Was this bad? Yes. Was I entertained? Yes. Will I be reading the sequel? Listen—yeah. (Review to come but also just… don’t read this book if you’re soWas this bad? Yes. Was I entertained? Yes. Will I be reading the sequel? Listen—yeah. (Review to come but also just… don’t read this book if you’re someone who follows me because you like my taste in books. This is not my taste in books.)...more
One of my best friends wrote this book and I could not be prouder!!!! I read an early draft of THE DAUGHTERS OF IZDIHAR and it was remarkable; you allOne of my best friends wrote this book and I could not be prouder!!!! I read an early draft of THE DAUGHTERS OF IZDIHAR and it was remarkable; you all want to add this to your TBRs posthaste. Awaiting Spring 2023 VERY impatiently. ...more
I've never read Susanna Clarke's much-acclaimed debut Jonathan Strange & Mr Norrell, and I don't always dWinner of the Women's Prize for Fiction 2021!
I've never read Susanna Clarke's much-acclaimed debut Jonathan Strange & Mr Norrell, and I don't always do well with the sort of speculative novel where the reader is thrust into an undefined circumstance and spends the majority of the book waiting for the full picture to cohere. And that is... pretty much exactly what Piranesi is, so, it's a testament to this book's brilliance that I loved it despite how ill-suited it is to my personal tastes. So if, like me, you read the first page of Piranesi and groaned because it read like a bunch of gibberish, I'm going to have to implore you to stick with it for a hot second and let it work its magic. (It's short!)
The thing that quickly won me over is Susanna Clarke's writing and how beautifully-rendered this imaginative setting is. I think it's best to go into Piranesi knowing as little as possible, so I won't really talk about the plot, but suffice to say it's set in a giant House which is essentially a labyrinth of halls, each lined with hundreds of statues, and in the middle of the House is an ocean. I'm usually not one to relish in descriptive writing but this setting was just so striking, so delightfully offbeat, that I was drawn in pretty effortlessly. As others have said, this book is kind of like a puzzle, but not one that you should race through the book to solve; it's the sort of reading experience that's better savored.
Without saying too much, what hit me the hardest about this book is its depiction of loneliness. It's ostensibly a cerebral, ethereal, illusory book, but the longer I think about it, the more current and relevant it feels and its inclusion on the Women's Prize longlist makes perfect sense to me. I'm delighted to have read it and it's a book I know I'm going to want to return to....more
The Queens of Innis Lear is a fantasy retelling of King Lear, focusing on the young generation characters (primarily Cordelia, Goneril, Regan, and EdmThe Queens of Innis Lear is a fantasy retelling of King Lear, focusing on the young generation characters (primarily Cordelia, Goneril, Regan, and Edmund) in a fictional kingdom called Innis Lear. It starts off as a faithful adaptation (think Lear but with magic)--the titular King is abdicating the throne, and he makes a shocking choice to split the crown equally between his three daughters, provided that they pass the test he sets out for them: to each declare that they love him more than their sisters. Goneril (Gaela, in Gratton's novel) and Regan (still Regan), manipulative and self-serving, both pass his test, but his youngest and most loyal daughter, Cordelia (Elia), refuses to participate and is banished.
To say I love this play is an understatement (hi, if you're new here, King Lear is my favorite play) and I'm finding it nearly impossible to untangle my thoughts on how I feel about this as a novel from how I feel about it as a retelling, so we're just going to go into an aggressive amount of detail and hope something coherent materializes. Mild spoilers forthcoming (mostly about the narrative roles of the characters within the novel, not about specific plot points).
Tonally and thematically, Tessa Gratton accesses a lot of what makes Lear so special and I found that I mostly enjoyed my reading experience for that alone. I always say that Lear is a simultaneously cosmic and intimate play, concerned both with Nature and human nature, and the way Gratton literalizes these themes into her magic system and her worldbuilding is done tremendously well. The writing too has a rich, indulgent quality that suits the tone of the book; it's slowly paced and thoughtful, which felt appropriate to the story, though I imagine others may get bored early on without a love of Lear driving you forward.
Though, that love of Lear (along with how intimately well I know this play) did end up being a double-edged sword. Gratton had my investment from the very first page without really needing to earn it, and that certainly helped me devour this 600 page book in a little over a week. But on the other hand, I started to become more and more frustrated with the ways in which Gratton engaged with this play.
First is a rather specific annoyance, that luckily only occurred four or five times, but it was jarring enough that I have to mention it. The first half or two thirds of this novel follow the plot of Lear very closely, to the point where entire scenes from the play were acted out in this book. In theory that's not something that bothers me; what does bother me is Gratton taking word-for-word dialogue from the play and modernizing it so I felt like I was reading No Fear Shakespeare.
Here are a couple of direct side-by-side comparisons so you can see what I mean. Gratton's sentences are first, Shakespeare's are second:
"He has always loved Astore rather more than Connley." "I thought the King had more affected the Duke of Albany than Cornwall."
"Nothing will come from nothing. Try again, daughter." "Nothing can come of nothing. Speak again."
"I cannot heave my heart into my mouth, Father. I love you... as I should love you, being your daughter, and always have. You know this." "Unhappy that I am, I cannot heave/ My heart into my mouth. I love your Majesty/ According to my bond; no more nor less."
"It is only a note from my brother, and I've not finished reading it. What I've read so far makes me think it's not fit for you to see." "I beseech you sir, pardon me. It is a letter from my brother that I have not all o'er-read; and for so much as I have perus'd, I find it not fit for your o'erlooking."
It's this but it would go on for entire conversations. Here’s the thing: this is pointless and distracting and when you go up against Shakespeare on a sentence by sentence level, you’re going to lose every time.
Now, let's get into the characters, because that's where my real problem with this book lies.
I found Gratton's portrayal of the Edmund character (Ban) endlessly frustrating. You could see her bending over backward to humanize Edmund, making these minor, pointless adjustments (Ban being older than his legitimate brother rather than younger, meaning his bastardy is the only thing standing in the way of his inheritance; Gloucester [Errigal] insisting that Edgar [Rory] inherit even after his alleged betrayal of his father) to amp up the reader's sympathy, but frankly, a lot of Edmund's charm was lost in the process. Edmund is my favorite character and I know I'm not alone in holding that opinion: the reason people love Edmund is because of his complexity and contradictions; he's already deeply human in the play and I felt that Gratton flattened that out of him in an attempt to make his transgressions to come from a play of moral purity.
The parallel/inversion between Edmund and Cordelia in the play is fascinating to me--both youngest children, both loved by their fathers, one good, one evil, their fates intertwined in a chilling way. That Gratton chose to explore this connection was an exciting choice for me, but I felt that turning it into a romance added nothing, and in fact lost quite a bit, especially when it came at the narrative expense of what I think a lot of readers find to be a much more compelling dynamic; that between Ban and Morimaros (the King of France figure). (That's another thing. This book had every opportunity to be explicitly queer, but there were only ever hints and whispers of queerness on the page, which I found frustrating.)
If I were to detail every single character-related annoyance I had we'd be here for a while, so here are some other highlights: I felt that Edgar (Rory) was underutilized and misrepresented when he was on the page. Aefa is the single most pointless character I have read in anything, ever, and the fact that her POV chapters weren't cut suggests to me that the editor just gave up. The old generation characters were all incredibly one-note; if you want to write a retelling focusing on the younger generation, that's fine, but King Lear himself shouldn't need to have a POV chapter to be a complex and interesting character.
But we're getting rather nitpicky now so let's zoom back out. This book was marketed as a "feminist King Lear retelling" and a word that I've seen a lot of people use to talk about it is "subversive." But my issue is that it was not, at all. As I mentioned above, the first half of the book follows Lear with dogged faithfulness, and after that, things start to go off the rails. Which is fine, fun, exactly what I'm here for! If I wanted to read King Lear I'd just read King Lear. But when Gratton started taking control of the narrative, her choices, to me, started to become more and more unwieldy. Nothing she did felt to me like a direct, deliberate subversion of the play; it felt like she had more interest in telling her own story with these characters than doing so as a means to engage with the original text, and that's something that I think makes for an unsuccessful retelling. I don't think you need to have complete and utter reverence for the original, but I think a love for the play coupled with a clear vision for how to engage with it is necessary. I felt--especially after reading an interview with Gratton--that her aim here was as nebulous as 'King Lear but with better female characters', and as a staunch Lear fan, I was rooting for this book but it really let me down in the end.
But I will end on a positive note (sort of): while I felt that Elia was as stiff and uninteresting as cardboard, I thought Gratton succeeded in doing some very interesting things with Gaela and Regan; Gaela particularly. The ways in which Gratton played with gender in Gaela's chapters were dynamic and exciting and I think that along with the aforementioned magic system, Gaela's character is this novel's primary strength.
This is already the longest review I've written in ages and I'm not sure how to end it. Bottom line, do I recommend this book? While I appreciate you sticking with me for this long, probably in hopes of me answering that question, I'm sorry to say that I really don't know. I think you should be interested in Lear but not loveLear, maybe that's the key to unlocking the optimal reading experience. ...more
I had to read this for a work assignment, and while it’s not something I ordinarily would have reached for, you know what? I really didn’t hate it. FoI had to read this for a work assignment, and while it’s not something I ordinarily would have reached for, you know what? I really didn’t hate it. For what it is, I think it succeeds: it’s gripping, has one of the best and most complex female friendships I’ve ever read in YA, has a surprisingly progressive focus on mental health, and is framed in a really unique way (it uses The Chosen One trope but tells the story from the pov of The Chosen One’s friend, who happens to be an infinitely more interesting character). The unrepentant slut-shaming is its most egregious offense, and what dates it the most (I'd find its regressive attitudes toward female sexuality more disturbing had it been published in 2019, but for over a decade ago, it's less surprising). But all in all, a fun, mostly harmless read; I may even reach for the sequel if I get bored....more
Right book, wrong reader. I don't have much else to say. I think The Need is a smart, unexpected book that blends genres and arrives at something uniqRight book, wrong reader. I don't have much else to say. I think The Need is a smart, unexpected book that blends genres and arrives at something unique that I can see working for plenty of readers who are willing to embrace a bit of weirdness. I just don't like books about motherhood, and at the end of the day, that's what this book is. The science fiction/speculative element is only there to enhance the main character's anxieties about juggling motherhood with her career, and if that's a theme that usually makes you reach for a book, by all means, give this one a try; I unfortunately was just bored senseless.
Thank you to Netgalley and Simon & Schuster for the advanced copy provided in exchange for an honest review....more
A 5-star rating feels a little disingenuous seeing as it took me over 6 months to finish this book, but the best books aren't always the ones you raceA 5-star rating feels a little disingenuous seeing as it took me over 6 months to finish this book, but the best books aren't always the ones you race through. I liked taking my time with Royal Assassin, the second book in Robin Hobb's Farseer trilogy, which I enjoyed so much more than the first now that I was properly invested in the characters and the conflicts.
Is this book perfect, no; is it about 200 pages longer than it needs to be, YES; but there's just so much to love here. I think Fitz is an incredibly complex and sympathetic protagonist, his bond with Nighteyes was fascinating, and I absolutely adored that all of the female characters (namely Patience, Kettricken, and Molly) were so much more fleshed out here than they were in Assassin's Apprentice. (I'm gathering from scanning some other reviews that people really don't like Molly? I don't understand that; I think she's a great character and I don't think her relationship with Fitz is framed as something we're meant to root for, at least at this stage - I think it's painfully clear to the reader how blind he is to the suffering their situation causes her, and that is very much the point.)
Anyway, I can't wait to continue this series and then hopefully move onto the Liveship Traders soon after. I think 2020 will be a big Robin Hobb year for me. It's been a while since I've been this excited about a fantasy writer....more
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