House of Leaves Book Review

 Rawr Reader,

Oof, this is a hard one. 

The synopsis of House of Leaves by Mark Z. Danielewski is provided by Goodreads:

      Years ago, when House of Leaves

was first being passed around, it was nothing 

more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying 

story would soon command. Starting with an odd assortment of marginalized youth—musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies—the book eventually made its way into the hands of older generations, who not only found themselves in those strangely 

arranged pages but also discovered a way 

back into the  lives of their estranged children.

   Now, for the first time, this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and newly added second and third appendices.

    The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside.

Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story—of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

Reference:

A booktuber/bookstagrammer I've followed since roughly 2013 named Katie, who also goes by the username ChapterStackss, has mentioned this book several times in her videos over the years. It took me until earlier this year when it popped up again somewhere, probably a bookstore e-newsletter under the Horror category, to consider giving it a read.

Review:

   The first thing that comes mind upon finishing this is what a mind. Seriously, how intricate, how exploratory, how vivid, how encroaching. No one can approach House of Leaves with pre-conceived conventions. Horror is on every single page. Bumps in the night or in the shadows of memories. I want to heartily thank Mr. Danielewski for sitting down with his publisher and saying, "Just trust me on this."*

   The novel follows two separate storylines, with multiple branches stemming from the main ones of Will Navidson, the filmmaker behind the documentary: The Navidson Record, and Johnny Truant who organized and added notes from a man named Zampanò who before him, obsessed to provide a cohesive and coherent understanding of the documentary. 

   It reminded me of Mary Shelley's Frankenstein, part epistolary, part story within story, but then Danielewski got experimental because furthermore it's: part poetry, part documentary, part essay, part novel, part art, part obsession, part meta, wholly avant-garde. I carried this book, and spun it around, held it up and flipped back and forth because of the innumerable ways to read this. One of my favorite parts was when Danielewski would briefly hint at something mysterious going on from the perspective of one character, and then later on show the other side of the mystery from a different perspective so that we come full circle to a complete understanding of what the first character saw or said. I would be remiss to omit how down the rabbit hole you go with this. Almost never-ending, but in a way, do we want to find the end? Love me some Alice in Wonderland shenanigans. I did a quick check for an audiobook version (haha there is none) mostly just to see if it was possible to have this read in that format. I apologize for anyone that is legally blind. Secretly, a small part of me is glad that it can't be stolen by another medium. It's a book, and a book that cannot be bought. Try as it might, I don't think Hollywood would be able to bring this story justice.

   Perhaps the most daunting thing aside from the length is the vocabulary. Which slowed my reading pace, however nourished my mind. (For any Outlander readers, let me know if it reminded you of Gabaldon.) Ah, to whet the mind, in the age of bustle and time is money, to sit and read a book, really read. Soak in the essence of a story, the voice of an author or the characters, be immersed in a world that makes me glad I live in this one.

   I, for one, am not a horror fan. I don't voluntarily go to Halloween Horror Nights or be the first in line to the theater with popcorn and soda for the next horror blockbuster. It's a genre I treat myself to on occasion. And yet funnily enough, two of my top five reads this year have been in horror. Whodofthunk! As you've probably surmised by now throughout my reviews, I like to jump around genres; not committing this blog to any particular one. I have a gravity toward being an eclectic reader and it's something I try hard not to shy away from. 

   The nature of this novel after some time becomes very cultish. Not just within the novel. While I had a personal goal of finishing this in a week, requiring me to spend copious amounts of my free time focusing on reading this, I still found myself unable to put this book down. I had obligations elsewhere and I said no,  and returned to the House. That's the pull this book has on you. Intertwining you the way Johnny becomes consumed by Zampanò's legacy of scribbles and notes.

   Part of this appeal was the fact, like I mentioned earlier, this was so many stories in one. Not short stories, but stories within stories, within stories, within stories . . . Very Inceptionesque. A case of Storyception? Okay, I'll leave the humor to Johnny. The point is the structure was fascinating to me. If I had to ask one question to the author it might be how long it took him to try and structure this because it took forever reading, imagine having to figure the order out.

   Now, as much as I extol, it would be untrue for me to say it's—from page 1 to the last—non-stop engrossing. I'll admit the times I put it down were in certain segments where the book became a little too experimental. (Mostly in Johnny's parts. Sorry Johnny.) In the rather droning, pedantic, edging toward pretentious scholarly structure of myths and philosophies dictations. But even these parts that dulled me were still a contribution to the tone of the story that, maybe, I couldn't appreciate the first read around. 

   House of Leaves is about obsession. It's about facing the truth you've refused to confront. Monsters and terror and gritty disappointments in life. One hat cerebral, one hat heartbreaking. 

   I rave about books because they offer something I've never seen before, something that enthralls me, and what I believe will capture you too. A challenge then, to find another novel that comes close to this. 

   Can there be another?

I give this book 5/5 stars.

Quote:

"We all create stories to protect ourselves."

"This is not for you."

—Mark Z. Danielewski, House of Leaves

My Goodreads:

https://www.goodreads.com/user/show/7170636-nicole

Next To Read:

In the Hall with the Knife by Diana Peterfreund

Spoilers:

   I apologize. I honestly believe it's a disservice to spoil House of Leaves. There are a myriad of reviews, discussions, and spoilers on the interwebs that may explain any thoughts I might have better anyhoo. 

   Forgive me.

   I will however add a fun fact and a question:

   Fun fact: It didn't take me until pg 535/662 to realize there were actual real texts being cited. Not all granted, a lot of them are fake, but there were some real ones and when I realized that so close to the end I was embarrassed. But not enough to not share with you. :0)

   Question: What was the third dream in chapter 17? Did I read that chapter too fast? Was it the Navidson Record itself??

Until Next Time,

Nicole Ciel

P.S. I like to listen to instrumental/film scores and here are a couple I recommend pairing while reading House of Leaves:

• Scenes from a Marriage Soundtrack by Evgueni Galperine, Sacha Galperine
• The Revenant Soundtrack by Ryuichi Sakamoto, alva noto, and Bryce Dessner
• The Haunting of Hill House Soundtrack by The Newton Brothers
• The Haunting of Bly Manor Soundtrack by The Newton Brothers
• Tales from the Loop Soundtrack by Philip Glass and Paul Leonard-Morgan

P.P.S. Take notes reading this.

*not literally. (unless this really did happen . . . then baller) 

Mexican Gothic Book Review

 Rawr Reader,

Happy Spooktober! It's the beginning of the bumper-to-bumper seasons extravaganza with the months flowing into the other like leaves on a breeze. October begins my annual challenge of reading four horror reads during the month, and a little over a week in, I've completed my first book. So far not bad.

The synopsis of Mexican Gothic by Silvia Moreno-Garcia is provided by Goodreads:

                                                             After receiving a frantic letter from her newly-wed cousin

                                                         begging for someone to save her from a mysterious doom,

                                                            Noemí Taboada heads to High Place, a distant house in the

                                                          Mexican countryside. She’s not sure what she will find—her

                                                           cousin’s husband, a handsome Englishman, is a stranger, 

                                                        and Noemí knows little about the region.

Noemí is also an unlikely rescuer: She’s a glamorous debutante, and her chic gowns and perfect red lipstick are more suited for cocktail parties than amateur sleuthing. But she’s also tough and smart, with an indomitable will, and she is not afraid: Not of her cousin’s new husband, who is both menacing and alluring; not of his father, the ancient patriarch who seems to be fascinated by Noemí; and not even of the house itself, which begins to invade Noemí’s dreams with visions of blood and doom.

Her only ally in this inhospitable abode is the family’s youngest son. Shy and gentle, he seems to want to help Noemí, but might also be hiding dark knowledge of his family’s past. For there are many secrets behind the walls of High Place. The family’s once colossal wealth and faded mining empire kept them from prying eyes, but as

                                                               Noemí digs deeper she unearths stories of violence and 

                                                           madness.

                                                             And Noemí, mesmerized by the terrifying yet seductive

                                                          world of High Place, may soon find it impossible to ever 

                                                    leave this enigmatic house behind.

Reference:

This book was a big commercial release of 2020 and I had to wait a few months for my library to have the loan available earlier this year, but I returned it not long after starting. I've decided to give this book another try, which I will elaborate further below.

Review:

   Mexican Gothic falls under the type of novel that gets a lot of hype and try as it might, doesn't deliver. 

   Cosmetically, the inciting incident, the climax, the resolution . . . there were only faint traces of demanding stakes from start to finish. But those are just the poles to the tent, what about the canvas of characters? While the colors described in Mexican Gothic were bold (intentional), the characters were not. In part it was the small cast of characters, in part the characters feeling flat through their dialogue, in part the focus on romance which could have been sidelined so there was more focus on the protagonist's ambitions to help her cousin and with her interactions with the townspeople of El Triunfo. 

   Being that Mexican Gothic follows one key figure, I'll focus on Noemí. The downfalls of writing in a later era than what the novel is based on is that contemporary ideas tend to seep in, and while attempting to make the novel and its characters "progressive," it does the opposite. Her headstrong independent mind erodes into a submissive handcuffed one the longer she spends at High Palace, the Doyle family home and setting of the novel. The threats that transformed her weren't strong enough for me to believe her character or her personality to shift so dramatically. There's an eager trend in novels of the past decade to have a "strong" female protagonist. One that "don't need no man." That doesn't care about others opinions on her. In that respect, Noemí hits the mark, she's a spoiled, detached young woman who wants to pursue becoming an academic by earning her university fees by accomplishing this one family matter to protect the family reputation. However, there are many female protagonists in literature that are like that and when reading through their perspective feel like they have muscles, bones, and nerves under the skin. Noemí felt more of a caricature than a leading role character. Silly. And while living a "wild" life, on the cusp of uninteresting, And considering I'm always excited to read about a Latina protagonist in mainstream literature (especially when it involves a little bit of magic or magical realism), it's a greater disappointment when the characterization doesn't pan out in a satisfactory manner.

   In general, the main characters weren't standout or multi-faceted despite the bright colored clothes and descriptions of the gloomy mansion. If anyone stood out it was the house High Palace: over Noemí, over Catalina—Noemí's cousin, and Virgil—Catalina's husband. There were a few select scenes that started to dive into the horror of this gothic tale, but then it was cut off and reduced to a trope. Suddenly the mysticism of the novel was sapped. It didn't help that the writing of the narrative didn't blow me away. My interest was most piqued when Moreno-Garcia showcased Noemí's knowledge on chemicals; for me—the smartest part of the novel, if it wasn't going to be written like a craft. Ironic, Beauty was a major theme.

   I'm not an expert or extensive reader of gothic tales but I know Beauty was an integral placeholder in society and common theme in novels during the height of the Gothic era. People were given opportunities and set up in love matches based off of the superficial characteristics of a desired party (which of course isn't so much different from nowadays but let's set that aside, and I'm ignoring classism because emphasis in this novel was on the superficial), so it makes sense for Beauty to make an appearance in Mexican Gothic. Not just once or twice, beauty is mentioned to an exhaustive, annoying degree. I won't be remiss to admit this ties in with the patriarch Howard Doyle's beliefs, but after a point the incessant mention of beauty and people's looks became gaudy, almost cheap. What irked me was that Noemí wasn't just beautiful, she was an exotic beauty with her darkness and unorthodox behavior amidst the pale European members of High Palace. More of a spectacle like a circus act than a person who happened to have different physical features. Which leads me to one of my biggest problems with the novel.

   While being set in Mexico and having a young woman who has the characteristics of many Latinos, this is very much a Eurocentric novel. Nearly every cast member has pale features, has a white name, or speaks only in English. In fact it's stated early in the second chapter that only English is allowed in High Palace. Even a Latina can't be a worthy enough protagonist in a "Latin-set" novel. Noemí's the promiscuous, rebellious, rich young lady with dark features that is the poor influence on the sanctimonious, sterile, pale Doyles. Noemí is Othered in appearances in the household. She is disruptive of the household customs with her talking and smoking. Her one redeemable, likeable trait is having concern for her cousin, but then that is overshadowed by the desire (not love) triangle between Noemí, Virgil, and Francis—Virgil's cousin. Not to mention she is ultimately doing this so her father will pay for her university fees—so if there were no stipulations would Noemí be as willing to travel to this place? I think not. Also the author mentions American scientists left and right, which reflects research from a modern author on a past time than a 1950s woman who, if is actually pursuing to be taken seriously as an academic, would know of any or at least a few prominent scientists in her native country during her time. I'm sure there were at least a couple, c'mon. So yes, technically it's set in Mexico, and there is Spanish thrown in there once or twice, but push those details aside (which the novel does) you would assume this was taking place in England or even New England.

   Hands down the American First Edition cover is gorgeous. I'll be bold to say one of my favorite book covers of all time, however that's where the promise and spellbinding efforts of the novel comes to a halt. The twists and horrors of the novel were predictable and reminiscent of other stories that accomplished similar tropes and narratives more successfully. I mentioned in the Reference that I tried reading this earlier this year and gave it up quickly and decided to give it another try for October for several reasons. One, I heard this was being made into a Tv show and am one of those esoteric readers who prefers to read the book before watching the film/Tv show. (At least try to, if it's for a new novel with an adaptation that hasn't been released yet or for an older film/tv show that I didn't know was adapted from a novel beforehand.) Two, sometimes I just start books at the wrong time and it skews my experience of reading and ruins a perfectly enjoyable story, so second chances are well earned. Three, a friend recommended this to me Hey Kelly! :) and if someone recommends a book, especially when it's one I've heard a lot about in reading circles, I consider picking it up more.

   While the novel had other issues that made me clash with the basest of bases of reading a book—simply enjoying it—I'll wrap it up here. This is my second novel by Moreno-Garcia, previously having read Gods of Jade and Shadow and enjoying that one more only by a sliver, and this will most likely be my last of this author's novels. Two is usually my limit for an author. If they can't draw me back in by the second book, I won't consider them again. Great marketing, first-rate book designers, alluring titles names, however at the end of the day the story needs to be the real beauty.

   I give this book 2/5 stars.

Quote:

“Be yourself; everyone else is already taken.”

—Oscar Wilde

My Goodreads:

https://www.goodreads.com/user/show/7170636-nicole

Next To Read:

House of Leaves by Mark Z. Danielewski

Spoilers:

   A lot, and I mean a lot of people who talk about Mexican Gothic and want to compare it to other Gothic/Dark Fantasy entertainment out in the world almost always compare it to Guillermo del Toro's Crimson Peak. Which is a disservice because the legend gave us Crimson Peak, Pan's Labyrinth, The Shape of Water, and shoot even Hellboy. 

   

Until Next Time,

Nicole Ciel

Beloved Book Review

 Rawr Reader,

I'm rather curious fellow readers. What kind of music do you listen to? I like a bit of everything, which I know everyone says until you spit every genre of music but the only one they actually listen to, but I consider myself an honorary member of the eclectic music listener club. Latin music? Yeah! Show tunes? Cue De-FYing Gravity! Opera and Kpop? Sure! Rock, country, R&B? I love playlists that mix them altogether like Trail Mix. Scores? All. Day. Every. Day. I will say there are a few genres that don't quite fit anywhere in my library: Death Metal and Screamo. This all has nothing to do with the book review but we can depart and if anything, you'd have likely skipped this paragraph by now.

And I didn't plan this but we're reaching the end of National Book Banning Week on October 2, so I'm glad I got to share one of the works of an author prominently and frequently on that list. How books can be banned I'll never understand. Books set us free. 

So even if we don't read the same books, I say enjoy my friends. Read anything and everything.

The synopsis for Beloved by Toni Morrison is provided by Goodreads:

Winner of the Pulitzer Prize, Toni Morrison’s Beloved is a 

spellbinding and dazzlingly innovative portrait of a woman 

haunted by the past.

Sethe was born a slave and escaped to Ohio, but eighteen years later she is still not free. She has borne the unthinkable and not gone mad, yet she is still held captive by memories of Sweet Home, the beautiful farm where so many hideous things happened. Meanwhile Sethe’s house has long been troubled by the angry, destructive ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved.

Sethe works at beating back the past, but it makes itself heard and felt incessantly in her memory and in the lives of those around her. When a mysterious teenage girl arrives, calling herself Beloved, Sethe’s terrible secret explodes into the present.

Combining the visionary power of legend with the 

unassailable truth of history, Morrison’s unforgettable novel

is one of the great and enduring works of American literature.

Reference:

   I read her first novel The Bluest Eye with my sister early last year and wasn't as drawn into the story so much as drawn by her writing. However I loved her voice so much I wanted to give another one of her books a chance. (It tickles me to remember how I used to think a book without plot, even if it has nice writing, wasn't worth reading. Oh how times have changed!) 

   What drew me to reading Beloved now and not adding it to my growing TBR pile with some books remaining untouched for over ten years (eek!) was watching her documentary: Toni Morrison: The Pieces I Am (2019) currently available on Hulu. 

   I humbly ask, please, even if you aren't interested in reading this book, at least give the documentary a watch. It's two hours long but by the end I think you won't be able to resist picking up one of her books.

   Two years since she's passed but it's an honor having lived when she lived. 

R.I.P. Ms. Morrison. 

Review:

  Wow.

  It isn't frequent a book takes root in my head. There are layers and layers of depth and patience the author conveys through her characters: Sethe and Paul D and Denver. Firstly I think what struck me most and what hooked me to the story from the first chapter was the fact this novel had magical realism. I didn't expect anything beyond the cadences of mainstream literature and, being set shortly after the Civil War, explicitly social issues. To that I say shame on me because this is one of the few literary award winners that I've read that I actually agree deserved to win. Our Toni Morrison wouldn't make a story that easy to read. She would've wanted us to ache and grieve and hope and forgive and live.

   Now as a fantasy fan I'd like to remark that the magical realism isn't superficial. It's simply another character, one that plays a pivotal role in the novel. Magical realism was the second element that drew and hooked me in after her writing.

   The novel is set in a small town in Ohio, where not only did slaves seek freedom in, but the author herself lived in her youth. She remarks in her documentary, which I mentioned in the Reference section above, that she lived in a town in her youth with as much diversity as the American Melting Pot metaphor implies. Diversity in ethnicity, but with all the complexities seen in novels normally depicted as white people. Morrison had been interviewed and critically reviewed being asked why she focused so much of her narratives through the lens of black people. She phrased it along the lines of being that most narratives in fiction that people read or that people are taught are through the white gaze. She wrote her narratives like many white writers did. Because she wrote the stories she wanted to tell. Because it shouldn't warrant explaining. Her stories revolve around black people; they don't explain them or make them idealized. Her characters feel real because of the attention and devotion Morrison felt toward these people who deserve to have their stories told. A recurring theme: understanding that just because you didn't live it, doesn't mean you can't feel for them and learn to understand their thoughts and emotions. Which are valid. Beautifully. 

   Beloved follows Sethe, a single mother who exists day by day, not living a life worthy of an escaped slave because of the traumas of her past. The owners of Sweet Home, the estate she escaped from, find her and push her to act in one of the most vicious acts committed on earth. Eighteen years after committing the act the past still lingers. In the walls of 124, where Sethe and Denver live alone but not alone. A ghost, manifested. Their isolated life is disrupted when Sweet Home comes calling again, but this time it isn't a slaveowner but a former slave. Paul D, a friend of Sethe from Sweet Home, brings the world back into their lives, beginning a chain of events that will lead them to confront what they've refused to confront. 

   Sethe's fear consumes her and Morrison intricately weaves that fear through the past and present, allowing triumph in despair and redemption in despondency. Sethe's fear transferred to her daughter Denver, who never leaves 124 and is in fact afraid to leave 124 on her own. Denver's reliance on Sethe and dissatisfaction with the arrival of Paul D is an element of dependency Sethe was unconsciously instilling in her daughter. Sethe wanted freedom for her daughter but didn't encourage social interactions or world trekking. She wanted freedom for her daughter but never explained the life altering events eighteen years prior to the beginning of the novel. Denver only had rumors, whispers, and ghosts.

   A mother's love can't be defined. A mother's love is more than what nature instills in human beings. What it dictates should be right and wrong. The violence and extremes a mother takes is something that not every mother can commit, but maybe something every mother can understand because they know what it means to bring a life into this world and be responsible for it, in the baby's life or not. As for the rest of us, what enigmas mothers are. How powerful and intuitive and caring and loving. 

   Word choice should always be deliberate and none more so than when naming characters. At first reading the novel I thought Morrison chose such interesting names, but when I learned how they were given their names, I couldn't believe there was a way of loving Morrison even more. Names are possessions and I never framed it that way before reading this.

   Amy is a character that for some reason reminds me of Tom Bombadil from Tolkien's The Lord of the Rings. She comes out of no where and is unexpectedly not what the reader imagines her to be and is extremely likable. She's the Edna to Sethe and Denver's Incredibles.

   It's challenging describing this book. Is it sad? Yes. But there are so many small droplets of love constantly throughout that you don't realize the tragedies and cruelties of the world because you're in a rain storm of love. It reminds me of how I felt after finishing the novel Moloka'i by Alan Brennert. The beauty of living even when it seems like life is nothing but a never-ending tragedy.

   Beloved has heart and scars. It has soul and speaks loudly in the quietness. 

   After writing my review I feel it unworthy of her novel. I just ask, please take the time to fall in love with Beloved. You'll see.

I give this book 5/5 stars.

Quote:

"Anything dead coming back to life hurts."

—Toni Morrison, Beloved

My Goodreads:

https://www.goodreads.com/user/show/7170636-nicole

Next To Read:

Mexican Gothic by Silvia Moreno-Garcia

Spoilers:

   I will keep my spoilers short because Beloved isn't necessarily a novel focused on plot and action. There isn't an endgame that the characters have to reach. Not externally. Beloved's about forgiveness. About acceptance. Opening up hurts so you can trust again. About loving. Yourself, others, the world.

   My biggest question I never found clarity in was how Sethe left prison after only a short time there. She murdered her daughter, even disregarding the added element of the daughter being considered property in the eyes of the schoolteacher and slave hunter, murder had to have given her more time in prison. Denver was with her mother out of prison going to a school when she was around eight so Sethe was in prison for less than a decade. And why did anyone or Baby Suggs let Sethe take Denver with her to prison in the first place considering she literally tried to kill all of her kids? It just doesn't sit right. Perhaps another reread!

   Nearing the end of the book Morrison becomes experimental which I loved, loved, loved. We jump perspectives between characters almost like a parent winding down a young child at the end of the night with a bedtime story. We have a chapter of Beloved's insightfully unique perspective where one chapter is written without punctuation as if there is no beginning and end in Beloved's eyes. Another chapter where dialogue is written like free verse. 

   Morrison gives us vividly graphic images, two in particular, that gives me goosebumps every time I think about them. A baby breastfeeding with the blood of her murdered sister mixed with the milk. Amy describing the scars on Sethe's back as a chokecherry tree.

   The end where Sethe tries to kill Mr. Bodwin is more of an ambiguous ending to me than Beloved disappearing. I liked that Morrison showed Beloved becoming less vocal, as if all the words were now out and she should return back to the realm she arrived from. Denver getting a job to take care of her mother, learning to grow up even after having little reason to motivate her, making friends with the townspeople, I was just overall very proud of her.

   Excellence in women lifting other women up. I'm all for it.

Until Next Time,

Nicole Ciel

The Fifth Season Book Review

 Rawr Reader,

For the first time in years I feel like we're having a normal Florida summer. Refreshing! Rainy afternoons becoming a daily expectancy makes cozying up in my favorite reading corner and diving head first into the pages of a book and not coming up for air until the last page has turned somewhat . . . achievable . . . What???

Books that win awards for me are usually mine fields. A good portion of books that I pick up with a pretty sticker about winning such and such award usually are the books that I end up disliking. But there are the diamonds in the rough, which is why I still deign to pick them up.

The synopsis of The Fifth Season is provided by Goodreads:

                                                        This is the way the world ends. Again.

                                                      Three terrible things happen in a single day. Essun, a woman living an ordinary life in a small town, comes home to find that her husband has brutally murdered their son and kidnapped their daughter. Meanwhile, mighty Sanze -- the world-spanning empire whose innovations have been civilization's bedrock for a thousand years -- collapses as most of its citizens are murdered to serve a madman's vengeance. And worst of all, across the heart of the vast continent known as the Stillness, a great red rift has been torn into the heart of the earth, spewing ash enough to darken the sky for years. Or centuries.

Now Essun must pursue the wreckage of her family through a deadly, dying land. Without sunlight, clean water, or arable land, and with limited stockpiles of supplies, there will be war all across the Stillness: a battle royale of nations not for power or territory, but simply for the basic resources necessary to get through the long dark night. Essun does not care if the world falls apart around 

                                                     her. She'll break it herself, if she must, to save her daughter.

Reference:

Fun little story. I first learned about N.K. Jemisin in college about seven years ago. I was perusing my local Barnes and Noble's Fantasy section when I browsed over a title. After sliding it from the shelf I fell in love with the cover. Not an hour later I was bringing it home with me after being drawn into the synopsis. The title? The Hundred Thousand Kingdoms. I can't say hand to Bible it was my first fantasy with a main character who wasn't white and wasn't male, but it was the first that made a lasting impression: recognizing how few POC leads we see in the genre. Thankfully in the past seven years that has changed and it's made goliaths like The Fifth Season get the recognition and acclaim it deserves. 

BUT I'm getting ahead of myself, let's review!

Review:

   N.K. Jemisin is a writer I wish more people outside of the book world knew about. She has this otherworldly talent of creating worlds dipped with so much culture and energy that matches the pace of our world, with all the buckets full of complexities called human emotions which is flooded in regular fiction but rarely given its due in fantasy. Reports say she is in the works of producing her trilogy to film/television and it's hard for me to resist imagining how amazing this tale will be in that format. To be fair, every time they announce a new fantasy show I go crazy for even a teaser trailer.

   The Fifth Season follows three perspectives: Damaya, our youngest recruit into the Fulcrum's fold learning to become an orogene; Syenite, an established but not yet independent adult orogene; and Essun, a weathered orogene who has suffered the worst tragedies a mother could experience. 

   Over the course of the novel we learn about orogenes, people with the ability to feel and control seismic vibrations and earthly substances; and second-rate citizens in the nation called the Stillness. Their powers are leashed by overseers known as Guardians, who show very early on in a young orogene's education the lengths they will go to maintain control over them. They are not alone, this world has other creatures who are as mystifying and powerful as orogenes and Guardians with their own enigmatic culture.

   It helps when I write down names for novels with large casts, and while this one has a lot, I felt like the players came and left reminiscent of actors on stage. In general, I particularly like when we meet new people late in the novel or when people who appear once in the beginning still have significance by the end even if they aren't mentioned for hundreds of pages. It's part plot structuring, part realism, part fluid storytelling. Jemisin isn't a newbie writer, her command of the skin and muscle of this world made stepping into it navigable. With the assistance of a glossary and appendix at the end, it reminded me of The Hundred Thousand Kingdoms, and like then was much appreciated because large casts are one thing to handle, new vocabulary and slang is another.

   The three protagonists are burdened with more than their uneasy pasts, they represent generations stuck in a world where their very futures are set out to fail them. It's easy to slide into the shoes of Damaya, Syenite, and Essun as we navigate the Stillness through the eyes of those limited in their power because culturally and physically their hands are bound. Their anger, frustration, and feelings of injustice becomes ours. Because how can someone with so much power be put to heel? Usually it is the very display and demonstration of power that makes these sorts of people in fantasy rule over others. But in the Stillness, they are Othered, they are not respected. People fear what they do not understand and fear what they do not wish to understand. Fantasy is our world through another lens. 

   Nearly every chapter ends with verses from an implied religious text, lyrics from songs, lines from poems, and excerpts from history textbooks. Remember the culture and energy I mentioned before? I adored these inclusions because it wasn't necessarily tied with anything specific in the narrative. Appearing over our heads maybe. It's just a part of this world like ours has its own written and oral compositions. The language felt organic and sacred.

   Stories, and most all fantasy, focus on relationships. Relationships between characters, relationships between nature and characters, and in fantasy we usually find the plot is pulled forward by its supernatural elements. You can't just have magic happening without people or creatures to control said magic. I can't even think of a fantasy where that happens. But the magic within the Stillness, the orogeny possessed by a select, special, random few is as much a presence because of its mammoth potential. Controlling the elements as a superpower is a dime a dozen (not that that's bad—it's visually stunning and tangible, which translates easily either reading or watching on film), however it is how Jemisin handles this power of controlling the earth that is uniquely impressive. Not only is the militarily-enforced restraint of power an interesting dynamic to have within the confines of an unbalanced place, but on a grander scale the great power propels greater consequences: the fifth seasons. Lasting months to decades, the fifth seasons are extended winters due to the manipulation people have placed on the earth. The earth responds to what is done to it. Fantasy is our world through another lens.

   Of course I'm focusing on the themes which stood out the most to me, but maybe I've gone too below the surface. What about the skin, the perfumes, the dressing of this novel? Jemisin (*I'm hoping*) isn't trying to fool the reader but as you approach the end you realize what she has been doing structuring this novel the way she has. Spoilers of course, but the positioning of the story blocks and as you follow them one by one, you begin to put together that those blocks had in actuality been steps and those steps were leading you to the top of a view that leaves you breathless and prepared to dive into the next novel with a greater perspective of your surroundings. 

   The Fifth Season is a world with many creatures. I mention the orogenes but there are others that reveal themselves and maybe (hopefully) others that haven't been brought to light yet but that we'll meet in future books. The enigmatic nature and actions of one of these creatures is one of the brightest feathers on this parrot. As readers we want answers to many if not all our questions, however the fact that the peoples of the Stillness know so little about this certain race of creature (which I'll divulge has to do with stones) makes their presence and prevalence less of an accessory standing beside orogenes and more of a novelty. There is more to be learned and more to surprise us. Not all the mysteries of the world can be explained. And while I have my next few reads for Spooktober already chosen, I can't wait to return to the Stillness.

I give this book 4.5/5 stars.

Quote:

"Some say the Earth is angry
Because he wants no company;

I say the Earth is angry

Because he lives alone.

                                            —Ancient (pre-Imperial) folk song"

-N.K. Jemisin, The Fifth Season

My Goodreads:

https://www.goodreads.com/user/show/7170636-nicole

Next To Read:

Beloved by Toni Morrison

Spoilers:

   Is it funny to anyone else how the premise of the book is sort of never actualized? Being that this is a trilogy I guess it goes without saying that one of the major plots would continue to be addressed in the following installments, however we spent more time with one of her deceased children than the one we're chasing after, not to mention the youngest, Uche, who was killed before the beginning of the book. I don't want to say this is misleading, but it's definitely one of the heaviest failures I found for the book, which by my review, doesn't have many at all.

   Are there any Hoa fans out there? I tried to keep my raving of him in my review to a minimum but my goodness, learning Essun's chapters were actually from his perspective made my jaw drop. He is certainly more than he's made himself out to be, and I can't wait to see him and Essun team up with Alabaster in the next book.

   The open relationship between Syen, Alabaster, and Innon was beautifully choreographed. The insecurities and power-plays in an individual level were expanded on in a relationship platform that worked well because of who the players were. All three are orogenes, all three powerful and with something to offer each other. Physical or emotional support, I loved their dynamic and how they each respected one another. Alabaster being the most powerful of the three yet being the most vulnerable and insecure made him quirky and relatable despite his first impressions. But the exchanges between himself and Syen, how they maintained their friendship and respected one another was one of the greatest achievements on a character level. They were creatures assigned to one another to breed but they in their own way successfully came to an understanding. Surviving the lesser passionate elements of marriage, they came to rely and depend on one another in a way more admirable than other thrilling narratives of a traditional relationship.

   I would be remiss if I didn't share my thoughts on the whole three people are actually one twist. We learn who they are a little over 100 pages from the end and come on, it was unexpected (at least for me!) because it was revealed so fluidly. It totally gave me Netflix's The Witcher vibes. Or even 2016's Arrival.  We think we're following a traditional narrative only to discover time is subjective and it takes going through the hurdles to find at the end we've come full circle. Beginnings, ends, the story can have more than one of each. It all depends on the perspective.

   Fantasy is our world through another lens.

   

Until Next Time,

Nicole Ciel

Lights on the Sea Book Review

 Rawr Reader,

   Fall is less than a month away and I think I'm the only one who doesn't want fall to start just yet. I still want bright summer colors and shorts. Not like Florida will be cooling down anytime before December. I wish summer was a few months longer this year. 

   No? Only me? 

   :)

   I love finding indie authors or authors not really discussed on Booktube or Bookstagram or Booktwitter. Some of my favorite books were actually relatively unknown/undiscussed authors until they kept writing and the world discovered them. What is it about finding a fantastic author and keeping them to yourself as if you've discovered the next big thing? Of course I want success for my authors so I'm glad they found more readers. Let's see if this author will join their ranks!

   The synopsis for Lights on the Sea by Miquel Reina is provided by Goodreads:

On the highest point of an island, in a house clinging to the edge of a cliff, live Mary Rose and Harold Grapes, a retired couple still mourning the death of their son thirty-five years before. Weighed down by decades of grief and memories, the Grapes have never moved past the tragedy. Then, on the eve of eviction from the most beautiful and dangerously unstable perch in the area, they’re uprooted by a violent storm. The disbelieving Grapes and their home take a free-fall slide into the white-capped sea and float away.

As the past that once moored them recedes and disappears, Mary Rose and Harold are delivered from decades of sorrow by the ebb and flow of the waves. Ahead of them, a light shimmers on the horizon, guiding them toward a revelatory and cathartic new engagement with life, and all its wonder.

Reference:

This was a couple years ago but I'm pretty sure I saw the pretty cover in the recommendations list on Goodreads. Judge a book by its cover? Yes. Yes I do.

Review:

   The most reminiscent thing about this story is the fact it's a maritime Up. We have an elderly couple (or in Up's case widower) thrown into an adventure they didn't sign up for embarking on said quest aboard their steedy house which holds all the memories the couple had made together since their early marriage days. While Up has a bit more fantasy than LotS, they both travel to far off distances and encounter many challenging and unexpected things. (Because if not, would this be a story many of us would want to hear?)

   I will say I jumped into this novel expecting it to have more fantastical elements in it. So disclosure, this is very much a grounded (pun intended) survival story. They are castaways, unconventional in premise, but stranded helpless castaways all the same.

   The cast of the story is not large with a good portion of the narrative pingponging between husband and wife. In my opinion, the first half of the book didn't do justice to Mr. and Mrs. Grapes. It was in the latter half that I felt their characters shined. While I understand it's due to the "character growth" they experience over the course of the novel, I think they could have been written better in the early pages. They're from a small island, rather reclusive due to the unfortunate tragedy thirty-five years earlier, however at the beginning the characters speak and are represented rather flatly.

   This is only in the beginning though, which I would say push through if you experience the same thoughts as me because the second half of the book is well worth reaching. 

   Stories on grief are hard to swallow, because even if the action for the reason of grieving is quick, the process following the action is not. Grief can rarely be put into something as simple as words because the feelings from the experiences you share with people who we've lost can never truly be represented even in words. People may do the best they can describing their pain, but rarely can words or physical comfort be a healer to the heart. Even time cannot be measured, as for example the Grapes still grieve thirty-five years later. 

   Add grief on top of the biggest challenge: an elderly couple having to survive in an environment they were not created for: the open sea. On top of the fact they've never actually left their home island, so surviving is going to be from things they've read/heard while living in the small beach town OR learning spur-of-the-moment. Things are going to go sideways even if this wasn't a novel. 

   Takeaways from Lights on the Sea isn't hard to gather. Value things that you have because we take for granted the little blessings in our lives. We can't forget to live, not just exist. Life is an adventure and nothing can really prepare us for what is thrown at us, it's how we accept those things if we choose to accept them at all. 

   The writing isn't anything remarkable. It's the heart of the story that stands out more. It isn't trying to be grandiose. This is a simple story with simple people with a message that should resonate with people who have lost someone and maybe even those who haven't. 

   Another novel I'd recommend that follows along the lines of struggling through life is a book I read recently The Midnight Library by Matt Haig, which handles dark subjects like depression, suicide, but similarly to Lights on the Sea: grief and despondency.

I give this book 3/5 stars.

Quote:

"I don't think of all the misery but of the beauty that still remains."

-Anne Frank

My Goodreads:

https://www.goodreads.com/user/show/7170636-nicole

Next To Read:

The Fifth Season by N.K. Jemisin

Spoilers:

   I touched on this in my review but I was expecting there to be more fantasy in the adventure across the sea. The closest we see it is in the volcanic rock that supports the house. I'm not a geologist so I still don't know if the volcanic material is based off facts or Reina was bending the facts to suit the narrative. Either way, bending laws of physics for stories is a tricky business. I think because Reina kept it to just one aspect of the story (although the biggest turning point)—it worked.

   But the actual most unbelievable thing is when Mr. and Mrs. Grapes find a small village in the arctic tundra and they? speak? English? Now that's a stretch. Sure they have traded with travelers but I don't see why a) they would treat the Grapes' so coldly if they could communicate with them in English or b) how the villagers could be so fluent in English. If one day a random old couple were found on my land on the brink of death I wouldn't treat them with such ardent suspicion if my fellow villagers and I have had had contact with others who spoke the same language and therefore the capability to communicate with them. 

   

Until Next Time,

Nicole Ciel

The Only Good Indians Book Review

Rawr Reader,

Some big milestones. First and foremost: the Olympics are here! Woohoo! I am a sucker for the Olympic Games and particularly love watching the swimming and gymnastics events. While I'm cheering on the U.S. I still become oddly proud when the smaller countries or countries that haven't won many medals win. Mostly I just love the good sportsmanship between the athletes. We all needed this after last year.

And I would be remiss to neglect mentioning the world reached Earth Overshoot Day yesterday, a day where people exceed the limit of natural resources from the Earth we would be able to regenerate in that year. For us Americans, we reached it March 14. Eek! I don't want to get preachy, but we need to do better. A book that discusses climate change that I recommend is The Future We Choose: Surviving the Climate Crisis by Christiana Figueres and Tom Rivett-Carnac, which discusses steps we have taken to get where we are and what we can do moving forward. I have a book review for it too!

But world events aside, are you ready for a horror ride? I'm not sure where my sudden fascination with horror has sprouted from especially when it isn't October yet. And in hindsight, I sort of wish I waited till then. But who makes these rules? 

Let's jump right in!

The synopsis for The Only Good Indians by Stephen Graham Jones is provided by Goodreads. I really appreciate when synopses are short and sweet: 

The creeping horror of Paul Tremblay meets Tommy Orange’s There There in a dark novel of revenge, cultural identity, and the cost of breaking from tradition in this latest novel from the Jordan Peele of horror literature, Stephen Graham Jones.

Seamlessly blending classic horror and a dramatic narrative with sharp social commentary, The Only Good Indians follows four American Indian men after a disturbing event from their youth puts them in a desperate struggle for their lives. Tracked by an entity bent on revenge, these childhood friends are helpless as the culture and traditions they left behind catch up to them in a violent, vengeful way.

Reference:

I first saw this through a Barnes and Noble newsletter. Now that's a rare bookstore before reader rec!

Review:

   I want to start off with what didn't work for me because there was far more for me that did and I would prefer ending on a great note. There were actually three things, two are spoilers which I will expand on in the following segment below. 

   So what didn't work? Honestly, something that I ended up getting used to: the author's voice. It was heavier in the beginning, where I had to literally reread sentences multiple times because the rhythm of the story got disrupted. However once I got accustomed to it, it fell to the background and I actually came to enjoy his style of writing. A 180 but by the end I became familiar with it and will actually miss it when I read my next author. 

    Now not really something that didn't work but something I want to disclose at the beginning of my review rather than later is the pacing which had its trouble moments. Overall the story is captivating, however there are times where the story does drag and you kind of have to push to get to the interesting—not necessarily action-packed—parts. Pacing is something I talk about in a lot of reviews and for me is a major component of how I rate or recommend a book. But push on my friends, because there is too much to love from this book to let pacing stop you.

   Ohhh horror, how I have misjudged thee. Lately I've been finding horror or at least the horror of late to be far more than the blood and jump-scares I always pictured it to be. Jones spreads horror throughout the narrative not only through the supernatural but in the mundane. Putting a twist on the horror focusing on the narrative of Native Americans, placing their experiences in the forefront and acknowledging how the people are not like the caricatures and stereotypes our limited exposure to their cultures make them out to be. The horror within the "natural" world in each of the three parts is blood curdling, chilling, and nerve-wracking (for me in that order specifically). While the prologue isn't provided with a part name, it starts off the novel with a fantastic introduction into the horror play between the supernatural and the natural as well as the type of story we're about to enter in this power play. 

   And stories are represented in different mediums and in different ways throughout the novel. I found major significance in the author's choice of how stories are told and what the stories say about the characters. The novel starts with a newspaper article title. Then there are scenes in the middle which focus on the tradition of storytelling and what messages are being passed on, yet told in an unconventional way. The very end has a particular format of storytelling which I won't divulge but was really great and unexpected and for me one of the best parts of the book. Most importantly though is the story that connects these men, a memory that haunts Lewis and unfolds, eventually seeping into the lives of the other characters. I wasn't expecting a story to be heavily reliant on the past yet remain active and present. Jones is just a master at interweaving the past and the present. Days after I've finished the book and I'm still finding more to love about it.

   At first meeting the four men seem uninteresting and are described as characters not anyone would particularly root for. But in their situations of horror, be it supernatural or not, and their reactions to these forces of horror make us rethink our first impressions of them. While the four men each have their moments of calm and extreme, I think Lewis, who we meet second and is the most haunted of the four, might have the most character development that climaxes spectacularly. While the events in part two Sweat Lodge Massacre might certainly be more dramatic and probably the most "exciting" climax for the story overall, I think Lewis has the best individual climax. Honestly, what a star. His slipping grip on reality and his coming to terms with the events of his past just made him the most multi-faceted and all around the most enjoyable for me to read about. Horror beyond the slaughter.

   Which horror should be about I guess, however my mind can't help but be plagued with the commercialized and polished aesthetic of horror we typically see on TV. I know it's a different format, but for someone who doesn't dip into the horror genre often be it TV or books, my mind can't help but automatically see blood and jump scares and very very poor judgment choices. Horror is the actions and inactions we make toward one another, human being on human being. It's questioning our sanity. It's relatable and attainable and if told well, leaps and bounds more terrifying than the behemoths of war, natural disasters, famines, or plagues because those can be statistics, they can be distant. Horror individualizes. It sculpts experiences with colors and shades from daily life. 

   Jones handled horror so cleverly. At times below the surface, but always there. And when he brought out the big guns and depicted his moments of horror, he didn't hold back. 

    

I give this book 4/5 stars.

Quote:

"The headline for Richard Boss Ribs would be INDIAN MAN KILLED IN DISPUTE OUTSIDE BAR.

That's one way to say it."

-Stephen Graham Jones, The Only Good Indians

(this first line bears so much weight to the rest of the story I had to give it the credit it's due)

My Goodreads:

https://www.goodreads.com/user/show/7170636-nicole

Next To Read:

Lights on the Sea by Miquel Reina

Spoilers:

   I touched on what didn't work at the beginning of my review and I'll share what those two points now. In case you're trying to cheat and see, again, this is a spoiler so last chance. All right approaching the climax in the middle part we have a bunch of action. Death, death, death. One death that had me a little stumped was the death of Denorah at the hands of Cass. He was short of shooting Gabe and as a MAJOR consequence instead shoots Cass' daughter. Also earlier I briefly mentioned how Jones plays on the sanity of characters as the novel unfolded and with both Cass and Gabe believing(?) that Denorah was shot I wanted to believe that that was what happened and not just an illusion of the Elk Head Woman because she wanted to hurt the men and make them hurt each other. If not it was Jones pulling the rug out from under the reader's feet which I don't believe he'd do. So that scene, unless I read it wrong, was probably the weakest part of the book. It was a fake death but then not a death at all. I understand why it was included, I just wished there was a little more clarity afterwards.

    The second series of scenes that somewhat disappointed me was the one-on-one basketball game between Denorah and Elk Head Woman who at the time wore the body of Shaney. For me reading about sports is pretty boring. I rarely watch sports as it is (Olympics excluded~) but there's something about reading it. Action sequences aren't really the same because there aren't usually any rules and a lot of the times it has high stakes or there's a deadline or it's about survival—which I guess you could argue is what happened in Denorah's case—but I don't know, it was one of the parts of the story that dragged and I had to force myself not to skim over it because the premise is interesting, a twelve/thirteen year old is fighting a Elk Head mythical being.

   I did appreciate how the four parts each had their own climax. The most moving and important one being in the first part, The House that Ran Red. Of course without it the events in the next 200 pages wouldn't have had the same punch. Ironically the end with Denorah seemed to land the softest, as I wouldn't call it predictable just safe and expected. Denorah stops her stepdad from killing the Elk Head Woman even though she was feet away from killing her moments before as a sign of humanity's "growth" just fell a little flat for me. Also te last part only being 55 pages and Denorah plays basketball for 25 pages then runs in the snow for 25 pages got boring real quick even with the Elk Head Woman involved. I guess her strength was being in the sidelines or on the peripherals. She's sort of like Edna from The Incredibles, we can't have a whole movie with her but she can make guest appearances.

   But the Elk Head Woman thrilling scenes were favorites. When Jones had her perspective suddenly included in the narrative showing her watching Gabe or Cass or Lewis without them knowing and she was just staring, no blinking . . . The goosebumps!! So simple yet with Jones' flair. Every time a scene like this happened I readjusted my reading position to make sure my back was against a wall.

   

       

Until Next Time,

Nicole Ciel