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Claire is now in her thirties, but she STARTED OUT as a teen detective: first, running around Brooklyn solving mysteries with her two best friends according to the tenets laid out in Jacques Silette's detective handbook/philosophical treatise Détection, and then, investigating the disappearance of one of those friends.
She never found her.
It's been years since she's been in New Orleans—she left after her beloved mentor was murdered—but now she's back, investigating the disappearance of a District Attorney who went missing during Hurricane Katrina. It's full of great descriptions and depictions of post-disaster wreckage, New Orleans culture, and gentrification; the dialogue is excellent, there's a fantastic sense of place and atmosphere, and the mystery itself is tight tight tight. It's about innocence lost and about lost innocents, about history repeating itself, about different ways of dealing with tragedy and about how easy it is to lose one's self.
All that would be fantastic on its own, but where the book really shines is in Claire's voice, which reads both totally original AND classic noir. She's got a deep well of sadness and anger, but she's also understatedly hilarious. To say that she's not entirely reliable is probably an understatement—she's got a history of psychiatric problems as well as a penchant for abusing drugs and alcohol on a regular basis—but, at the same time, I never doubted that she was speaking her own truth.
I had a few issues: there is some unnecessary repetition in description and explanation (her truck, what wet is, info about OPP), but more bizarrely, there is a refrigerator that mysteriously appears out of nowhere (at first I chalked it up to her semi-instability, but as there was never another moment like it, I'm pretty sure it was a weird continuity error):
Newish appliances in the kitchen and a hole where the refrigerator had been. p28
Next I took prints from some spots around the house a visitor was likely to touch, labeling them as I went. The doorknobs. The refrigerator. p36
And, this is completely a matter of personal taste, but the Quaker parakeets as a metaphor for the forgotten/lost/unwanted of New Orleans was a little too LOOK IT'S A METAPHOR for me.
But, overall, HOLY COW I LOVED IT, and I'm going to request book two from the library TODAY.
I read this YEARS ago, and apparently never wrote about it. Which is sad, because it was great.
It's about a 10-year-old girl detective who skulks around a shopping mall, trailing suspects and investigating imaginary mysteries... until she disappears, never to be seen again. Twenty years later, a mall security guard—who was a classmate of hers—spots her on the surveillance footage...
June, 1950. When we first meet eleven-year-old Flavia de Luce, she's tied up, gagged, and locked in a dark closet. Not for long, though: her older sisters Ophelia and Daphne may have her beat in terms of pure physicality, but they'll never be a match for her brain.
So when a real tangle of a mystery arrives at Buckshaw—quite literally at the front door—Flavia isn't just intrigued: she's ecstatic. She doesn't know what the dead jackdaw means, or why it has a Penny Black postage stamp impaled on its beak. But she does know that it means something to her philatelist father: and whatever it is, it isn't good. When she finds a dying man in the cucumber patch later that night—a man who she saw arguing with her father just hours before—the mystery becomes that much more intriguing... and with her father as the most logical suspect, her need to find out the truth becomes that much more urgent.
...I wrote aboutJex Malone, a book I thought I would like a whole lot more than I did:
But, as Kirkus and I don’talways agree, I went ahead and read it anyway. The premise ALONE demanded that I read it; knowing it included quotes from famous girl detectives ranging from Jessica Fletcher to V.I. Warshawski to Jane Marple to Nancy Drew was just icing on the cake. Sadly, underneath that lovely frosting, the cake was lumpy and underdone. As I have a tendency to let metaphors get away from me, I’ll just say it flat-out: Kirkus was right about this one.
Girl enters radio contest on whim, wins tract of land! IN CANADA!
Intrepid young sleuth helps old lady cross street; carries her suitcase!
River Heights overrun by Canadians, some of them crooks!
Girl detective receives answer to message... BEFORE EVEN SENDING IT!
In a sudden burst of activity after eleven books of avoiding physical exertion, Bess Marvin CLIMBS A TREE!
Continuing the trend of Bizarro Sidekick Behavior, George Fayne shrieks in fear!
Posse rides in; posse rides out!
Carson Drew dispatches word... telepathically? Via carrier pigeon? THE WORLD MAY NEVER KNOW!
Teenage girl blows up power-generating dam and floods entire valley, no one takes issue with her!
Opening scene:
As you may have gathered from the headlines, Nancy enters a radio contest (for the first time ever) and wins. A tract of land. In Canada. That might be full of gold. Because Nancy.
Even though Canada is the SECOND LARGEST COUNTRY IN THE WORLD, said piece of land JUST SO HAPPENS to be located right next to some land related to her father's current case. Because Carson.
Of course, Nancy wants to go and check out her land, but needs an "older person" (<--Carson's words) to go with her. LUCKILY, Carson's client ALSO coincidentally has a friend coming in to town who ALSO has a place in the vicinity of her land and so CAN DO THAT VERY THING.
In River Heights:
Five minutes later, Nancy's on her way to see Bess and George to invite them along. Seeing an older lady struggling to haul a heavy suitcase across the road, Nancy does what Nancy does best and TAKES ACTION. She not only carries the suitcase across the street, but offers to wait with it outside the bank while the lady goes in to "get change for a twenty". Because Olden Days.
A "dapper man in his late thirties" drives up, claims to be the lady's grandson, takes the suitcase, and drives off!
The lady, of course, doesn't have a grandson. Nancy waves down a nearby police officer, and at first he and the old lady seem to suspect HER. Of course, once she pulls the DON'T YOU KNOW WHO I AM routine, they back off.
A FULL TEN MINUTES LATER, NANCY DECIDES WAITING FOR BACK-UP WILL JUST TAKE TOO LONG, SO SHE ENGAGES IN A HIGH SPEED CAR CHASE TO RETRIEVE THE STOLEN SUITCASE. And yes, OF COURSE she succeeds in A) CATCHING UP WITH HIM, and B) getting him to pull over, and yes, OF COURSE the crowd believes her when she makes her case!
A brief moment of non-snark:
Yes, Nancy is ridiculously lucky, beautiful, wealthy, has a hard-to-conceive-of number of skills, and her detecting skills probably wouldn't carry over very well into the real world. But that's not why we love her: We love her because she never gives up, never gives in, never says die. She always puts others before her, and while she has a tendency to judge by appearances, to be fair, she IS almost always right.
Okay, back to River Heights!
The old lady recognizes the suitcase thief as Tom Stripe, a "mean and low-down" man who has caused problems for her in the past! Also, she is from Canada! And is now Nancy's friend for life! AND IT JUST SO HAPPENS THAT SHE'S CARSON'S CLIENT'S FRIEND AND ABOUT TO BECOME NANCY'S CHAPERONE! (I bet you TOTALLY didn't see that coming!)
It should be noted that Bess has to be talked out of bringing all of her best dresses along on a multi-week camping trip.
While Nancy and Carson are having dinner at his client's house, NANCY GETS A PHONE CALL FROM SOMEONE WHO WANTS TO BUY HER LAND. Because that's how business is done: By calling people while they are ATTENDING DINNER PARTIES AT OTHER PEOPLES' HOUSES.
The next day:
Nancy is accosted by a young man with a "sophisticated smile" wearing clothes that "cut far too elegant an appearance for River Heights". DANGER ZONE! Surprise, surprise, Raymond Niles wants to buy her land. ALL I WANT TO KNOW IS THIS: WHERE'S NED? HE DOESN'T GET A SINGLE MENTION IN THIS BOOK. Poor old Ned. It can't be easy being that boring.
Nancy tells Carson about this Niles character—who, by the way, OUT-AND-OUT THREATENED HER—and this is his response: "It seems to me we ought to let the matter rest for a while. In any event, you will be rid of this fellow in a few days, for soon you'll be on your way to Canada." YES, CARSON. BRILLIANT LOGIC. DUDE THREATENS YOUR DAUGHTER, SO IT'S A GOOD THING THAT SHE'S HEADED OFF TO THE MIDDLE OF NOWHERE... BECAUSE IT'S NOT AT ALL LIKELY THAT THE GUY KNOWS WHERE THE LAND HE WANTS TO BUY WOULD BE LOCATED, RIGHT?
Meanwhile, Hannah Gruen doesn't like the idea of the girls gallivanting off to "foreign places". Because Canada.
Two days later:
Hannah, who is only suspicious when it suits the plot, lets Raymond Niles into the house and he ALMOST SUCCEEDS in stealing Nancy's property deed.
At this point, you'd think that Carson would, like, register the deed or make a copy of it or do whatever lawyer-y thing you do with these things, but no. Because the Drews have a lot of great qualities, but logic isn't one of them.
Tom Stripe is out of prison, and it was Raymond Niles who posted his bail! They are, as Nancy puts it, "friends and crooks"!
On the train to Wellington Lake:
Remember the radio contest that started this adventure? Well. To win it, Nancy had to name a mystery serial... and on the train, Nancy runs into Ann Chapelle, the author of said mystery serial!
Miss Chapelle has a Secret Sorrow, though for someone with a Secret Sorrow, she's quite open about it. In fact, she was about to spill the beans to Nancy WHEN THE TRAIN CRASHED AT THAT EXACT MOMENT.
YES, THE TRAIN CRASHED. LIKE, ALL OF THE CARS, OFF OF THE TRACK.
Nancy bumps her elbow! George is buried under a pile of chairs! Bess goes pale! Random passenger breaks his leg! Tom Stripe and Raymond Niles were spotted shortly before the crash! The train catches on fire! Miss Chapelle and the chaperone are missing!
At a hotel:
The girls hole up and wait for news. In the middle of the night, Nancy wakes up and discovers Bess sleepwalking. On the window ledge. So Nancy, being the quick-thinker that she is, GRABS A COIL OF ROPE (because they're generally lying around in hotel hallways), and, just as BESS FALLS OFF OF THE LEDGE, LASSOS HER BEFORE SHE HITS THE GROUND. (Yes, she credits her Shadow Ranch adventure for the ability.)
As if that wasn't ENOUGH ACTION FOR THE NIGHT, it turns out that Bess, while sleepwalking, took the deed to Nancy's land and dropped it outside.
Sure enough, George pops her head out the window and sees a dude walking off with it. But they don't pursue him because... THAT WOULD MAKE TOO MUCH SENSE?
The next day:
They receive word that both the author and the chaperone are at the hospital.
Nancy stops by the newspaper to place an ad about her lost deed... and discovers that someone has already left her a letter, instructing her to call at Ranny farm, six miles away.
The girls check in with the ladies at the hospital, and Ann Chapelle is A) convinced she's going to die and B) manages to say, "The message—in the hollow oak—" before passing out. So that's helpful.
Our Girl Wonders rent a jalopy—it's so decrepit that even Our Nancy needs a lesson in starting the engine—and they head out to the farm, promptly get a flat tire, and then they get lost because they don't know how far they've gone because "the speedometer was broken" even though HELLO, unless Nancy's got Bess and George doing constant Distance = Rate x Time math problems, it's the odometer that matters.
ANYWAY, for whatever reason, they decide to leave the car and hike across a pasture to a nearby farm, but Bess is wearing a red sweater, which enrages the bull (*coughbullsarecolorblindcough*), and it charges them and they almost die but then the farmer opens the fence for them and it turns out he's Farmer Ranny himself. HOW SURPRISING.
I'm going to fast-forward here, because good lord, I'm only up to page, like, 60.
SO. Farmer Ranny's wife has a long-standing feud with the chaperone. Because gold. Or land. Or something.
The Rannys are ALSO the parents of Norman Ranny, Ann Chapelle's long-lost love, who she used to pass messages with via the Hollow Oak and who she ran away from home to elope with except he never showed up, the jerk.
Thinking she's about to die, Ann Chapelle gets Nancy to make a promise to A) find her Grandfather Chap and apologize for running away and B) find Norman Ranny and tell him that she loves him. Or something.
Canada, FINALLY:
There's a story in the local paper about A STRANGER almost getting creamed by a falling branch from the OAK tree he was sitting under, because THAT'S NEWSWORTHY IN CANADA. (<--I'm from Maine. That would totally make the paper in my town. Anyway.)
The girls get outfitted in "riding breeches and knee-high shoes" (known as BOOTS in more succinct circles) and HEAD OFF INTO THE WILDERNESS WITH PETE ATKINS, GUIDE EXTRAORDINAIRE.
Fast-forwarding again, because their adventures in the wilderness are ENDLESS:
Almost immediately, they run into Tom and Ray, who are terrible at canoeing.
Tom and Ray try to strand the girls in the wilderness (...with the best guide in the area, that'll show 'em!), but, after a brief struggle, end up neck-deep in the lake while Nancy & Co. paddle away. Tom Stripe, logical as ever, vows revenge on them even though he was the one who started it.
Ray, not unlike that jewel thief in The Facts of Life Down Under, has developed QUITE THE CRUSH ON NANCY.
The crooks, miserable and soaking wet and in the middle of nowhere, run into NORMAN RANNY, because of course they do.
Norman, it turns out, thinks that Ann is dead. Because these are the things you should assume to be true without proof.
Tom and Ray tie Norman up and throw him into Grandfather Chap's fruit cellar. No, not root cellar, FRUIT CELLAR. Because that's what they call it.
Nancy, while exploring a nearby abandoned mill, is "...impelled by some impulse which she could not explain..." to look through a crack in the wall, sees Tom Stripe in the house. Seriously, I don't know how she'd solve mysteries if she was slightly less lucky.
Once our heroines take over the house, Bess and George become convinced that it's haunted due to the moans coming from the FRUIT CELLAR.
Nancy, brave girl that she is, heads down there and returns... WITH A CAT.
THEY ALL LAUGH MERRILY ABOUT THAT.
The moans continue, causing Bess to FAINT, AND PETE HAS DISAPPEARED, so it's up to Nancy to head down there again... which she does, AND FINDS ANOTHER CAT BUT ALSO, THANKFULLY, NORMAN.
Nancy jumps to the conclusion that Pete abandoned them, which seems like a REALLY LOGICAL ASSUMPTION, considering how there are bad guys around who have it in for him.
The girls—who have now adopted Norman as the requisite adult male in their party—stay the night with a trapper and his wife, enjoy some banjo music (yes, really), tell said trapper and his wife about the big city (yes, really), and then Pete shows up all beat up because, duh, of course Tom jumped him.
I told you it was endless. I'm going to have to read the '70s revision to see if they tightened it up.
ANYWAY, panning for gold on Nancy's land, they all get a nugget (except Bess, but Nancy gives her one so she doesn't whine), and Norman strikes a vein in the very first spot that he swings his pickaxe. Because that's how things roll around Nancy Drew.
ENTER THE EVIL MINING COMPANY:
A plane lands, and a bunch of evil miners arrive. Nancy realizes she and her crew are outnumbered, so she PAYS THE PILOT TO TAKE HER AND HER FRIENDS BACK TO CIVILIZATION, LEAVING THE MINERS SEMI-STRANDED. Which, you've got to admit, is both hilarious and badass.
In a considerably less badass move, she wires Carson for help.
Buck Sawtice, the owner of the EVIL MINING COMPANY—when they find out it's named Yellow Dawn, George asked, "Is that a company or a disease?" which made me laugh out loud—ALSO cost the Mr. & Mrs. Ranny their life-savings. So, you know: Good to know that he's an equal-opportunity swindler, and not ageist or anything.
SUPER FAST-FORWARD:
Carson rounds up some local law enforcement, and they put together a POSSE and go in there ON HORSEBACK:
"Now, Father, don't tell us we can't go," she forestalled him. "With all these men along to protect us, you surely can't say it won't be safe."
"That's just what I did intend to say, you young tease!"
NO COMMENT.
Pete gets attacked AGAIN. Poor guy, for a minor character and a good guy, he really takes a beating in this book.
Turns out Grandfather Chap buried a treasure under the Hollow Oak and left a message for Ann there, including a confession about switching out the message she left for Norman way back when, which is why he never showed up to marry her. Nancy and Norman dig it up and then BURY IT ELSEWHERE, because they're tricky like that.
But Nancy loses an engraved bracelet, so they have to go back for it, and then they catch Tom (since Norman's there, he does the lassoing this time, presumably because he's got manparts), tie him to a tree, AND THEN THREATEN TO SET HIM ON FIRE UNLESS HE TELLS THEM WHERE GRANDFATHER CHAP IS, BECAUSE THAT'S WHAT "THE INDIANS" WOULD DO. I don't even.
They bring their info back to the posse, the posse acts on it... but no Grandfather Chap, so they disperse, leaving Nancy, Carson, the girls, and Norman with the Yellow Dawn guys.
I swear we're almost at the end:
Nancy offers to sell her land to Buck if Grandfather Chap is returned unharmed, so Buck sends the airplane off for some money.
Of course, Buck plans to double-cross her, but she HAPPENS TO BE AT JUST THE RIGHT PLACE AT JUST THE RIGHT TIME TO OVERHEARD ALL OF THE EXPOSITION (IN FRENCH), so she's able to make a counter-plan.
Which involves stealing a key right out of Ray's hand WHILE HE'S AWAKE AND AWARE AND EVERYTHING, CLEARLY SHE'S MAGIC, swiping all of the gold out of the cabin the bad guys have been squirreling it away in, getting all of her loved ones (and Norman and Grandfather Camp, who's been being tortured this whole time, YES, TORTURED) out of the way, and then BLOWING UP THE DAM. BECAUSE NANCY DREW, AS I'VE MENTIONED, IS KIND OF BADASS, AND ALSO HAS AN UTTER DISREGARD FOR PUBLIC UTILITIES.
Ann and Norman are reunited, Ann and her Grandfather make up, Nancy gets all of her gold melted down into gold coins, and everyone in River Heights is at the train station to meet them when they get home.
And just because it wouldn't be a real Nancy Drew book without one more semi-creepy moment with Carson:
After discussing the events Nancy seated herself upon the arm of her father's chair, and playfully tweaked his ear.
[I'm sparing you the twinkling eyes and smoke rings, ag.]
"Father, if anyone should ever offer me another deed, I'd run a mile!" she said. "After having so many adventures up North, I think I'll agree to your holding title to all the property that comes into the Drew family!"
THE END.
New skills:
When it comes to chocolate cake, Hannah Gruen believes that "the pupil has gone beyond the master".
Teenage assassins are a dime a dozen in fantasy and in dystopia, and they aren't ALL that uncommon in historical fiction, but they appear far less often in contemporaries—even stories about teenage spies usually cast the protagonist in an unquestionably heroic role (like Anthony Horowitz's Alex Rider series) or focus on less-problematic skills (like Robin Benway's safe-cracking heroine in Also Known As and Going Rogue).
So, let's look at a few slightly more Questionable Characters!
Four years ago, he learned the truth about his parents, and four years ago, The Program took him in. He was trained physically, mentally, and emotionally, and now he works for them. They give him a target, he infiltrates that target's life, gets close enough, and then moves in for the kill. (Literally.) Then he moves on. Always moving, always alone.
He doesn't know it yet, but this next job will be different.
I Am the Weapon will not be a good fit for every reader: If you dislike the present tense, it won't be a good fit, ditto sentence fragments and antiheroes. Me? It was a GREAT fit.
Benjamin (not his real name) has a voice that is strong and distinct, both emotionally distant and emotionally fragile. He reads like someone who has been programmed, but not entirely brainwashed—he feels trapped in his situation, but hasn't entirely reconciled himself to it; sometimes, he reads like a sociopath, but it's always clear that it's a created state, not a natural one—because he remembers his past, remembers how he came to The Program, he doesn't entirely trust them, isn't entirely in their corner. But he doesn't feel that he has any direction to move in OTHER than theirs, so he falls back on the rules of the game again and again as a way of justifying his actions and of convincing himself to keep moving forward, of not giving up. His keepers see him simply as a tool, as an asset, as a weapon to point at their enemies... but he's more than that: he's a survivor.
Because of his emotional and mental conditioning, because of the way he's lived for the past four years, he doesn't entirely understand human connection—even though he craves it. Although he has been programmed to follow orders, to kill without hesitation or regret or guilt, he remembers the warmth and love he knew as a child, and those memories, in tandem with getting to know his target—not to mention his target's beautiful daughter—are making it more and more difficult for him to perform his duty.
As I read, I found the romance element FAR less interesting and satisfying than in Benjamin's slowly-growing friendship with bullied hacker Howard, but ultimately, Zadoff makes it all work, AND HOW. The sequel is due out in a few weeks (<--Oh, look, it's a Little, Brown title, so Amazon won't let us pre-order it, the jerks), and I'm VERY MUCH looking forward to reading it.
While neither one focuses on a teenage assassin—Miller's is about a pickpocket and Jinks' is about a hacker—and while an argument could be made that they're science fiction OR fantasy OR both, really, I'm including them anyway. They're both about schools for the criminally-minded, and both include characters who're being taught to be assassins. While I was a big fan of both books, I felt that How to Lead a Life of Crime, especially, deserved WAY more attention than it got when it came out.
This one has been promoted as a story about a teenage girl who happens to be a serial killer, but everything I've read about it suggests that she's actually an assassin with little-to-no conscience. Which is different. Judging by reader reviews at Amazon and GoodReads, response has been EXTREMELY VARIED, so I just ordered a copy so I can make up my own mind.
Boy is forced by his mother to take their Lithuanian exchange student to the prom, it turns out she's an assassin. Hijinks ensue! In the sequel, Perry runs into Gobi in Venice, and there are MOAR HIJINKS. These sound like big, action-movie-esque fun, and I'm going to make a point of reading them soon.
So, I'm sure you've got others to recommend, right? Right?
A real-life Belgian policeman who came to the West Country as a refugee during the first world war has been tipped as a possible inspiration for one of the literary world's most famous fictional detectives, Hercule Poirot.
Regardless of whether it's true or not, suddenly I feel like re-reading some Dame Agatha.
Best Young Adult winner Annabel Pitcher (for Hachette’s Ketchup Clouds) pithily commented that “Young Adult Mystery novels are no more watered down adult mysteries than young adults are watered-down adults.”
Heh. You go, Annabel Pitcher.
See the other YA nominees here, and the rest of the winners and nominees here.
Bedlam Hospital has a disturbing problem: every night, at precisely Twelve Minutes to Midnight, the inmates begin feverishly writing gibberish—on paper, on the walls, on themselves; in pencil, in ink, in blood. In the morning, none of the inmates have any memory of their actions, and every night, the madness spreads further. Having exhausted every medical avenue*, the authorities turn to Montgomery Flinch, an author who has recently taken England by storm with his macabre tales of terror published in the Penny Dreadful.
Little do they know, Montgomery Flinch doesn't exist. The stories are actually written by thirteen-year-old Penelope Treadwell, the orphaned heiress who owns the Penny Dreadful.
But Penelope isn't going to let a trifling detail like THAT prevent her from investigating...
Pros:
Loads of atmosphere, action, and tense moments.
Details like the secret door leading to the SPOILER, and the mysterious, beautiful widow are nice nods to the genre and suggest a real affection for it.
Edge doesn't condescend to his audience: he doesn't over-explain plot points, and he never actually spills the beans about the specific events the prisoners are writing about. Deciphering those texts isn't necessary to enjoy the story, but they'll make a nice Easter Egg for any readers with a basic knowledge of twentieth-century history.
Cons:
I got the impression that Edge was shooting for Late Nineteenth-Century Verbose and Flowery, but there's a distinct lack of rhythm in the prose. For example: "Behind him, Alfie failed to hide the smirk on his face as he took a sip from one of Monty's discarded glasses before grimacing in sudden disgust." In other words, much of the book feels like one big run-on sentence.
There's nothing in the way of character arc or growth: at the end of the story, the main characters are exactly who they were at the beginning. (I suppose that could be chalked up as a nod to the conventions of the genre, but as always, I don't like that as an argument, as it suggests that genre fiction is somehow 'lesser' than 'literary' fiction. Anyway.)
For a smart girl, Penelope is amazingly slow to put two and two together. Also, three-quarters of the way in, a plot point requires her to suddenly possess Crazy Science Skills which she explains away by saying that she's 'always' had a strong interest in science. It was so out of left field that I wrote NANCY DREW MOMENT in my notes.
Nutshell: Plenty of atmosphere and action, but no character development or emotional depth.
_____________________________
*I think? Hopefully this wasn't their first choice of solution?
In an effort to thwart the robbery of a Van Gogh—hilariously, the robbers are taking advantage of the chaos surrounding a publicity stunt robbery okay-ed by the museum and carried out by a world-famous performance artist—the Dead Boy Detectives, Edwin and Charles, save the life of Crystal Palace, the performance artist's daughter.
For a moment, unlike most people, she SEES them. And not only does she see them, but she notices the Saint Hilarion's badge on Edwin's uniform. So, when she comes to, she asks her parents to send her away to boarding school—specifically, to St. Hilarion's.
Knowing that the place is FULL OF EVIL DOERS, the boys bravely follow her, returning to THE ONE PLACE IN THE WORLD THEY WANT TO AVOID.
Artwork?
I liked the muted colors in the flashback panels, and how Crystal is drawn more distinctly than the boys. I love that different fonts are used to differentiate between the two narrators, and how the choice of font evokes two very different voices.
I also especially liked the parallel images in the section where the boys tell us about their pasts through tandem flashbacks.
Writing?
Their voices aren't just distinct because of the font:
Edwin Paine: The young lady had swooned away, and was now deeply unconscious.
Charles Rowland: The babe was out cold.
Heh. And I love that in case a reader didn't go in aware of the fact, that the authors make it clear in a few way that this is in the same universe as Sandman, the most obvious being this:
Edwin: What if Death had come?
Charles: She didn't.
Lots of other stuff, too: Crystal's desire to be a normal kid; her parents' total self-absorption; the friendship between Edwin and Charles; the easily-drawn connection between the horrors of what happened to them at Hilarion's and the horrors that still go on in schools and colleges today; and then of course the intimations of HUMAN SACRIFICE AND PURE EVIL.
Note to self: never trust a dude with a pipe shaped like a devil's head.
Keep going?
HECK, YEAH. Also! I clearly need to revisit Sandman, which is where the boys first appeared, and I need to read the Children's Crusade crossover series, because they pop up there, too. So many things to read! I AM GOING TO BE SO BROKE.
...I wrote about Jennifer L. Armentrout's Don't Look Back:
About halfway through Jennifer L. Armentrout’s Don’t Look Back, I’d identified the villain, and while it took me a good while longer to identify the motivation, I pegged that long before the reveal as well. But, you know? It didn’t really matter. While I was entirely satisfied with myself at the reveal (always a nice feeling), this book wasn’t so much about the suspense as it was about the journey.
Although there are a few problematic aspects, it has plenty to recommend it, the first of which is the premise: Charlotte and Emily Brontë have run-ins with various people—a desperate, possibly mad woman; a handsome ruffian with a big dog; an attractive-but-probably-evil mill owner (I mean, come on: He has a POINTY BEARD!)—who all, it turns out, are involved in the same mysterious drama that also involves the local Freemason lodge and their brother Branwell.
Relatedly, Kirkus has revamped their Blogs area, so now each blog has its own dedicated page. So that's very cool, and should make it easier to add them to feed readers!
Going Rogue has exactly the same weakness as Also Known As—actually, the storyline is even more inane this time around—but fans of the first one won’t be coming back for the plotting. They’ll be coming back because of the many strengths of the first book: the banter, the humor, the heart. Maggie, unlike so many other teen spies/detectives/vampire hunters/world-savers, has a GREAT relationship with her parents—the interactions between the three of them are easily the funniest in the book—and not only do they know about her activities, they condone them…because they’re spies, too.
Bugs Meany was the leader of a gang of tough older boys. They called themselves the Tigers. They should have called themselves the Heathens. They were doomed to eternal torment in a subterranean lake of fire.
I haven't finished reading it yet, but so far, it's rather hilarious.
If Harry Potter was The Boy Who Lived, Nancy was The Girl Who Dared. She was brave, rash, fierce. She had a snazzy car. She solved crimes that flummoxed the cops, snuck around in old abandoned houses, got locked in closets by bad guys … and she always kept her cool. Her mom had died when she was little, but her dad adored and trusted her and gave her free rein to save others. She was in charge, not her boyfriend, Ned Nickerson. She was beautiful, but she wasn’t an object. She was a doer.
Little did I know Nancy Drew had such a troubled past.
The Swedish publisher of the best-selling The Girl With the Dragon Tattoo trilogy said Tuesday it has hired an author to write a sequel to the series by Stieg Larsson, who died in 2004.
Norstedts said it signed a contract with David Lagercrantz, the author of I am Zlatan, a biography of Zlatan Ibrahimovic, the captain of Sweden's soccer team, to write a new novel about journalist Mikael Blomqvist and hacker Lisbeth Salander that is scheduled to be published in August 2015.
Eva Gabrielsson is quoted as calling the endeavor "tasteless", and I'm inclined to agree with her. (Of course, we'll probably never know whether or not her feelings would be the same if she owned the rights...)
I'll most likely skip it in favor of getting caught up on Carol O'Connell's books. LONG LIVE KATHY MALLORY.
Tell us a little about the genesis of Kathy Mallory.
Whenever I go out on tour, someone will ask if Mallory is autobiographical. It always startles me. I like to think that I show no markers for a sociopath. Mallory is purely a work of imagination. This answer disappoints everyone.
Benson wrote more than 130 books, including the 1940s Penny Parker mystery series, but she is best known for the Nancy Drew books that inspired and captivated generations of girls.
She wrote 23 of the 30 original Nancy Drew stories using the pseudonym Carolyn Keene. Paid $125 per book, she never collected any royalties.
Benson died in 2002 at 96 and left her home and possessions to her only daughter, Peggy Wirt, who died in January.
There are two distinct groups of readers who’re bound to find Risa Green’s Projection a whole lot of fun: Fans of Sara Shepard’s Pretty Little Liars and The Lying Game, and fans of the website TV Tropes. Shepard fans—especially fans of The Lying Game, which, like Projection, has paranormal elements—will love the intrigue, the mystery and the drama, while fans of TV Tropes will enjoy identifying the various genre conventions that Green weaves together into a cohesive, entertaining whole.
When a young woman is found—half-naked, run through with a pitchfork, missing her right hand, and extremely dead—surrounded by ritualistic implements and a line of seemingly incomprehensible chalk letters on the wall, Deputy Marshal Archie Lean, poetry aficionado, family man, and reluctant nicotine addict, gets stuck with the case.
Other than being 100% certain that this is not a case of Prostitute Gets Accidentally Killed By An Overenthusiastic John—an explanation the Mayor would be only too happy to accept—he's kind of at a loss.
Enter Perceval Grey. He's dapper and cultured, highly educated, a former Pinkerton, and known for being an extremely "modern, scientific" detective... all of which some people find difficult to reconcile with his Abenaki ancestry. (Because, you know: some people are racist jackasses.)
After a bit of awkwardness, the two men join forces—rounding out their team with an older doctor and his historian niece—and hit the murderer's trail together. The Temperance Union, the Church, and a long-lost book... all of these things factor in, but again and again, everything points back to one thing: witchcraft.
As I've been trying to re-familiarize myself with Adult Land, this was an easy pick: with a premise like that, how could I not, right?
Here's what worked for me:
The setting: Great atmosphere, lots of visual detail about the places and even about traveling between the places. I'll look at Portland differently after reading this, for sure.
The historical tidbits: Lots and lots of anecdotes about the Salem Witch Trials, about Maine history, and the politics of the day. They are often relayed in a way that is More Infodump than Deftly Woven In, but at the very least, they're always interesting. I did wish that the Acknowledgements—which did include a list of sources the author referenced—had been more specific about what he pulled from history and what was fictionalized, but I almost always want more of that.
The humor: Pretty early on—after the headbutting—Archie and Grey slide into the sort of relationship where each mocks the other pretty regularly, and they're both comfortable with it.
Here's what didn't:
Perceval Grey: He's basically Sherlock Holmes, in terms of psychology—he's more focused on logic and fact than on personal relationships or emotion—and deductive techniques, even down to his knowledge of different mixes of tobacco. Yes, OF COURSE there are lots of characters who are basically Sherlock Holmes (House, Monk, Shawn Spencer, Oscar Wilde in those Gyles Brandreth books, Artemis Fowl (to a degree...)), but this was SO OVERT that it made me crabby that there was no nod to Doyle anywhere—I mean, unless I missed one.
The Girl Historian: At first, I loved her. I loved that she was a single mother, that she had good instincts and that she was fully capable of going off on solo investigatory missions. I loved that, in time, she was regarded as a full member of the team, rather than as someone to be coddled.
HERE'S WHERE SHE/THEY/IT LOST ME: [SPOILER] SHE GETS KIDNAPPED BY THE VILLAIN, RESCUED BY GREY, AND THEN, EVEN THOUGH HE COULDN'T BE BOTHERED TO, LIKE, TELL HER THAT HER DAUGHTER (WHO WAS ALSO KIDNAPPED) WAS ALIVE AND WELL, ONCE SHE IS FREED FROM HER BONDS, SHE IS OVERCOME AND PLANTS A BIG SMOOCH ON HIM. [END SPOILER]
Basically, she morphed from Independent Woman into Classic Damsel in Distress, and it really cheesed me off. Was it as offensive as Gwyneth Paltrow's role in Se7en*? No. But it was still annoying.
THE EYEBROWS, OH GOD, THE EYEBROWS. Even when I turn to adult fiction, I can't escapethem. "Grey cocked an eyebrow." "Lean cocked an eyebrow." "...his right eyebrow arched upward, like the hammer of a rifle being drawn back..." "Grey looked at him with one eyebrow pointing up to heaven." "...Grey standing nearby, peering at him with an arched eyebrow." "Lean raised an eyebrow." "Grey arched an eyebrow." "Grey raised a sharp eyebrow." "Lean arched an eyebrow in puzzlement..." "...a thin smile and a slight arch of one eyebrow."
Overall?
Meh. I might still give the second one a try, though.
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*In which her character was LITERALLY only there to get killed off and provide a reason for Brad Pitt to embody Wrath?
