The Memory Police Book Review

 Rawr Reader,

   While I failed my reading goal last year, I'm glad that I am having such a good start to 2022. Two books in just over two weeks? When in all honesty I really feel like I haven't spent any time reading? I'm feeling good about this year ya'll. 

   The synopsis for The Memory Police by Yōko Ogawa is provided by Goodreads:

On an unnamed island off an unnamed coast, objects are disappearing: first hats, then ribbons, birds, roses—until things become much more serious. Most of the island's inhabitants are oblivious to these changes, while those few imbued with the power to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten. 

When a young woman who is struggling to maintain her career as a novelist discovers that her editor is in danger from the Memory Police, she concocts a plan to hide him beneath her floorboards. As fear and loss close in around them, they cling to her writing as the last way of preserving the past.

A surreal, provocative fable about the power of memory and the trauma of loss, The Memory Police is a stunning 

                                                           new work from one of the most exciting contemporary 

                                                                  authors writing in any language.

Reference:

   A little—okay maybe a lot ironic, but I don't remember where I first saw this. All I know is I added this to read on Goodreads in March 2020, around the time I really feel like time stopped for the world.

Review:

   Something I want to commit myself to doing more this year is reading non-American authors. Reading authors from other countries not only introduces you to obvious cultural differences in conversation and plots but also the contrasts and uniqueness of tones and structures. It's very refreshing. While stories that have been translated may lose some of its meaning, Ogawa and her translator Stephen Snyder handled a melancholy subject with grace and gentleness. Memories in this world are treasured by few and hunted by a faceless government whose greatest weapon seems to be of having no apparent goal. When we meet our unnamed narrator, there are no immediate national pressures for war, there are no internal politics, there are simply phenomena running parallel to magical realism in the sense things disappear from people's memories and the easy acceptance that follows in those losses in day-to-day life.

   One thing that pulled me into the story that I loved was its simplicity. Reminiscent of a children's story in worldbuilding and character casting, yet still heavy with the weight of its themes. Never once did I find the narrative an imposition. It's handled with the respect and carefulness it deserves. There are few named characters, no geographical markers in the formal sense of city or country names, so apart from few expository things being mentioned like kimonos and ramune, you could place this regimented, borderline fascist society anywhere in the world, anytime in the future. This is dystopian, without the sensation I normally characterize dystopian novels with. 

   Not to say this is about a writer simply rolling with the punches, she takes action and sets out to save her editor with a cape of heroism not seen in others in her community. The most heart-warming twist is that the man she saves in turn sets out to save her. They work on her novel together as they endeavor to survive this troubling time and the increasing loss of items and her memories attached to those items. 

   The novel the writer and her editor work on dances with the main narrative. While I won't go in depth about the details, I love how Ogawa has the unnamed writer explore the writing process, the theme of forgetting and powerlessness against it, and the struggle to want to remember when others seem to almost own the memories more than you who lived them. 

   Nearing the end you begin to see how things disappearing can worsen. In fact it's hard to believe what those extremes are, but stepping back, looking at what Ogawa is examining, the subject matter and its relation to the people in our lives, it seems natural that it would come to that conclusion. The ending is as gentle as the pacing of the storyline, like a leaf falling from its stem. Without rush. Without purpose. Life is lived in the fall and for me that's the beauty of The Memory Police.

I give this book 4/5 stars.

Quote:

"I thought I could hear the sound of my memory burning that night."

"When the surface of your soul begins to stir, I imagine you want to capture the sensation in writing."

-Yōko Ogawa, The Memory Police

My Goodreads:

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

Next To Read:

The Marrow Thieves by Cherie Dimaline

Spoilers:

   It was near the end but I was ruined by Squid Games (spoiler ahead for the show!!!) (seriously don't read on if you haven't seen the show and plan to) (LAST last chance friends, okay continue at your own risk) but I believed that the old man was going to have something to do with the Memory Police. Or that there would be a man behind the curtain of it all. But this assessment is heavily influenced by Western storytelling and the need for action and death and an evil genius with an enviable laugh and a tangible reason behind the destruction and withering elements of a plot. Which I'm glad there wasn't since the story is literally about something you can't hold and see disappearing from your eyes but not necessarily from all others.

   The ending is rough for me. I needed to ruminate on it because of my conditioning to needing that man behind the curtain, but upon reading others' reviews and reflecting on the passing of time in the story, I am satisfied with this ending. It's not as open as I was led to believe nearing its final pages, but there is a delicate silence left remaining. The hidden man R finding the courage to leave his hidden space (although it was less courage than more means to survive as his source of food and other necessities had "disappeared") could be interpreted as either a physical release of colorful memories into the world that had become gray and lifeless, and also the spirit of the unnamed writer, whose main character had lost her voice had found freedom and escape. Did the unnamed writer find the escape her voiceless typist character couldn't? The unnamed writer's memories lived on in R and while her body may not continue on in life, his memories of her did. 

   One of my favorite moments, the most visually appealing, which was also one of the saddest moments in my eyes was the disappearance and "funeral" of roses. I could picture the town watching as the river of shades of red flowed into the ocean for days until the last of the petals were gone. Such a beautiful scene, and an omen for what would come.

   A heartwarming series of events was the realization that the unnamed writer wasn't the only one hiding someone who retained their memories. Who knows how many more people did it in fear of others finding out the truth. It's likely that there were more people hiding and sheltering these memory retainers than not. Which brings me to the real shining message (of people not necessarily about memories and TMP), that more people are decent in the face of injustice and confusion and will risk themselves to help someone else than not. We see it over and over again with the unnamed writer and the old man. We see it in unnamed townsfolk. It's sad that our protagonists both fade and pass on without us ever getting to know their names. But maybe that's what Ogawa wants. Us to remember their spirits more than their names. It's about how we feel about the memories, about how we feel about the people we made memories with, not specifics, not names. 

    Man what a story. I'm going to need to reread this soon.

   

Until Next Time,

Nicole Ciel

The Sea Around Us Book Review

 Rawr Reader,

October was a taxing month. With work and trying to read a book a week, November became my wind down month reading wise, but still super stressful work wise so at the end of the day I only finished one book. I exhausted myself of fiction and wanted to take a break. I loved Silent Spring earlier this year and wanted to check out another one of Carson's works. Let's see how it fared.

The synopsis of The Sea Around Us by Rachel Carson is provided by the 2018 edition published from the Oxford University Press:

Originally published in 1951, The Sea Around Us remains one of the most enduringly influential and beloved books ever written about the natural world. It has inspired generations of readers---future scientist among them---with its combination of insight and poetry. One of them was Sylvia Earle, a pioneer of deep-sea exploration and research, who introduces this new edition. For Earle and countless other readers, Carson's power lies in giving her readers the sense that "she was the living ocean, flowing in a continuously changing dance through time with islands and continents, the sea floor below, the skies above."

Reference:

   I read Silent Spring and this was listed first among her other works.

Review:

   What I love most about Carson's writing is that she interweaves history with science with literature and paints a mural that showcases the different studies and yet still cohesively creates a single image. Her storytelling is enlightening, enriching, and reflective. Carson doesn't shy away from showing how powerful and destructive the ocean is and has been for millions of years. At the same time she describes how sensitive the ocean and its inhabitants are against the whims of man. How seemingly predictable and immutable and endless it is but also how it has evolved over time. She discusses ocean currents, the tides, the winds, plankton, the ocean floor and the remnants of every creature that ultimately found its way onto its stygian depths, along with many other tiers of nature.

   What I take away most is while we have studied the ocean for sixty more years since The Sea Around Us was published, we're no less in the dark about what is found there and how animals survive and why animals rise from the depths to come to the surface but only at certain times. Our interest, our money, and our time is spent on beyond our atmosphere. Being that TSAU was written and published before the Space Race gained traction, Carson doesn't highlight the emphasis the world has had since the late 50s/early 60s looking beyond and not valuing what remains here. Even it had been post-Space Race kickoff, I don't think she would have. She doesn't need to. Carson focuses on what's here, what we have to marvel at. The ocean isn't just a tool for us, it isn't just a beauty to behold, it's a home and a filtration system and a power for us to respect as much as utilize.

   The ocean is a mystery, but it connects continents, allows trade, feeds communities, maintains economies—all man-focused benefits, not including what the ocean does for the planet itself like stabilizing the atmosphere, balancing world temperatures, even play a part in the rotation of the earth (with the trusted help of the moon). It's not only a vast expanse, it's the home to billions upon billions of creatures who rely on it to survive. 

   The details become minute, which is all the more impressive reminding oneself that this was pre-Internet and research was through books and networking and long stretches of patient study, because Rachel Carson was a brilliant mind and it displays in her language and how she portrays her deep love of the oceans. 

   

I give this book 5/5 stars.

Quote:

"And then, as never on land, he knows the truth that his world is a water world, a planet dominated by its covering mantle of ocean, in which the continents are but transient intrusions of land above the surface of the all-encircling sea."

—Rachel Carson, The Sea Around Us

My Goodreads:

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

Next To Read:

The Memory Police by Yōko Ogawa

Spoilers:

   While there isn't really much to spoil with my complete lack of expertise on marine biology and oceanography and related fields, and adding to the fact this was published over seventy years ago, it's safe to say there have been advancements in science that would make any "spoiler" something we might have already learned in high school or college.

   I would like to point out that Carson has a moving rhetoric of galvanizing her readers. Not in a dramatic sense, spewing propaganda like an election TV ad, however her rhetoric's calm and patient like the timeline of the oceans over time. Mankind is very much the guest. We have made our impact on earth in our short time here and as destructive as we can be, we cannot defeat the planet. It will always win against us. It will survive and recover, even if it takes thousands or millions of years after humans are gone. The planet will take care of us. 

   So long as we take care of it.

   

Until Next Time,

Nicole Ciel

Infinite Country Book Review

Rawr Reader,

It's only when you stop looking that you find what you were looking for. Most people imply love, I imply book slumps. >_>

The synopsis for Infinite Country by Patricia Engel is provided by Goodreads:

At the dawn of the new millennium, Colombia is a country devastated by half a century of violence. Elena and Mauro are teenagers when they meet, their blooming love an antidote to the mounting brutality of life in Bogotá. Once their first daughter is born, and facing grim economic prospects, they set their sights on the United States.

They travel to Houston and send wages back to Elena’s mother, all the while weighing whether to risk overstaying their tourist visas or to return to Bogotá. As their family expands, and they move again and again, their decision to ignore their exit dates plunges the young family into the precariousness of undocumented status, the threat of discovery menacing a life already strained. When Mauro is deported, Elena, now tasked with caring for their three small children, makes a difficult choice that will ease her burdens but splinter the family even further.

Award-winning, internationally acclaimed author Patricia Engel, herself the daughter of Colombian immigrants and a dual citizen, gives voice to Mauro and Elena, as well as their children, Karina, Nando, and Talia—each one navigating a divided existence, weighing their allegiance to the past, the future, to one another, and to themselves. Rich with Bogotá urban life, steeped in Andean myth, and tense with the daily reality for the undocumented in America, Infinite Country is the story of two countries and one mixed-status family—for whom every triumph is stitched with regret and every dream pursued bears the weight of a dream deferred.

Reference:

Bookseller newsletters.

Review:

   I think there should be a petition to make this book mandatory to be read in high school. 

   Not only is this a beautiful, tragic story, it's woven and stitched with so much heart and perseverance and empathy and spirit. We explore the two generations, from the parents' youth to the end of their three children's adolescence, straddling two eras that shaped one generation for a life they could never prepare for in another foreign land. And Engel knows how to write. I borrowed this as a digital copy from my library—but I highlighted so many lines.

    While it's been some time since I read it, Infinite Country reminded me a lot of Moloka'i by Alan Brennert. They both follow young children having to face the mercilessness of the real world at an early age, and while they both face tribulations, they endure because they believe what life could be is worth enduring through the ruthlessness of the present. Both stories follow hard times for these families, as books tend to do I know, but you just can't get them out of your head. Life is so beautiful because they're able to endure and remain hopeful.

   What was a pleasant surprise from the narrative was the inclusion of South American mythology incorporated in Talia's chapters. The stories her father as child told her were more than childhood comforts, they connected her to her distant family and guided her on her way back to them. This dive into Colombian folklore felt so rich and magical and inserted in the story to exist as Talia's lifeline when circumstances turned for the worst. And maybe for us as readers too.

   Engel also brilliantly folded the children's nationalities overtop one another. The oldest Karina is born in Colombia, raised in the States. Nando is born and raised in the States. Then Talia is born in the States, raised in Colombia. While I won't get into how and why this was done, I really loved how beautifully simple and complex Engel wrote their lives.

   All the praise to the author because something else she brilliantly showcases throughout her story is the penetrating fear of deportation. Every decision Elena and Mauro make is for their family, and they make difficult choices to avoid the dreaded circumstance of being taken away, or worse, separated. They want a safer, happier life than the violent and poor life they left behind in Colombia, however over the months and years they understand the States may not be the fantasy told to them. But it's very much a real fear because Americans with citizens as their protective shield commit all sorts of crimes and immoral acts to manipulate, take advantage of, and humiliate foreigners who only want a good, peaceful life. While I'm not Colombian, I am Hispanic, and felt it very easy to resonate with the struggles this family went through. 

   Set upon a contemporary backdrop, this narrative jumps to the present, because this isn't about a third world nation centuries, even decades ago. The people living like this are a short flight away in the very same world as untouchable to us as we are to them. Immigrants are not a burden on society. They are not criminals. They are just people who don't have the United States of America as their country of origin on their passports. We can't stereotype. The government and society need to do better in protecting immigrants and children of immigrants because if we look deeper, we'll become more compassionate and more worldly to the circumstances in other countries. Because logically, why would people who have good lives uproot and abandon everything they know just to ruin someone's ordinarily boring life? 

   At the root of Infinite Country, much like Encanto which I watched last week in the theater, is family. It's tenacity. It's love. It's life and moving forward, not just moving on.

   And any book that can make me get teary-eyed, which to this day is only four books (The Fellowship of the Ring, Noughts & Crosses, this one, and honestly another book although I forgot which one so okay I guess it doesn't count so just three books . . . ) deserves all the stars. I can't wait to read another one of Engel's books.

I give this book 5/5 stars.

Quote

(soooo many good ones but I'm gonna go with my top three): 

"I hate the term undocumented. It implies people like my mother and me don't exist without a paper trail."

"I remember wondering what it must feel like to belong to American whiteness and to know you can do whatever you want because nobody you love is deportable."

"I told her I understood what it was to want to create justice to fix an injustice even if my justice could be considered a crime." 

-Infinite Country, Patricia Engel

My Goodreads:

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

Next To Read:

The Sea Around Us by Rachel Carson

Spoilers:

   Chapter Nineteen for me is when it really started to get good. I really appreciated Engel brought the other two siblings forward and gave them their own voice. While not formatted as a letter, I felt the voices of the two American-raised kids, particularly Karina who I had highlighted a bunch of lines from her chapters, sounded very authentic. Karina is a highly intelligent woman who unfortunately cannot show her true potential because she would risk her anonymity. Nando is a middle child who wants to do more but can't, and is probably forgotten about more than the eldest or the missing youngest. I'm not a middle child but I felt for him.

   While Talia might get most of the trophies for being strong and independent, I have to acknowledge and nominate Elena because she is exactly the sort of female character I love to read about. The power of a mother. Mothers are the strongest creatures on Earth and Engel kindly showed us and not told. But Mauro has a place in my heart because yes, Latin men can be sensitive and faithful and family-oriented while still have their downfalls and flaws.

   Immigration policies in America are and will be a political debate for a long time. I know one book can't suddenly change the mind of someone who believes immigrants should be sent back no questions asked, however I do think this one book can definitely make the subject open for discussion and even lead the way to understanding. I haven't read a book about immigration that's hit so hard before and it's probably because there isn't a lot of positive, commercialized narratives on Hispanic people persevering and living, but I definitely think this deserves a place on my bookshelf.

Until Next Time,

Nicole Ciel

My Heart is a Chainsaw Book Review

 Rawr Reader,

And so ends this delectably wonderful month of horror! I had to rush my previous review and this one in time for my Halloween photoshoot today, but I feel productive when I have too many things to juggle.

The synopsis for My Heart is a Chainsaw is provided by Goodreads:

In her quickly gentrifying rural lake town Jade sees recent events only her encyclopedic knowledge of horror films could have prepared her for

Jade Daniels is an angry, half-Indian outcast with an abusive father, an absent mother, and an entire town that wants nothing to do with her. She lives in her own world, a world in which protection comes from an unusual source: horror movies…especially the ones where a masked killer seeks revenge on a world that wronged them. And Jade narrates the quirky history of Proofrock as if it is one of those movies. But when blood actually starts to spill into the waters of Indian Lake, she pulls us into her dizzying, encyclopedic mind of blood and masked murderers, and predicts exactly how the plot will unfold.

Yet, even as Jade drags us into her dark fever dream, a surprising and intimate portrait emerges… a portrait of the scared and traumatized little girl beneath the Jason Voorhees mask: angry, yes, but also a girl who easily cries, fiercely loves, and desperately wants a home. A girl whose feelings are too big for her body.

My Heart Is a Chainsaw is her story, her homage to horror and revenge and triumph.

Reference:

   Booksellers e-newsletters began promoting this several months ago and after loving The Only Good Indians I was ready to be first in line to get his new book.

Review:

   Horror, you have overall been very good to me this year. 

   What happened? 

   Like I mentioned I was quick to get Jones' next novel as soon as it hit shelves. Even though I'm not a diehard slasher or horror fan (although he was making me one from TOGI), even though I could care less about the 80s (this isn't set in that decade but there's a plethora of references), I wanted to see how the author would spin a 80s inspired horror show. How did it end up this way then, that I feel like this was the wrong book for me? (AHS: 1984 is one of my favorite seasons so I was really hoping by the end of the book it would go down this route . . . but continue below.)

   I'd like to address early on it kind of breaks my heart I couldn't get into this. Reading the Acknowledgments at the end Jones mentions how he had started this book long ago and had to put it in a For Later drawer because it just wasn't working at the time. I love hearing about books from authors that couldn't find life at first but then the author tried again and made a space for them on store shelves years later. 

   I think my clashes with MHIAC came down to Jade, our protagonist. Her dark, snarky, flippant humor was non-stop for 400 pages and it made 400 pages 800. There is an explanation for it, however does it balance out the belly of this novel by the end and put it to justice? In my eyes? No. I think I would've appreciated Jade as a side character. I've mentioned before in another review but as much as I adore Edna Mode, I can only appreciate her for a 5 minute scene. I would get annoyed after a while if there was a whole feature film devoted to her. 

   Then there's the root of this book, which is Jade's obsession: slasher films. Again, we get an explanation where the obsession starts and why—however then there is 400 pages of non-stop slasher films and characters being thrown at me (which to be fair went over my head since I haven't seen any of the OG slasher/horror films. Like even Jaws. I've never seen it so I sort of read Jade's secondhand account of the events as if I were reading the morning paper.) Jade's loner, outcast reputation keeps her ramblings and obsessions about slashers ongoing without much interactions, arguments, or conversations with the other characters. 

   It took me until the last 125 pages to get properly invested, which is the why to my low review. The first 275 pages should've been slashed by at least 75 pages. And it's a shame because Jones knows how to write these hauntingly vivid images that makes skin crawl and spines turn to jelly. Especially in the climax. It was one thing after another and I kept constantly yelling (no not literally) at the book: "This, Jones, this is why I love your books!" Showing the full rainbow; pulling together at the end all that came before it. He's such a fantastic plotter. I wasn't a fan of Jade but I still loved the action (when any of the action happened—there's a lot of walking around Proofrock that made living in a small town seem as boring as it sounds.) 

   I never heard of the Final Girl until AHS: 1984 and if you never heard of it either it's a trope in horror where there's, you guessed it, a final girl who survives the terrors of the killer by the end. Jade clings onto this trope with all she has, but not for herself, which is interesting, but for a new student in town: a Letha Mondragon, daughter to an uber rich media mongul, a founder for the new development across the town from Proofrock called Terra Nova. Jade is so certain Letha is this final girl, undertoned or maybe not so subtly permeated by her attraction towards her, and does her damnedest to prepare Letha for the Big Night which is not Halloween but July Fourth. (A nice twist. At least for me, I always picture horror taking place in fall.)

   Jones does a fantastic job of bringing the less discussed atrocities of Native American communities and tying it into the horror even if there are supernatural elements present. While not as prevalent and at the forefront as TOGI, Jones in MHIAC writes the atrocities done to voiceless members of the community with an evocative—not flair but—aptitude. This is only my second novel by Jones but I can imagine he addresses indigenous life in modern times with the same respect the people in these communities deserve and spotlighting the attention they should receive throughout his other novels. And I honestly can't wait to check them out. While MHIAC in particular didn't work out for me, I don't doubt there are other books by him that will.

I give this book 2.5/5 stars.

Quote:

"Out in the open, good, good. . . You don't know if you can trust me yet. You've got to be careful, I might be the one doing all this. Shit, I should have thought of that."

". . . the slasher is a bloody coin flipping through the air, showing a smile for a flash, then a frown, and then another smile."

-Stephen Graham Jones, My Heart is a Chainsaw

My Goodreads:

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

Next to Read:

Infinite Country by Patricia Engel

Spoilers:

   Hand to the good book, I missed over half of the deaths that happened. Or the shaded deaths I prefer to say. Jones paints horror like a Caravaggio but the rest of the slower-paced narrative felt more Abstract Expressionism, at times ambiguous, at times unimpressive. Like the pacing I had a load of start-stop halts when reading this. And sometimes the deaths melted in between the lines and I missed them entirely. It didn't help there were a lot of names (in-world characters not just from films), of which we don't get a real sense of personality or characterization than simplified first encounter descriptions like on graduation day.

   I liked how the elk corpses and the creepy lake girl Stacey Graves mystery tied together and got an explanation, however her appearance was so sudden at the end that it felt flat for me. Even her 20 page killer rampage felt wasted. (Spoiler for The Only Good Indians ahead ye be warned! : We have the Elk Head Woman in TOGI who is constantly there or frequently visited, so her finale is justified.) But Stacey Graves is a shadow at the best of times, so to have a theater-sized full picture of her thrown at me wasn't as effective as it could've been. And I couldn't tell, could she possess people? Jones hinted at, or at least phrased it regarding Theo, but I couldn't be sure to take that literally or metaphorically. 

   And regarding the biggest are they dead? are they alive?: Mr. Holmes for most of the novel and Letha at the end are the biggest holes. At the end of the day I know yes for the former, maybe not? for the latter, but their sudden disappearances from the novel left me confused and less satisfied.

   Finally, how did Letha get free??

Until Next Time,

Nicole Ciel

P.S. I hope you enjoyed all the puns as much as I hated omitting "pun intended" every time I made one. ;)

In the Hall with the Knife Book Review

 Rawr Reader,

It's difficult for me to resist a book series that is based off of one my favorite movies of all time. Let's see how Peterfreund handled the classic. 

The synopsis for In the Hall with the Knife by Diana Peterfreund is provided by Goodreads:

A murderer could be around every corner in this thrilling YA trilogy based on the board game CLUE!

When a storm strikes at Blackbrook Academy, an elite prep school nestled in the woods of Maine, a motley crew of students—including Beth “Peacock” Picach, Orchid McKee, Vaughn Green, Sam “Mustard” Maestor, Finn Plum, and Scarlet Mistry—are left stranded on campus with their headmaster. Hours later, his body is found in the conservatory and it’s very clear his death was no accident. With this group of students who are all hiding something, nothing is as it seems, and everyone has a motive for murder. Fans of the CLUE board game and cult classic film will delight in Diana Peterfreund’s modern reimagining of the brand, its characters, and the dark, magnificent old mansion with secrets hidden within its walls.

Reference:

Probably scrolling through Goodreads. I honestly can't remember. But I read two books from this author before and loved them so I figured I'd enjoy this too.

Review:

   Like Friends, I can't pick a favorite Clue character from the film. They're all so unique. It's what I was hoping for in this fun retelling. So discovering that this story follows Orchid's POV for the majority of the time, who I parallel with Mrs. White—who had some of the best lines in the movie—I was ecstatic. Overall, the female characters stand out like stars, however apart from Mustard, most of the male characters, including Green and Plum, sort of blend into the same person at times.

   Oh the thrills of a murder mystery during a nightly thunderstorm (from an audience standpoint of course). Nothing like being out of reach of civilization and falling upon a dead body and not only having to share the same roof with them but then investigate the cause of death and if there's a murderer about. We follow the six stars and a few others not mentioned in the synopsis, so this isn't entirely a whodunnit between six suspects.

   I don't read YA too often but in ITHWTK I didn't feel like I was reading one. Which is a relief, because it would've put a mark against this author (who I've read from before and liked) when messing with a classic. 

   The twists and turns weren't as heart racing as a typical thriller but I think as you read on and as the relationships unfold and the motives behind the characters are revealed, you'll be satisfied and inclined to read on. 

   The book was a much-needed break after the behemoth I read previously and if you're in the lookout for a fun book, this will set you straight.   

I give this book 4/5 stars.

Quote:

"Well, it's a matter of life after death. Now that he's dead, I have a life."

-Mrs. White, Clue (1985)

My Goodreads:

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

Next To Read:

My Heart is a Chainsaw by Stephen Graham Jones

Spoilers:

   I didn't know this was gonna be a series until near the end when there was still unanswered questions about the pasts regarding Orchid and Mustard and future of Oliver. I ordered the rest of the trilogy the day I finished and while I might not review them, you can definitely see how they fared against the first of the series on my Goodreads.

Until Next Time,

Nicole Ciel

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