens, and anyone who’s ever been one.

by booksoverlookedblog

Indie Review: Hounds of Gaia

I’m a Reedsy Discovery reviewer! I received a free ARC of Hounds of Gaia by Sean Tirman for this review.

⭐⭐⭐

Home to notorious criminals fleeing justice, the asteroid Deadwood was never a safe place. But something far deadlier lurks just under the surface of the mining colony. Something brutal and merciless, that leaves only death and gore in its wake. The Contractor Foxhound doesn’t know that. She’s only here to catch a human trafficker called Fink, and get back to Earth to collect the bounty on his head. Neither does Sister Penelope, a nurturing and peace-loving woman striving to protect the forgotten children of Deadwood. Foxhound’s, Fink’s, and Penelope’s lives collide with devastating results, but the real danger is closer to them than they think.

Hounds of Gaia starts with a bang, steadily building up the horror of the tunnels underneath Deadwood. The action-packed prologue is sure to keep readers turning pages.

The worldbuilding is extremely detailed, which works well in the first few chapters of the book. It’s interesting and immersive, and makes the reader more interested in the setting. Yet as the story unfolds, the exposition becomes clunky and often unnecessary. These information dumps bring the action of the story to a shrieking halt, and sometimes repeat information that the reader already knows. It also took away some of the mystery about Foxhound’s identity. Most readers will be able to figure out where she comes from long before it’s ever revealed.

The uninterrupted action sequences themselves are excellent. Thrilling chases through seedy neighborhoods, criminals hopped up on elicit drugs, futuristic weapons, and bouts with some truly evil villains will keep readers on the edge of their seats.

While the setting is given great depth, the heroes are not. The three protagonists – Foxhound, Penelope, and a girl with no name – all suffer from thin characterization. Foxhound is a tough woman with a job to do; Penelope is a kind woman who cares deeply about the children in her care; the girl is an innocent child. Those are their character traits, and not much else. As this is the start of a series, however, there is plenty of room for character growth and development in coming books.

On the antagonist side of things, Fink and his criminal associates are utter delights whenever they appear. They revel in their villainy, which is really fun to read. Like the other characters, they aren’t fully fleshed out, but given their role in the story (and how fun they are), they don’t need to be.

Overall, Hounds of Gaia has a lot of potential for a sci-fi series. Sci-fi fans who enjoy plot-driven stories and detailed worldbuilding will enjoy this book, and the ending will keep readers curious for the next volume.

by booksoverlookedblog

Indie Review: Curse of the Terracotta Warriors

I’m a Reedsy Discovery reviewer! I received a free ARC of Curse of the Terracotta Warriors by Mark Douglas for this review.

⭐⭐⭐

When the police come to Maddie Jones’s school, she thinks they’re going to arrest her for one of her many pranks. But the truth is much worse: her archaeologist dad has been kidnapped (Or dadnapped?). Maddie is certain this has something to do with the shipment of Qin dynasty terracotta warriors that just arrived at her dad’s museum from China. With the help of her two younger brothers, Maddie will face untold dangers and unravel ancient secrets to get her dad back. And she thought climbing the rock wall in gym class was tough…

Curse of the Terracotta Warriors is an action-packed book that moves quickly. Almost every chapter ends in a cliffhanger, which keeps the reader tuning pages. Unfortunately, much of the action sequences in Part One can feel repetitive, and the novel would have benefited from tightening up the first third of the book.

Maddie is, far and away, the star of the novel. She’s bold, a natural troublemaker with a snarky personality that will instantly endear her to readers. Told from Maddie’s first-person point of view, her clear voice and colorful narration will leave readers cheering for her through the most dire situations.

There are a few writing pitfalls throughout the book. Capitalization is occasionally inconsistent, with some character’s names or the start of sentences not being capitalized while common nouns are. Another instance sees Maddie “hurtling” over an obstacle rather than “hurdling” it. These aren’t major issues, and nothing that another proofing wouldn’t fix.

The Chinese setting of Xi’an is bland and feels shallow and poorly researched. Characters refer to “Chinese letters” and the “Chinese alphabet” when it’s common knowledge that Mandarin does not have an alphabet. The characters also watch CNN in their hotel room in Xi’an and use Wi-Fi at a Starbucks to do research, despite the fact that Chinese media is heavily censored. The Chinese setting doesn’t pop enough, and these inaccuracies show through.

Even so, Curse of the Terracotta Warriors is a fun, entertaining romp with a vivacious protagonist that’s tough to put down. Its short, action-packed chapters make this a great pick for reluctant readers, and middle-grade kids who love adventures.

by booksoverlookedblog

BIDP: Butterflies in November

In 2015, I took a trip to Iceland with my sister, boyfriend (now husband), and a friend. For ten days we traveled the Ring Road that encircles the country. It was an adventure unlike any other I’d been on, not only because of the beautiful and primal landscape we explored. It was also because I spent the second night of our trip in an Icelandic hospital, and got to learn about the Scandinavian health care system first hand. But that’s another story altogether.

I bring this all up because I wanted to explain how the book Butterflies in November landed in my lap. Technically, I did pick this book, just not for myself. I bought it for my sister, who re-gifted it back to me. I got this book specifically for her because it’s about an Icelandic woman making an unexpected trip around the Ring Road, and the people she meets along the way. It had been praised in reviews, and I thought it would be fun to relive our trip through a book where the protagonist takes the same route we did. My sister said that the book was “okay” – not exactly high praise – and passed it on to me.

One unusual thing about Butterflies in November is that very few characters have names, including the main character. For this review, I’ll be referring the her as “Kvenhetja,” the Icelandic word for “heroine.” At least, I think it is. Google Translate is far from perfect.

Here’s the basic plot: Kvenhetja is a linguist and freelance editor and translator. She’s been married for almost five years, but has been having an affair with one of her clients. Shortly after being dumped by both her husband and lover, she becomes the reluctant guardian of her best friend’s child. Tumi is four years old, deaf and largely mute, and Kvenhetja doesn’t have a mothering bone in her body. After Tumi picks the winning numbers for the largest lottery jackpot in Icelandic history, he and Kvenhetja set out on a  journey on the Icelandic Ring Road that encircles the entire country.

The plot isn’t anything we haven’t seen before. Someone unlucky in love who takes in a child (bonus points if they have special needs) and goes on a journey of self-discovery. The main difference between this book and stories like No Reservations, Raising Helen, and this way-too-accurate trailer for every Academy Award-winning movie ever is that it’s set in Iceland. But what really drew me into the book was how similar I was to the protagonist. Scarily so.

‘It’s as if you just don’t want to grow up, behaving like a child, even though you’re thirty-three years old, doing your weird and careless things [. . .] You’re always forgetting things, arriving the last at everything, you don’t wear a watch. And to top it all, you always seem to choose the longest route anywhere. [. . .] Words, words, words, exactly, your entire life revolves around the definition of words. Well here you go, impulsive: abrupt, hasty, headlong and impetuous. [. . .] Having a child might have changed you, smoothed your edges a bit. But still, what kind of mother would behave the way you do?’

It was bound to reach this point, the baby issue. But I’m a realist so I agree with him, I wasn’t made to be a mother, to bring up new humans, I haven’t the faintest clue about children, nor the skills required to rear them. The sight of a small child doesn’t trigger a wave of soft maternal feelings in me.

I have never felt so called out by a book before.

But in that outlining of Kvenhetja’s traits and quirks, there is one thing I am that she’s not. Impatient. I was promised a travelogue, but it took several chapters of set-up to get her and Tumi on the road. Granted, the chapters tend to be short, but it felt like forever to get to. When Kvenhetja and Tuni finally get to their journey on the Ring Road, I kept reading and waiting for…something to happen.

I’ve read some non-fiction travelogues, and they’re often a series of anecdotes as the narrator travels form Point A to Point B. This makes sense. Our lives don’t follow the structured five stages of plot (though sometimes it feels like they do). Telling a true story about your life isn’t going to be like telling a story in a novel.

Once Kvenhetja and Tumi are on the road, the story is mostly composed of anecdotes of people she and Tumi meet along the way. There are definite characters she meets, like a falconer and an Estonian men’s choir. There is a through-line to the plot, at least:  Kvenhetja is on the road to receive a prize she won, and Tumi is along for the ride.

The road trip was the part of the book I was most interested in, because it was a way to re-visit my trip around the Ring Road. All the people on the road that Kvenhetja meets are helpful and friendly, something I probably would have scoffed at if I hadn’t seen the kindness of native Icelanders and tourists firsthand. Iceland is a rugged country, and being stranded on the Ring Road can be dangerous. I think that’s one of the reasons why it feels like everyone has each other’s back.

I also liked to see  things on the page that had enchanted me in real life: black sand deserts, lava fields, hot springs and one-lane bridges. These are landscapes you can get lost in, perfect for resetting your life. The novel makes a lot of use of metaphors reflecting on the Icelandic landscape and travel on the Ring Road.

The reviews promised a quirky and funny story, but most of the time I read it, I was just bored. Despite the similarities between Kvenhetja and me, as the book went on, I just didn’t like her very much. She’s impulsive and makes poor decisions that are potentially dangerous for the child in her care. Granted, Iceland is generally safer than the U.S., but I don’t think that it’s a good idea to have sex with a stranger in a lava field while a four-year-old charge is sleeping in the car. Half the time Tumi may as well not even be in the story, considering how much of the prose is devoted to Kvenhetja’s introspection.

This book also hit on one of my pet peeves when it comes to writing child characters: children who don’t act like children. I don’t mind a precocious character every now and then, and Tumi is meant to be an “introspective oddball.” I liked how he has an interest in words and could read and write a little. It helped bring Kvenhetja and Tumi connect, not just for the purposes of communication. She might not have any inkling of what to do with a child, but their shared interest in words helps build their relatiomship. But for an entire trip, Kvenhetja never had to deal with Tumi wetting his pants, throwing a tantrum, or trying to eat rocks. Tumi isn’t just introspective; he’s the most un-childlike four-year-old I think I’ve seen in fiction.

Overall, I didn’t really care for Butterflies in November. I didn’t seem to get the wry humor that reviews promised. The prose is descriptive and fantastic, but it ultimately wasn’t enough to save the thin plot.

I don’t think it was a bad book. It certainly got plenty of love from critics. It just wasn’t a good book for me. If Butterflies in November sounds like something you’d enjoy, I encourage you to check it out!

by booksoverlookedblog

BIDP: Partials by Dan Wells

Today’s edition of “Books I Didn’t Pick” is brought to you by Partials, courtesy of a holiday book exchange.

Some books are timeless: stories that ring true from generation to generation, no matter how circumstances change. Other books are timely: it’s no surprise that Hamnet: A Novel of the Plague was a New York Times best seller for weeks in 2020, even if it was set in the 1500s.

Then there’s books that I’ll call “personally timely.” These are the ones that might not have meant as much to you if you’d read them at another point in your life, but they’re meaningful now.

Partials by Dan Wells is one of those for me.

To begin, Partials is set eleven years after the devastating Partials War. The Partials are genetically engineered super-soldiers that turned on their human creators, and then vanished. Before disappearing entirely, the Partials left humanity with a parting gift: the RM virus. The virus all but annihilated the human race, and robbed humanity of its future. Every human baby born since the introduction of the virus has died, succumbing to RM within days, if not hours.

The Defense Grid, one of the last pockets of humanity, requires all women age 18 or older to become pregnant as often as possible, in the hope that one of the babies will be born with an immunity to RM.

Kira Walker is a medical intern whose father was killed by the RM Virus. When her best friend becomes pregnant, Kira will risk her life to find a cure for RM. With every other avenue of research failing to find a cure, she will attempt to do what no one else has done. To save the life of her best friend’s child, she must capture and study one of the brutal and deadly Partials.

That’s a lot to unpack, I know. I’m sure that everyone will have a different reaction to reading a story about a pandemic now than they would have pre-2020. Before COVID, I was even working on a post-apocalyptic short story which had been brought about by a plague. I liked the possibilities that pandemic fiction offered: a reset of the world that you live in, while keeping much of the world’s infrastructure intact. It also felt like a safe, remote end of the world scenario. Nuclear war and devastating natural disasters are threats that felt much more real at the time. But after three years of a pandemic that has killed millions of people, plague-related fiction isn’t nearly as fun as it used to be. COVID-19 wasn’t the end of the world by any means, but living through it has changed the way I engage with media that use a pandemic as a plot or setting element. As for my post-apocalyptic story? I haven’t touched it since 2020, and it’s unlikely that I ever will again.

Other than the fictitious pandemic, there’s something else that triggered a strong reaction in me, which wouldn’t have been as strong if I’d read Partials as a teenager. But for a thritysomething woman who’s been married for just shy of three years now, pregnancy is kind of a huge deal.

I have baggage around pregnancy/childbirth/motherhood. It’s not severe enough that I wouldn’t be able to read a book like Partials, but instead of feeling like a dystopia, the novel felt like a horror story to me. And that’s okay. Sometimes I seek out something that I know will scare me, if only out of some eerie fascination with it. The 1996 Mount Everest disaster, for instance. Horrifying, and yet I’ve read every Wikipedia page related to it, Into Thin Air by John Krakauer (and the made for TV movie), along with watching the movie Everest, and two separate documentaries on the subject. That’s what reading about pregnancy (forced or otherwise), childbirth, and infant mortality is like for me. It’s a nightmare, but when there’s a fourth wall between it and me, it’s easier for me to engage with it. It’s a safe way to interact with something you’re afraid of.

But that’s not what you’re here for, so let’s get back into the book itself.

The writing is fine. There’s nothing stellar about the prose, but it’s not bad, either. It gets the job done, which works for the breakneck pace of the plot. However, the moments with the biggest emotional impacts sometimes feel lackluster because of it.

The plot is pretty dense, and I think the novel suffers from excess. There’s so many characters and factions to keep track of, along with their relationships with one another. Several of Kira’s friends play a role in the story. Alongside Kira, there’s her boyfriend, Marcus; foster-sisters Madison, Ariel, Xochi, and Isolde; Jayden, Madison’s brother; and Madison’s husband, Haru. There are also a plethora of other characters that the audience needs to remember and keep track of: the senators that run the island, various military and medical superiors, and members of the rebel group, the Voice. These people play no small role in the story, but it’s nigh impossible to keep track of all of them.

Then there’s also the factions in the story. Kira and her multitude of friends live in the Defense Grid, on Long Island, possibly the last human city remaining on Earth. The Grid is occasionally attacked by The Voice, a group of rebels seeking to end forced pregnancy. Both the Grid and the Voice hate and fear the superhuman Partials, who have created their own society away from the Grid and the Voice. As the story goes on, we discover that the Partials have also all subdivided into factions of their own.

It’s a lot. Sometimes I felt like I needed a notebook to keep track of what was going on. With so many characters, they can’t possible get all the time they need to be fully developed. This made many of Kira’s friends an indistinct blur, and the villains largely forgettable. They’re evil, but they’re not interesting.

There’s also plenty that I do like about this book, too. It’s exciting with plot reveals that keep you guessing. While it could be overly complicated at times, the story never stagnates. I also liked the reasons why teenagers had to be the protagonists in this book.

In YA fiction, especially dystopian YA, teenagers often get put in dangerous situations that they have no business dealing with, especially if there are adults better able to handle the situation. Partials at least does a good job of addressing this. When sixteen-year-old Kira is placed in charge of research that goes well beyond her training and knowledge, she and her friends question why the senators are allowing her to do this. Their reasons are revealed later and actually make sense.

Even more than that, Kira makes a point about why it had to be teenagers and young people to make a change, and why her generation will the ones who cure R.M. Kira and her generation are called “plague babies,” born before R.M., but too young to remember remember what the world was like before the virus. The adults do remember the old world, as well as the horrific events of the Partials uprising and the spread of R.M. Most of them have given up hope that R.M. can be cured, and refuse to take the drastic measures required to guarantee the future of the human species. Billions of humans are dead, and they’re unwilling to risk any more lives on trying to a cure. They insist on doing the same thing over again, mandating pregnancy, hoping one day a child will be born with an immunity to R.M. This has not produced a single healthy baby, yet the Senate refuses to change tactics and try something new. When the adults have given up on the future of the human race, Kira realizes that only “plague babies” like her have enough will and passion to act and try to fix things.

I remember what it was like to be a kid. I remember feeling unheard, or that no one took me seriously because I was young. Thankfully, I had parents, teachers, and adults in my life who understood that children and teenagers have something worth saying. In the wake of the Marjory Stoneman Douglas High School shooting, students rose up and demanded change. I observed many adults criticizing the student activists. One of the common refrains of their detractors were that they were kids, with no real-world experience and no business in telling adults what to do.

It made me think of one of my favorite high school teachers, who gave quizzes on current events and made us watch political debates as homework assignments. In 2006, he took a group of students, including me, to a Save Darfur rally in Washington, D.C. It was incredible to be there with so many like-minded people supporting a cause I cared deeply about. My teacher understood that just because we were young didn’t mean that we couldn’t be passionate about saving human lives, or civil rights, or a million other things outside of typical high school worries.

I didn’t realize how remarkable that was. At this point I’ve spent most of my career working with children and families, and I have a better understanding of how young people need to be heard. And how rare that can be.

In Partials, this is all Kira’s choice. She doesn’t have a special fate or destiny. There’s no prophecy about her. She just knows what she has to do, and she’s willing to risk everything for what she believes in.

I don’t think I’ll be reading the any of the sequels, but I liked Partials as I was reading it, even when it hit a bit too close to home.

by booksoverlookedblog

To Sleep in a Sea of Stars

First of all, thank you to everyone who read my work for Flash Fiction Month! I don’t normally post my original fiction online for various reasons, but FFM is special. I will be taking down most (if not all) of my stories after August, so please read them while you have the chance!

We now return you to your regular book rants.

This review contains spoilers for To Sleep in a Sea of Stars by Christopher Paolini. I’ve written a quick chapter summary here.

A few years ago, I re-read one of my favorite books as a teenager: Eragon, by Christopher Paolini. While my fifteen-year-old self had loved it, adult me was very aware of its flaws. I determined that Paolini was great at worldbuilding and description, but wasn’t great at writing characters. Paolini was a teenager when Eragon was published, and still wet behind the ears when it came to his craft. It’s now been twenty years since Eragon first came out (cripes, I’m old!). In my review, I wondered what a novel by a more experienced Paolini might look like today.

Well, in 2020, we got our answer. And like most things from 2020, I didn’t like it.

I think I’m in the minority in this case, though. To Sleep got good reviews overall, and there are plenty of fans online who really like this book. I generally like sci-fi, but To Sleep just wasn’t for me.

To Sleep in a Sea of Stars is Paolini’s first adult novel, and his first science-fiction book. It’s a whopping 800+ pages of space, aliens, futuristic technology…and a decent amount of fantasy elements for an otherwise “hard”* sci-fi.

Before we get into the novel, I want to talk about the physical book itself. I don’t pay a ton of attention to how books are marketed, but its pretty obvious they were trying to sell this one on Paolini’s name alone. The spine only has “PAOLINI” on it. The title isn’t on there. It’s pretty common for popular authors to have their names featured prominently on book spines, sometimes in a larger font than the title. But they all still include the title.

With that said, let’s get into what’s between the covers. I have tried to get away from nit-picking books to death, I still have included one-sentence reviews/reactions to each chapter at the bottom of this post, because they’re too much fun for me not to do.

The plot is very dense, to the point where writing a spoiler-free review is kind of impossible. I wrote a companion post for this review, with brief (and hopefully humorous) summaries of each chapter for those who haven’t read the book, or read the book but forgot some of it. Can’t blame you there – there’s a lot.

To Sleep in a Sea of Stars is a galaxy-spanning saga of alien invasion, mysterious and powerful artifacts, and high-tech space battles. Kira Navarez is a xenobiologist who travels with a crew of scientists to uncolonized planets to see if they could be made habitable. After she falls into alien ruins on a mission, a complex piece of alien technology becomes attached to her. The xeno encases her body, and is eventually responsible for the death of most of her crewmates, including her fiancé, Alan.

Then things get complicated.

The story moves quickly, and has lots of twists and turns. In an interview that’s available in some editions of the book, Paolini said that he was essentially trying to write an entire series in the span of one novel. It justifies the length, and it really does feel like he’s managed to succeed in telling an epic story from beginning to end, without needing to break it into multiple parts.

There are things that I both liked and disliked about this. First, it kept the plot moving. In my posts about Eragon, I occasionally complained about filler chapters, but I don’t think there were any here. There were times when it was hard to put the book down because I wanted to know what happened next.

On the other hand, sometimes it moved too fast. It meant that I didn’t have time to get to know or care about the characters (often before they met, or nearly met, their dooms) in the start. There was also no room to breathe, especially in the beginning. Humans, both real and fictional, need time to rest. When we only see characters in a crisis – which was the majority of the book – we see how they react to the situations they’re in, but not necessarily who they are. Too often, the characters often felt like reaction, rather than fully fleshed out people. Paolini does a better job with character development than he has in his previous novels, but sometimes it felt forced, like a chapter where Kira systematically learns the backstories of all her crewmates.

Then there was the way the plot itself was constructed. As I mentioned, there are a lot of twists and unexpected events throughout. It keeps the story unpredictable, and the reader curious about how the characters will solve the newest curveball that’s been thrown their way.

But it also meant that some story arcs felt pointless, or like padding, once they concluded. For me, the most aggravating instance was when Kira and her new crew are searching for something called the Staff of Blue. No one is really sure what the Staff is, but Kira knows that it’s an important weapon that will help humanity combat the invading alien race nicknamed the “Jellies.” For more than 100 pages, Kira et al. search for the Staff, travel to a remote location to finally retrieve it, and engage in a deadly battle with the Jellies (and an even scarier creature, the Seeker). They find the Staff, but it’s broken in the battle and rendered useless.

Some readers might think, “holy crap! How will our heroes save the galaxy now?!” and read on feverishly. As for me, I was so frustrated that I just put the book down and refused to open it for two days. A “holy crap!” moment should make you want to read on, but I was annoyed that so much time had been devoted to something that ultimately had very little bearing on the actual plot.

This is also probably a good time to point out another issue I had with the book: excess. It seems a bit obvious when talking about an 800+ page book. Of course not every scene has to contribute to the overall story or character growth, but there were some spots that were just unnecessary. My first gripe with this was the character Inarë. Inarë is a refugee of the intergalactic war Kira inadvertently caused, and she and Kira meet on a ship taking refugees away from the fighting. Inarë is in the book for one or two scenes, described in a large amount of detail, and has a cat. She’s pretty weird and gives Kira cryptic advice about the journey ahead of her. Anyone who’s read Eragon could tell you that she’s pretty transparently Angela from that series, morphed into some sort of space witch. This isn’t just my assumption, either. Paolini even says so in the acknowledgements at the end of the book.

[T]hose of you who are fans of the Inheritance Cycle may have noticed some references to the series in To Sleep. You weren’t imagining things. And yes, Inarë is who you think she is.

As I mentioned in my post about The Ballad of Songbirds and Snakes, I don’t mind callbacks to an author’s previous works if it’s something small, or if it feeds into the plot later. However, Inarë has a few pages to herself, and except for her final words to Kira popping up occasionally, she had no overall bearing on the plot. In fact, the arc words that Inarë gives Kira (“Eat the path”) could have been said by nearly anyone in her crew and still have the same effect. When I see something like this, to me it feels more like fanservice and the author patting themselves on the back.

Towards the end of the book, I also wondered if a very large part of the plot was even necessary. There’s a subspecies of Jellies that the humans have to fight against, called “nightmares,” or the Corrupted. But there was already so much going on in the book without them. Space battles, ancient alien lore, a large cast of characters and almost non-stop action, reading about the nightmares and their progenitor monster, the Maw, was just exhausting. A book only about the humans and Jellies would have been interesting enough, but for me, this was too much.

It also suffered from the same ending fatigue present in movies like Return of the King. First, Kira kills the evil overlord of the Jellies. Then, she destroys the Maw. Then, she must go and destroy seven copies of the Maw. That’s seven copies that were never mentioned prior to any of the huge space battles in the climax of the book.

Then there are the appendices, which include the science behind faster-than-light travel and ship-to-ship combat in space, a timeline that covers over 500 years, and a glossary. Of all these, it’s the glossary that sticks in my craw. I complained about excess before, but there’s also the problem of absence of information, and the glossary exemplifies both.

I might start out by saying that I didn’t know that there was a glossary in the book at first, and I only found it by accident. I don’t think that there’s anything inherently bad having a glossary included in a fiction book, especially in sci-fi and fantasy stories. At the same time I was reading To Sleep, I was also reading Mastiff, by Tamora Pierce. Like To Sleep, Mastiff also has a glossary that defines the made-up words in the book, but you can also figure out what they mean in the context of the scene.

To Sleep‘s glossary doesn’t work like that. There are times when it feels like the reader was expected to have read it before starting the book.** This is best exemplified in the case of the “ship mind.” There’s almost no context for what a ship mind actually is for the first two-thirds of the book. As I read it, I was so confused about what ship minds actually were. Were they complex AI? Human-AI hybrids? Until I accidentally found the glossary, I had no idea. It turns out that ship minds are essentially augmented human brains, removed from their bodies, that sit in sarcophagi on board their ships, overseeing all the ship’s functions. This is such a huge thing, and totally different from anything I had imagined. Props to Paolini for originality, and for my new nightmares. But I really shouldn’t have had to accidentally find a glossary or wait until the near-climax of the book to see a reference to a sarcophagus housing a human brain sitting in a nutrient bath.

To Sleep takes great care to show the reader how things like faster-than-light travel and combat in outer space are possible. At the same time, it also uses a lot of fantasy tropes. I know, I know: “any sufficiently advanced technology is indistinguishable from magic.” And I can buy that when it’s something like two humans from a highly advanced technological civilization using highly advanced technology to blow up aliens and glibly referring to it as “magic.” It becomes harder for me to take when the xeno attached to Kira becomes able to do almost everything and anything. Kira first used it as a weapon and armor, but by the end of the book, she uses it heal characters with devastating wounds and build entire living space stations.

Drawing upon the Seed’s banks of encoded knowledge, she began to build the needed machines, constructing them from the atomic level up. With energy gathered from the panels, she sparked a burning sun inside herself: a fusion reactor large enough to drive the biggest UMC battleship. With energy from the artificial star, she started to manufacture antimatter–far more than the inefficient techniques of the humans or the Wranaui allowed for. The Old Ones had mastered the means of antimatter production before either species had even come into being.

p. 791

Even though this takes place after the second (sigh) major battle of the climax, it’s still quite a lot to take in.

That paragraph also shows another fantasy trope present in the novel. You probably noticed a reference to the “Old Ones.” The Old Ones were a sentient species that predate the existence of humans and the Jellies. They made the xeno that attached itself to Kira, along with the Staff of Blue, and the Great Beacons, which gave humanity a huge leap forward, technologically speaking. In other words: all that sufficiently advanced technology came from a species that was at least over 300,000 years old.

I don’t mind the “old stuff is more powerful” trope in fantasy works. It can be a bit tiresome at times, but it usually fits with the setting and the feel of the story. Ancient artifacts and mysterious ruins are part and parcel for fantasy stories. Sci-fi (especially “hard” sci-fi) is more focused on technology and what could be if any number of events or scientific discoveries occur. Sci-fi focuses on the future: how technology and/or societal changes have changed our lives, for better or for worse. A book like To Sleep should be one that dreams of humanity reaching the stars – and much more – through its own ingenuity and innovation. Relying on ancient artifacts from a vanished civilization doesn’t feel like it’s reaching out into the future. It makes it feel like all of humanity’s achievements are small, and that there’s no way they could ever create what the Old Ones have.

Throughout my review of Eragon, I had to compliment Paolini on his descriptive abilities, as well as his world building. As before, the worldbuilding is thorough, and it really does feel like he’s created a whole galaxy full of humans and aliens. The characterization could be weak at times, but the crew of the Wallfish all had distinct personalities that made them stand out. Falconi was probably my favorite character, but I had trouble getting to know who Kira was as a person.

I know I can focus too much on the negative, but I actually really did like the aliens in this book. In fiction, it’s common to have sentient, non-human races look and act quite…human. The Jellies only resembled humans in that some of them were bipedal. They’re sea-based creatures inspired by octopi, complete with tentacles that can change color. The Jellies are genderless and have a hive mind, which has been used to control them. They communicate using smells, called nearscent. They have vastly different lifecycles than humans, from birth to death. In short, they’re an alien species that feels refreshingly alien. While the book sometimes felt like it was bloated, the story moved fast, and changed in ways I didn’t predict.

Overall, I did like some of To Sleep – but not enough to pick up the next book in the series, Fractal Noise.

*The quotation marks aren’t meant to be pejorative. I don’t like the terms “hard” and “soft” to describe sci-fi, but I’m using it in this post because it’s easily understandable. Read more on the debate between “hard” and “soft” sci-fi at Tor.com
**Not recommended. This was how I accidentally spoiled what the Staff of Blue was for myself.

If you want more nit-picking, read on for (mostly) one-sentence chapter reviews. Lots of spoilers follow.

  • Chapter 1: A chapter centered around a romantic relationship, and I’m not at all convinced Paolini can write romance.
  • Chapter 2: I’m really trying to avoid comparing this book to Mass Effect, but let me have this chapter.
  • Chapter 3: Paolini’s love affair with thesauri continues, though isn’t as prevalent here than his Eragon books.
  • Chapter 4: I didn’t know enough about any of these characters, even Alan, to be sad when they died.
  • Chapter 5: Kira’s character is still made up of her reactions to things, rather than actual personality, but I’m finally getting into this book.
  • Chapter 6: Okay, I’ll admit it, I’m enjoying this.
  • Chapter 7: So far I’m not liking Kira, but I am excited for the the pew-pew space battles I’ve been waiting for.
  • Chapter 8: I understand that Kira is scared, but give us a moment to feel SOMETHING about what it’s like to be flung out in space.
  • Chapter 9: Really didn’t need a paragraph dedicated to a woman inspecting her vagina, thanks.
  • Chapter 10: Kira is just kind of numb, which is disappointing, because I was hoping to get some fantastic descriptions of space flight, but instead I just get blah.
  • Chapter 11: So…are ship’s minds humans or AI or what?
  • Chapter 12: I think Inare is supposed to be an interesting character, but she’s just a clone of Angela from Eragon, complete with cat.
  • Chapter 13: Another instance that had the possibility of being heartbreaking, except Kira is just worried about…who will find her attractive after all the trauma she’s gone through. #MenWritingWomen
  • Chapter 14: The Soft Blade is responsible for the death of Kira’s fiancé and crewmates, but Kira never seems conflicted about her gratitude towards it for keeping her alive.
  • Chapter 15: Sparrow jumping into action to save a kid is heroic, but I don’t know enough about any of these characters to care if they live or die.
  • Chapter 16: It’s clear that Hwa-Jung takes her job seriously and knows the risks of their current situation, so she should not be arguing with the captain about repairing the ship pronto.
  • Chapter 17: Paolini forgot about his love affair with the thesaurus and has begun a love affair with parentheses.
  • Chapter 18: I think the Entropists are pretty cool so far, but their shared dialogue is really annoying.
  • Chapter 19: I don’t know what a construct is any more than I know what a ship’s mind is.
  • Chapter 20: According to the characters, Kira can do no wrong, even after she’s done a lot of wrong.
  • Chapter 21: Kira was a biologist long before she was part of this story; she should be pissed that the Wallfish crew effectively destroyed an entire planet’s ecosystem, not amused.
  • Chapter 22: It just really seems like a bad idea to me to routinely send every member on a spaceship into cyro.
  • Chapter 23: Kira’s grief over the death of her fiance was barely present to begin with, but now it’s just been hand-waved away.
  • Chapter 24: Why the hell is anyone letting a teenager go on a potentially dangerous alien planet, when there are actual space marines who are much better equipped and qualified to do this mission?
  • Chapter 25: All right, I’m here for planetary exploration!
  • Chapter 26: And now the Entropists are doing actual magic.
  • Chapter 27: One thing that bugs me: there’s never any room to breathe in this book, and the action points are all the same. Solved something? Jellies attack! Go to a new planet? Another attack!
  • Chapter 28: This is just trippy.
  • Chapter 29: If the nightmares were created from the Jellies only about six months before, why are the nightmare ships so much better than the Jelly ships?
  • Chapter 30: Falconi’s advice to a shattered Kira: stop feeling guilty about this intergalactic war that you started. And Kira just…does. No struggle to get over it, no lingering guilt. Owning it and trying to fix it is far more heroic than going, “I broke everything and I don’t feel bad about it.”
  • Chapter 31: This is frustrating and Kira is frustrating.
  • Chapter 32: Kira and co. have every reason to dislike the UMC, but the UMC also has every reason to arrest and quarantine them.
  • Chapter 33: So…the Soft Blade can just be used to make vehicles now? And grow to ridiculous sizes?
  • Chapter 34: Can’t say I didn’t see Gregorovitch going off the deep end coming, but for awhile I thought it would be a lot build of about his mental state for nothing.
  • Chapter 35: This is the first time the reader gets a clear indication of what a ship mind actually is, without looking in the glossary.
  • Chapter 36: I like the Jellies/Wranuai as a species, though I’ve never been a fan of “hive minds” when it comes to fictional species.
  • Chapter 37: And now the Soft Blade can fix neural damage, because of course it can. Sex between Kira and Falconi wasn’t unexpected, but it was unintentionally funny for me to read.
  • Chapter 38: Got one big evil alien you need to destroy? That’s not enough, let’s add ANOTHER final boss to the mix!
  • Chapter 39: Ctein is…kind of cool, actually.
  • Chapter 40: The fight between Ctein and Kira is ridiculous and cinematic, and I liked it for that. Embracing the enormity of fighting a huge monster in outer space.
  • Chapter 41: I would like Kira’s unconventional defeat of the Maw via forgiveness much better if the theme of forgiveness or compassion was anywhere else in the book.
  • Chapter 42: This chapter is so cool that I can ignore how annoyed I am that Kira is basically a god now for a little bit.
  • Chapter 43: This book could have ended twice already, but now Kira has to save the day from seven other big bads that were never mentioned before. If you really wanted a third villain to show (again) that Kira is all-powerful, why not have her face off against the deadly and nigh-indestructible Seeker, who got loose ages ago?
  • Chapter 44: All powerful Kira is uninteresting and it ruins her character development.
  • Chapter 45: Fucking WHAT?! You tack on one final problem for God Kira to solve and it doesn’t even end? No actual conclusion about the seven extras Maws? It just ENDS?!
by booksoverlookedblog

To Sleep in a Sea of Stars: A Scripted Summary

This is a companion post to my review for To Sleep in a Sea of Stars by Christopher Paolini.

When I’m reading books that I find challenging, especially classics, I sometimes boil each chapter down to its most basic plot points, and format my notes as a very short script. It’s fun, and it helps me keep track of things. To Sleep in a Sea of Stars has a dense plot with a lot of elements to it, so much so that giving an honest, spoiler-free review is kind of impossible. So, for those of you who haven’t read it and don’t plan to, or maybe you’d like a refresher, this is for you. If you are interested in reading the book and want to avoid spoilers, skip this post.

Part 1: Exogenesis

Chapter 1: Dreams

Alan: Will you marry me?
Kira: Yes!
(An awkward sex scene happens.)

Chapter 2: Reliquary

Kira: I’m going to check out these weird ruins.
Alan: Don’t.
Kira: I’m doing it. Neat, alien ruins! Alien space dust! *falls unconscious*

Chapter 3: Extenuating Circumstances

Crew: ‘Sup, Kira. You got a weird xeno organism enveloping your body so you’ve been in cryo sleep a week. Also we’re on a military ship and they’re investigating what happened at the ruins.
Kira: Damn, we lost our bonus checks. This is my biggest concern.

Chapter 4: Anguish

Kira: Well, here I am in the med bay.
Xeno: *kills all of Kira’s friends*

Chapter 5: Madness

Major Tschetter: Well, we can’t put you in cryo sleep because of the xeno. Dr. Carr will examine you and the xeno.
Carr: *does intense and invasive tests on the xeno*
Xeno: Haha, you can’t destroy me muthafuckas!!
Kira: It’s not working, stop.
Carr: *blasts Kira with lasers* Nah.
Kira: Ow. *rips giant laser machine off wall* We’re done here.

Chapter 6: Shouts and Echoes

Carr: Nothing is working, we can’t get the xeno off of you and you’re dangerous, so we’re gonna throw you out of an airlock.
Kira: So…are you gonna vent me or what, ’cause I’ve been in here forever?
Aliens: *attack ship*

Chapter 7: Countdown

Aliens: Pew pew!
Kira: I can understand what the aliens are saying?!
(A hole gets blown in the ship’s hull, which sucks Carr, Kira, fragments of the xeno, and an alien out into space.)

Chapter 8: Out & About

Kira: Ack, I’ve been flung into space space, but the xeno is protecting me. No, you don’t get to read about the wonder or terror of going into the void, the mystery of which has inspired humankind since the dawn of time. All you need to know about this is that the xeno is cool. Anyway, I’m in a shuttle now. Hope I don’t die.

Chapter 9: Choices

Kira: Ship, send a distress signal.
Ship: Can’t.
Captain Tschetter: Go to 61-Cygni.
(Military chatter happens.)
Kira: Gonna set the ship on a course and examine my entire body. Here’s a paragraph to let the reader know that the xeno is everywhere, but it’s still important to know that I’m “smooth as a doll*” between my legs. In case anyone was wondering.

Chapter 10: Exeunt I

Kira: Xeno, thanks for saving my life even though you killed my friends and fiancé. We can communicate now. Its name is the Safe Blade it does weird stuff. Now I’m gonna float in space for awhile.

Part II: Sublimare

Chapter 11: Awakening

Vishal: Welcome to the spaceship Wallfish. I’m ship’s doctor. We found you in your shuttle and rescued you.
Trig: I’m the plucky team mascot.
Falconi: I’m the captain. And we have a ship mind. His name is Gregorovich and he’s a little crazy. We’ve also got Nielson, Hwa-Jung and Sparrow.
Kira: That’s a big deal.
Me: What’s a ship mind and why is it a big deal?

Chapter 12: Wallfish

Kira: I’m hanging out with the refugees on the Wallfish who are escaping the alien war I started.
Inare: I’m wacky, have a cat, and give cryptic advice. Does this remind you of anyone?
Kira: I’m getting flashes of information about the Jellies but I don’t understand it.
Veera: We’re entropists. We’re very smart
Jorrus: and we have more advanced technology
Veera: than the rest of human society
Jorrus: and we talk like this
Veera: all the time.
Kira: I can understand the Jellies’ language, I need to get on one of their ships and stop them.

Chapter 13: Assumptions

Gregorovich: Sup meatbag.
Kira: Falconi, we need to change our route so I can investigate the Jellies.
Falconi: Nah.
Kira: There could be a lot of money in it for you.
Falconi: ‘kay.
Kira: Also, I finally got a chance to look at myself. I’ve been through a ton physical and mental trauma I’ve been through, including being responsible for the death of my fiancé…BUT WHO WILL FIND ME ATTRACTIVE NOW?!
Falconi: Heads up, Jellies coming our way

Chapter 14: Kriegsspeil

Trig: I used to live on a space station and it sucked.
(Pew pew space battles between the Jellies and UMC aka the space army)
Falconi: Okay, the Jelly ship is damaged, let’s check it out.

Chapter 15: Extremis

Kira: Okay, we’re going on this ship. It’ll probably be dangerous. Who’s in?
Veera: Yes
Jorrus: We are in.
Wallfish Crew: Let’s do this!

Chapter 16: Near & Far

(on board the Jelly ship)
Everyone: pew pew!
(Trig gets captured immediately)
Jellies: The Soft Blade is here!
(Kira grabs Trig and gets the hell out of dodge. A Jelly gets onto the Wallfish and holds a child captive. Sparrow saves the kid and is almost killed. Using the Soft Blade, Kira kills the Jelly.)

Chapter 17: Icons & Indications

Sparrow: Ow. I’m gonna live, but this is gonna hurt.
Kira: Gonna look into the information we got from the Jelly ship. I learned a little about their past and about this crazy powerful weapon called the Staff of Blue. We’ve gotta get it before the Jellies do. I also don’t know anything else about it.
(A Jelly gets onto the ship again, and is killed.)

Chapter 18: Nowhere to Hide

Kira: I’m searching star charts until I can find the one I saw in my vision that will lead us to the Staff of Blue.
Nielson: Ah, shit, more Jellies incoming.
Kira: No, those aren’t Jelly ships. It’s some new kind of alien.
(The new alien ships start firing.)

Chapter 19: Graceling

Falconi: Okay, we’re offloading the refugees here.
Refugee: Ah feck off yah hatchet-faced bint. An you, let me go, yah walloping, misbegotten graceling.*
(Kira almost kills the the offensively Scottish refugee with the Soft Blade)
Kira: Shit.
Veera: Kira, take this token
Jorrus: It will allow you to
Veera: Go to our home base if you
Jorrus: Don’t want to help the UMC
Inare: Eat the path.*
Falconi: Well, we’re going to be questioned by the UMC after our excursion on the Jelly ship.
Kira: Let’s do this.

Chapter 20: Darmstadt

UMC Officer Akawe: Tell me everything that’s going on.
Kira: I understand the Jellies’ language and they’re after me because I have the Soft Blade.
Akawe: Well, shit. And there’s another alien species called the nightmares that are attacking humans and Jellies.
Kira: We need to find the Staff of Blue to defeat them.
Akawe: Let’s do that then.

Chapter 21: Exposure

Falconi: Space marines, all aboard to find the Staff of Blue!
Jorrus: We are
Veera: Here too for
Jorrus: The mission.
Falconi: Kira, go see Sparrow to get training so you don’t accidentally stab anyone again.
Veera: We’ve discovered
Jorrus: The Jellies and nightmares
Veera: Are not the same
Jorrus: Even if they look similar.

Chapter 22: Lessons

Kira: The Soft Blade eats through stuff while I sleep, like my bed and blanket.
Sparrow: Time for training. I used to have a military career until things went sour. But I’m gonna use that experience to train you to get the Soft Blade to do what you want.
(The crew prepares the ship for a long FTL journey)
Kira: Since we’re all working together, I have a right to know why you guys aren’t allowed on the Planet Ruslan.
Falconi: Fair enough. We introduced an invasive species to the planet and it caused severe damage to the ecosystem.
Kira: Ha! That’s hilarious!
Me: Kira, you are a BIOLOGIST.
Sparrow: Everyone’s getting ready for cyro sleep. Since you can’t go into cyro anymore, Kira, make sure you practice with the Soft Blade while we travel.

Chapter 23: Exeunt II

Gregorovich: Just you and me while I power down the ship.
Kira: Yep. Gonna mostly hibernate and get up once a week to train. I’ll have some weird dreams/visions too.
(Three moths pass.)

Part III: Apocalypsis

Chapter 24: Past Sins

Kira: We’re in the star system where the Staff should be. We just need to find the right planet now. Oh, there it is.
Nielson: Have some of my backstory.
Sparrow: Let’s do more training and see how far you’ve come. Have some of my backstory too, while we’re at it.
Trig: And some of mine, too!
Kira: Let’s find the Staff, all of us. That means me, the crew, the space marines, and Trig, who is a teenager. Yes, Trig, you’re coming with us, even though we have highly trained space marines who are trained for this kind of thing and are also grown-ass adults.

Chapter 25: A Caelo Usque ad Centrum

Kira: Let’s get down to his planet and find the Staff. And here come the Jellies to attack us. Again.

Chapter 26: Shards

Kira: We finally landed on the planet. It’s full of alien ruins, which is pretty cool.
(Jelly ships keep appearing. It’s a pew pew race to find the Staff. Kira and Falconi finally find it. It’s broken. Nightmares appear.)

Chapter 27: Terror

(Jellies attack humans. Trig is super wounded.)
Tschetter: We come in peace! Yes, I’m still alive, and I’m with the Jellies now. The nightmares are attacking Jellies and humans and we’re kinda screwed without the Staff. The xeno is an artifact from The Vanished, a powerful ancient alien race that gave them and us a huge leap forward in technology. The nightmares are after it too.
(A new alien, the Seeker, breaks loose.)
Kira: This is super bad! Run!

Chapter 28: Sic Itur ad Astra

(The Seeker is basically unkillable. It is scary and awesome and will never be mentioned again once our heroes get away.)
Tschetter: I’m sticking with the Jellies. We have a chance to make peace between us and them. Now get on their ship, the Wallfish can’t land here!
Falconi: I cannot believe we’re doing this.
Kira: And here come more nightmares to attack us.

Chapter 29: Into the Dark

Nightmares: Join the Maw!
Kira: Oh shit! This crazy vision I just had showed me that the nightmares are a freakish combo of Jellies and Dr. Carr from from way back in chapter five. They serve the Maw, which I sort of created, and live only to feed it. Gotta cut my own arm off now to escape from a nightmare.

Chapter 30: Necessity

Falconi: We have a friendly Jelly on our ship now, but right now we need to focus on getting the hell out of dodge. But the Wallfish isn’t fast enough to outrun the Jellies or nightmares.
Kira: Maybe Itari, the Jelly, can mess with our FTL drive and make it go faster.
Itari: Sure can. Since you have the xeno and the Staff of Blue is broken, you’re now our best weapon against the Jellies.

Chapter 31: Sins of the Present

Falconi: Why are the nightmares bothering you so much?
Kira: Because I accidentally made them, killed my friends, and started this war.
Falconi: Stop feeling guilty.
Kira: ‘Kay.

Chapter 32: Exeunt III

Falconi: The Jellies and nightmares are having a hard time finding us. We’re going to the Sol System.
Kira: Cool. Akawe and I are going to interview the Jelly.
Itari: Here’s some of my people’s history and facts about our biology. But the big news is we have an evil alien overlord named Ctein. The friendly Jellies want to destroy him and free our people.
(The crew goes into cyro sleep for the journey.)

Part IV: Fidelitatis

Chapter 33: Dissonance

(The crew arrives in the Sol System.)
Falconi: Holy hell, it’s a war zone.
Nielson & Vishal: Gotta see if our families are okay.
UMC: Now that you’re in the area, we need to talk to you. And by talk I mean imprison.

Chapter 34: Orsted Station

(The UMC interrogates the Wallfish crew.)
UMC Stohl: Well, fuck. Anyway, thanks for the info. We sent a bunch of space marines to kill everyone at the upcoming meeting between humans and Jellies where they might be able to make peace and take down Ctein.
Kira: Fuck that, I’m getting out of here.

Chapter 35: Escape!

(Kira breaks out of her cell and rescues the crew. The Soft Blade grows to an enormous size to protect everyone during the escape. They get back to the Wallfish.)
Jorrus: My hive mind with Veera broke. She can’t talk right now.
Me: Thank fuck.
Falconi: Cool, more nightmares are here.

Chapter 36: Necessity II

Falconi: This is a lot. Crew, you up for working with friendly Jellies and taking down Ctein?
Crew: Yep.
Gregorovich: Nope.
(Gregorovich locks down the ship. Hwa-Jung shuts him down. The Wallfish resumes normal fuctionining.)
Kira: Well, that was a thing. Let’s move on with our kill Ctein plan.

Chapter 37: Exeunt IV

Kira: I’ll try talking to Gregorovich. Yeah, he’s still pretty crazy. Time to hibernate while we make another long journey to the meeting spot.

Part V: Malignitatem

Chapter 38: Arrival

Kira: Daaaamn the Soft Blade grew crazy plants while I was asleep. It even grew a new arm for me.
Falconi: I sent out a warning that the UMC is coming, but it’s going to take awhile before we hear back.
Itari: Here’s some more facts about my species and our history.
Falconi: Kira, let’s get to know each other better.
Kira: Okay.
Falconi: Well, we’re close to the meeting spot, and we’re not alone.

Chapter 39: Necessity

(The crew wakes up from cyro. The friendly Jellies have arrived.)
Tschetter: I’m still alive. We lost track of the Seeker and it’s just flying around in space now, doing whatever it wants. If you think this will be resolved later in the book, you’re wrong. Anyway, Ctein is close by, and we’re gonna be sneaky sneaks, infiltrate his ship, and kill him.
Falconi: Okay, crew, this is a lot. We sill doing this?
Crew: Yep.
(The UMC arrives.)
UMC Klein: We’re actually here to kill all the Jellies, including the friendlies. But I guess you guys can give killing Ctein a go first.

Chapter 40: Integratum

Crew: We’ll be facing off against Ctein in 7 hours. Who knows if we’ll live or die. If only we had Gregorovich here, we need him.
Kira: I bet the Soft Blade could fix his brain. (The Soft Blade fixes brain damage, because of course it does.) I’m going to talk to him. Then I’ll get to know Hwa-Jung better. Now I’ll go have sex with Falconi. Falconi, how brave are you?
(As it turned out, he was very brave. Very brave indeed.*)
Kira: I had another vision. I learned that the Soft Blade is a Seed, meant to create life, not be used as a weapon.
Falconi: Let’s go kill Ctein.

Chapter 41: Ferro Comitante

(The Wallfish attacks Ctein’s ship. The Jellies from Ctein’s ship board the Wallfish. Action happens.)
Gregorovich: I’m back and better than ever at a crucial moment to save the day! Let’s ram our ship into Ctein’s.
Falconi: Let’s go kill Ctein.
Gregorovich: The nightmares are here. And they’ve brough the Maw with them.

Chapter 42: Astorum Irae

Kira: Oh fuck.
Falconi: Let’s focus on killing Ctein.
(They navigate Ctein’s ship with Itari’s help. There is action. Jorrus is killed. The Soft Blade becomes insanely big to protect the crew.)
Kira: Everyone on my side is incapacitated. Guess I have to face Ctein on my own.
Ctein: I see you.*

Chapter 43: Sub Specie Aeternitatis

(Ctein and Kira have an cinematic and pretty awesome space battle. Kira kills Ctein.)

Chapter 44: Exeunt V

Falconi: The Maw and the nightmares are coming, and our weapons aren’t hurting the Maw at all.
Kira: Maw, leave my friends alone and I’ll join you. The Soft Blad will feed you life forever.
Maw: Om nom nom
Kira: I forgive you.
(With the magical act of forgiveness, Kira and the Soft Blade absorb the Maw.)

Part VI: Quietus

Chapter 45: Recognition

(Kira is basically a god now and builds a space station out of nothing.)

Chapter 46: Unity

Kira: I made this space station for humans and Jellies to live peacefully together. I also healed Trig and made this thing called the Staff of Green which will basically grow infinite food. But I also learned that there are somehow 7 copies of the Maw running around in space.

Chapter 47: Decession

(Kira and the crew say their goodbyes.)
Kira: I’m off to find the other copies of the Maw. Y’all be good while I’m gone.

Chapter 48: Exeunt VI

(Kira searches for the Maws. She learns her family is alive after everything that’s happened. She goes to hibernate in her ship until she finds the other Maw copies.)

The End.

*Actual dialogue/narration

by booksoverlookedblog

BIDP: Where the Crawdads Sing

Where the Crawdads Sing by Delia Owns was released in 2018 to great acclaim. Consequently, I’ve heard praise for the novel for a few years now, but never read it. I added it to my ever-growing “To Be Read” list at the recommendation of just…so many people, but there were always different books that intrigued me. Crawdads was one of many books that I’d get around to reading “someday.”

And then: book club. Yes, the same small book club that forced me to read An Ember in the Ashes got back together. And, as you might have guessed, the first book we picked was Where the Crawdads Sing.

I am the type of person who dismisses popular things out of hand. When a lot of people praise something to high heaven, I tend to roll my eyes and stay away. Especially when it sounds like something that Facebook moms with “Live, Laugh, Love” wall art would be enamored by. However, I am trying to be less judgmental and open to new things, so I picked up Crawdads without complaint.

There was one through line I heard through all the praise the book received: that it was beautifully written. However, no one casually talking about the book ever seems to mention the characters or the plot. This worried me a bit. If you’ve read any of my other reviews, you’ll know that what really draws me into a story, more than anything, is the characters. Would this be a beautiful book, but devoid of emotion and characters I would actually care about? There was only one way to find out.

I have to agree with the same thing that everyone says: the prose is beautiful. It’s lush with description and metaphor, and is easily the novel’s strongest point. I wasn’t surprised when a movie based on the book was announced, but I had my doubts about how well it would work. Removing the narration is like removing the heart of the original work. Though I haven’t seen the movie myself, I think the many mixed and critical reviews show the importance of the actual writing in the book. The story suffers without it.

Looking beyond the beautiful prose, the plot can feel thin at times. For example, the book starts with the (probable) murder of Chase Andrews, a character that the protagonist, Kya, has been involved with. The investigation and Kya’s subsequent arrest feels more like a framing device for the story. Near the end of the novel, Kya is arrested and goes to trial after being arrested for Chase’s murder. Until that point, the murder mystery doesn’t feel fully integrating into Kya’s story.

The book uses an omniscient narrator, which I generally don’t like. Omniscient narrators make me feel like I’m looking at a character through a window, and not like I can connect with them or get in their heads. It felt like there was a lot of telling and not enough showing when it came to characters’ emotions.

She’d given love a chance; now she wanted simply to fill the empty spaces. Ease the loneliness while walling off her heart.

Over time, I grew to like it. Even though the narrator knows everything, it doesn’t give the whole story away. While the book opens with the mystery of Chase Andrews’s suspected murder, the reader doesn’t get an actual, final answer to the who-dun-it (if anyone dun it at all) until the final pages.

Considering the premise of the book – an abandoned girl living alone in a marsh for years – I expected this to be a survival narrative. A coming-of-age story in the style Island of the Blue Dolphins or Hatchet, perhaps. Especially after the book points out that it’s easy to find your dinner in a marsh, provided you didn’t mind digging up shellfish or fishing.

Kya observes and studies the marsh and great detail, and she relies on it for her survival, though not in the way I expected. For much of the novel she sells mussels, and uses the money she earns to buy groceries and supplies. She receives secondhand clothes from two characters, Jumpin’ and Mabel, who become parental figures to her. It is a survival story in that it’s about a girl living alone and in poverty, and raising herself to adulthood. While she does ultimately live off the land, it’s not in the direct way that I’d anticipated.

Towards the middle of the book, I realized, with growing horror, that this was a romance novel. Romance isn’t one of my favorite genres, but I usually like it as a B-plot. But this was no B-plot. The bulk of the book focuses on Kya’s romantic relationships with two boys from town, Tate and Chase.

I was a disappointed. I wanted Hatchet, but what I got was a banal love triangle. Kya falls in love with Tate, but he leaves her to go to college, and doesn’t come back into her life for years. Lonely and heartbroken, Kya lets herself fall for Chase.

A lot of the plot was predictable from here on out. Anyone who’s ever watched a romantic comedy could figure out what would happen next.

We know who Chase is from the start of the book. He’s a star quarterback in high school, which in fiction about a weird girl is usually synonymous with “asshole.” He comes from a prominent family in town who look down on people like Kya as “marsh trash.” He’s known to cheat on his partners, and even Kya understands that becoming romantically involved with him could be disastrous.

On the other hand, Tate is a nice, smart boy who loves and respects the marsh. He teaches Kya to read and helps open her to the wider world. Which of these two do you think she’s going to end up with? It’s not hard to figure out.

I really wasn’t that into the romance aspect of the novel until I saw it in a different light. Instead of a generic love story, Kya’s relationships with Tate and Chase could be read as an extended metaphor for humans’ relationships with the marsh. Chase sees the marsh as a thing to be used, either for hunting, fishing, or draining the water for land development. It’s much the same way as he treats Kya. She’s a curiosity, an exotic adventure, someone to bed for the bragging rights of having slept with the feral marsh girl. He uses Kya and discards her when she no longer suits his needs.

Like most people, Chase knew the marsh as a thing to be used, to boat and fish, or drain for farming, so Kya’s knowledge of its critters, currents, and cattails intrigued him. But he scoffed at her soft touch, cruising at slow speeds, drifting silently past deer, whispering at birds’ nests.

Tate loves the marsh for what it is. Where some people only see it as a swampy wasteland, Tate understands its intrinsic beauty. He dedicates his life to studying and protecting the marsh. Similarly, he doesn’t reject Kya out of hand as “marsh trash” as the other townspeople do. He appreciates Kya for who she is, and doesn’t try to tame or change her. He gives her the tools she needs to expand her world, and by doing so, helps protect her and the marsh.

Overall, I liked Where the Crawdads Sing well enough. I’m glad I kept an open mind about it, but it’s not a book I’d re-read. The plot as a bit thin and I didn’t always like the narrative style. Even so, the prose is excellent and the book can be read on a couple different levels. If you’re looking for a well-written, even relaxing book, this is for you. The audiobook also has a wonderful reader, Cassandra Campbell.

But I think I’ll stick with Hatchet and Grandma Gatewood’s Walk for now, thanks.

by booksoverlookedblog

#1000BlackGirlBooks: Hallway Diaries

Now that I’ve finished my exploration into the NYT best seller’s list, I’ll be going back to some of my regular content. I still have posts drafted for #1000BlackGirlBooks and Books I Didn’t Pick, and I have a few other book reviews planned as well.

But for now, let’s pick up where we left off with Hallway Diaries.

Hallway Diaries is composed of three novellas, each of which stars a Black girl in high school. Friendships, romance, and drama are inevitable in these slice-of-life stories. It was published in 2007 by Kimani TRU, and imprint of Harlequin Enterprises. The front page welcomes us:

Dear reader,

What you’re holding is very special. Something fresh, new, and true to your unique experience as a young African-American! We are proud to introduce a new fiction imprint–Kimani TRU. You’ll find Kimani TRU speaks to the triumphs, problems and concerns of today’s black teens with candor, wit, and realism. The stories are told from your perspective and in your voice.

But before we get into each of them, I want to talk about the physical book itself. I know, I know, we’re not supposed to judge books by their covers, but that’s exactly what I’m about to do.

I want to start with the back of the book, which has summaries for each of the three stories.

How To Be Down by Felicia Pride When Nina Parker decides to straighten her Afro, lose her valley-girl accent and get a total makeover for her new school in the hood, the cutest guy notices—yes! But so does the meanest girl, Vivica, queen bee of her crew, who wants Jeffrey for herself.

Double Act by Debbie Rigaud

In the hood, Mia Chambers is ‘the smart girl,’ but at her prestigious new prep school she hardly stands out. So Mia does what it takes— only to be accused of selling out by her old friends!

The Summer She Learned To Dance by Karen Valentin

At first, Giselle Johnson hates spending the summer with her cousin from the Dominican Republic. But she soon starts loving the island and even learns to dance to her own rhythm. That is, until her cousin attracts Giselle’s high school crush…

These descriptions make these novellas sound like “mean girl” stories, but that’s a big misrepresentation of what they actually are. Take the summary for How to be Down. It sounds like two girls fighting for the affection of a boy. That is part of the story – but not the whole thing. It’s really a story about Nina trying to fit in at a new school, and Vivica’s insecurities about her own racial identity. I can only assume that these descriptions were written to attract readers to buy the book, even if it’s misleading.

Now I want to talk about the cover.

I don’t think that these models are meant to represent any of the characters in the books, but I noticed something: everyone has relatively light skin on the cover, even the Black models. And I think that’s a bit weird, considering the publisher is trying to give Black teens stories that feel authentic and relevant to their lives.

To be honest, this is something I probably wouldn’t have noticed until a couple years ago. Today, I can see that it smacks of colorism.

Colorism is, essentially, a preference for people with lighter-colored skin, even among BIPOC. The term has been made more mainstream in the past couple years, especially following the release of the film In the Heights. The movie was criticized for featuring mainly light-skin Latinx actors, and not being representative of the Afro-Latinx community.

Colorism wasn’t something that was even on my radar for a long time, but once you start noticing it, you can’t stop. You can see it everywhere, from advertisements to entertainment, and, of course, book covers. This is not to say that Hallway Diaries is a bad book. But the cover, like the summaries, is misrepresentative of the book itself. I think both the back and front covers were deliberately misleading to sell more copies. It makes sense from a marketing standpoint, but it does annoy me. For anyone actually looking for mean girl love triangle stories, the reality of this book could be a huge disappointment.

But we’re not here to judge books solely on their covers (and/or marketing strategies), so let’s get into the novellas themselves. I’ll start off with a few more accurate summaries:

How To Be Down by Felicia Pride: Nina has just moved from her mostly-White hometown to Baltimore. She has a frenemy in Vivica, who calls Nina a White girl in a Black girl’s body. Vivica is insecure in her own racial identity, as she is half-Black, and half-Latinx. Tensions between Nina and Vivica explode during a school slam poetry competition.

Double Act by Debbie Rigaud: Mia leaves her old school and beloved Double-Dutch team to transfer to a new, mostly White high school. She struggles to fit in, but when she feels like she finally has a place, her old friends accuse her of forgetting where she comes from.

The Summer She Learned How to Dance by Karen Valentin: Giselle wants to connect with her late mother’s side of the family but isn’t sure how. She finally gets her chance when her cousin, Juanita, comes from the Dominican Republic to visit for the summer. However, Giselle finds Juanita embarrassing and wants nothing to do with her.

As I read these novellas, a common theme emerged: duality. I mentioned this a bit in my post about The Hate U Give, in which the protagonist often feels like she’s living in two different worlds.

In each of these stories, the girls find themselves being pulled in two different directions when life deals them an unexpected hand. All three have happy endings: Nina and Vivica learn to love themselves as they are; Mia manages to play piano in the school play and jump in the final Double-Dutch competition; Giselle embraces her cousin and learns more about herself and her family.

I don’t think there’s anything wrong with happy endings like this. These were just light, fun stories and the message works for any teenagers reading them, particularly girls. To thine own self be true, make new friends but keep the old, be open-minded and you’ll be rewarded.

However, race can’t be ignored in these novellas. Boiling them down to a few pithy morals cheapens the meaning of the stories. The girls in these stories go through things most teenagers do: they need to figure out who they are in changing circumstances. This is hard enough, but they also must incorporate their racial identity into this journey of self-discovery.

Which brings me to my next point: the importance of representation.

When I was an teenager asking myself, “who am I?” I never had to worry if I was acting “White enough” or felt like I had to represent my race. Growing up, almost everyone I knew was White, and I never was made to feel like I didn’t belong among my classmates or relatives because of my race. Why would I, when almost all of us were the same race?

While I’ve known for a long time that representation in media was important, I rarely felt the impact when a show or a movie lacked diversity. Sure, I’d get annoyed at the way women were often treated in movies and TV shows, but I didn’t really understand on an emotional level the importance of representation for other minority groups.

Then I started playing a game called 2064: Read Only Memories. It’s a point-and-click cyberpunk adventure game, where you play as a journalist who teams up with the world’s first A.I., Turing. I was pretty excited when I started playing and saw that you could pick your character’s pronouns. Not just she/her, he/him, they/them, but also pronouns like zi/zie, hir, ve/ver, and many others that I had never heard of before. Early on in the game you’re introduced to your sister’s ex, who is another woman. One of my favorite characters in the game was TOMCAT, who goes by they/them. They majority of the characters, from main characters to minor ones, were queer, non-binary, or both. I have no problem with that — I thought it was really cool that there was a game that featured so many characters who ran the gamut of genders and sexualities.

But as I played through the game, I found myself getting weirdly annoyed. I caught myself thinking, “Isn’t there just one cishet character?!”

With a shock, I realized that this must be what queer and non-binary people feel like all the time.

I’ve had other moments like that since, but that was the first, and it was eye-opening. Like with colorism, once you start noticing the importance of representation in media, you can’t un-notice it. I remember working with a group of middle school girls talking about The Force Awakens, excited to finally see a woman as a Jedi. A friend of mine who’s a first generation immigrant who never saw herself represented in media until she heard “Breathe” from In the Heights. Another friend who’s bisexual and was excited to see that Disney’s Loki is, too.

I’m really glad that there is more representation for BIPOC and LGBTQAI+ individuals. I also think that there’s still a great deal of work to do in that regard, especially when it comes to representing people with disabilities, along with religious diversity. However, I’m so excited to see books, TV shows, and movies with a diverse cast of characters. We’ve come a long way – and we’ve got a long way to go still.

Now, I’ve got to be honest about one thing: I didn’t really like Hallway Diaries. Someone my age wasn’t the target audience, but even as a teen, I wouldn’t have had much interest in it. Teen drama just isn’t my thing, even when I was a teenager. However, I hope that this book, and others from Kimani TRU found the right person for them. I hope there are teenage girls out there who read this book, and other books like it, and finally felt seen.

by booksoverlookedblog

BIDP: Save Your Breath

For the next round of “Books I Didn’t Pick”, I read Save Your Breath by Melinda Leigh. This is the most recent in Leigh’s Dane series, which revolves around the eponymous attorney, her fiancé, PI Lance Kruger, and his assistant, Lincoln Sharp.

I haven’t read any thriller novels since I was in high school, and I’ve never really liked mystery books. I didn’t think that Save Your Breath would be something that was fun for me to read. But I’m trying to read outside my usual genres, and assured myself that, however bad this got, at least I wasn’t reading another romance novel.

I opened the first page, and finished the entire book in about a two weeks.

I get pegged as a fast reader, but that’s not entirely the truth. I don’t read faster than the average person, I just read a lot. It still can take me several weeks or or a couple months to finish a book. Which is why finishing Save Your Breath within two weeks was a bit of an accomplishment for me, and shows how compelling I found the book.

Though there is one thing I need to point out: when I read Save Your Breath, I was midway through two children’s literature courses. Throughout the semester I would read at least 60 children’s and middle grade books, and it was just so refreshing to read a book intended for an adult audience. Busy as I was with school and work, it would have been easy to let Save Your Breath fall by the wayside. Even so, I kept coming back to it, day after long day.

The writing technique was fine. I know that’s a boring way to put it, but that’s about all I can say. The prose wasn’t anything spectacular, but it wasn’t bad, either. Every sentence said just what it needed to, and got out of the way for the next one. It got the job done – no more, no less.

Though Save Your Breath is part of a series, it worked as a standalone novel. Whenever a main character from the series appeared, they reader got a little bit of background about them. That way, I could understand who everyone was, their role, and their relationship with the other main characters.

I’ve seen this used in other book series, like Janet Evanovich’s Stephanie Plum books, or The Dresden Files. It makes it easy for readers to pick up the newest book without having to know everything that happened in the ones before it. I imagine this could be annoying for readers who have been following the series for a long time, but it was helpful for me.

The downside of novel series where a new reader can jump in at any point is that changes to the status quo often come very slowly. Going back to Janet Evanovich for a moment, the 27th Stephanie Plum novel (not counting side-stories) was released in November 2020. In it, Stephanie Plum is still torn between the same two love interests she’s had since the first book, which came out over twenty years ago.

Not to throw shade on Evanovich or the Stephanie Plum series, of course! I’ve read some of the books and enjoyed them, but this is the only comparable example I have at the moment. Like I said, I don’t read the thriller/mystery genre much.

From Save Your Breath, at least, I did get a feeling that big changes for the characters do happen more frequently. At the beginning, for example, Morgan and Lance are engaged, which is not how they started the series.

I didn’t feel like I got to know the characters very well, especially Lincoln. Morgan, Lance and Lincoln are all intelligent, tenacious people with different skill sets. They care about each other and are protective of the people they love. Looking back on the book now, it’s hard for me to pick out individual character traits beyond that. Morgan is a mother, and Lance is a good step-father to her kids, but I can’t think of any distinct characteristics of them beyond that.

I think the characters would have come across more strongly if I had read the previous books in the series. Save Your Breath also deals with a crime that’s personal to the characters: Lincoln’s girlfriend, Olivia, has been kidnapped. Lincoln is justifiably concerned, and working around the clock to do anything he can to find her. The other characters note that he’s so worried that he’s not acting like himself. This makes sense, but because I haven’t read the other books in the series, I don’t know what he’s really like as a person. So, pros and cons of jumping into a serial series!

Like I said before, I’m not a big fan of mysteries. Even so, I was pretty drawn in by the set-up. True crime writer Olivia Cruz has an ethical dilemma about what information she should put in the book she’s working on. She calls Lincoln to ask him for advice during lunch the next day, and is kidnapped from her home. Morgan, Lance, and Lincoln must learn who took her, why, and most important, how they can bring her home safely.

The more they uncover, the more the mystery deepens. Murder, suicide, and a homegrown militia all come into play. Each moving part offers another clue to the story. If nothing else, this book got me to understand the appeal of mysteries novels better. I liked trying to put the clues together, and I was really interested to see how they all tied together.

This next paragraph is a little spoiler-y, so skip it if you plan on reading this book later.

Unfortunately, the clues did not all tie together. I liked the rouges’ gallery of suspects involved in Olivia’s disappearance, and I was especially intrigued about the para-military survivalist organization that one of them ran. And what was the ethical dilemma that Olivia wasn’t sure if she should put in her book? It was a question that I thought the entire plot hinged on. But it turned out that very little of those details actually mattered. The true culprit and motive for Olivia’s kidnapping had very little to do with those questions. Another reader might have appreciated the subversion of expectations, but it left me feeling disappointed and disgruntled. A lot of interesting plot points had been built up, only to ultimately fall flat. The otherwise exciting events of the book became filler in the wake of the novel’s conclusion.

Despite the above complaints, I liked Save Your Breath for the most part. It was easy to read, and I’d be open to trying out another thriller novel when I need something a bit less dense than what I normally pick out for myself. Maybe during my next semester at school, it’ll be a nice breath of fresh air….