Critique

As the sequel to Eon, it’s interesting that the two books are not very like each other. Eon is far more about the politics of the court, and Eona’s struggle with her new found power. Eona is really more of a long, straightforward story about the war the main characters suddenly find themselves thrust into. Little of it involves the fantasy and power of the dragons, and I certainly would have loved to see more, but, all in all, the narrative kept me interested from beginning to end.

Critique

At first I didn’t know what to think about this book. I was teetering a bit at the beginning, and it felt difficult to follow from time to time. However, as the book continued to unveil, I stumbled less and less and was able to lose myself in the story. Some of the confusion may have stemmed from my lack of knowledge about the Imperial China, but I do feel as though the text could have used a bit more scenery description so that the full breadth of the environment could be taken in. Also, I don’t typically recommend drawings in books, but it would have been incredibly illuminating to see depictions of the various fighting forms being used in order to imagine the fight scenes.

All in all, though, it’s an engaging, original fantasy that’s part historical China and part something of its own entirely. Eon is a believable character, so much so, in fact, that often I found it annoying that she was making choices natural to her personality that were shaping her future in detrimental ways. No criticism of Goodman’s work, certainly. Sometimes characters are like that, and as much as we want them to be different for their own good, they’ll continue making ridiculous choices that mire them further into the very mess form which they’re struggling to break free. I recommend this text to readers 12+.

The other book in this series is Eona.

Critique

Laurence Yep is known for his beautiful exposés on Chinese history as it intersects with American history. His two books that have previously won the Newbery Honor awards, Dragonwings and Dragon’s Gate, bring to life the under-explored story of the men who came to America from China to work on the railroad. They brought with them the hope and promise of a better life only to be met by hardship and disillusionment, but had the strength and perseverance to see it through.

Dragons of Silk is a perfect addition to this series and companion to the previous books because it provides a new perspective on Chinese history and culture as it intersects with American history and culture through a different medium—silk—but also through a different voice—women. The plot and conflict is palpable and multifaceted. Yep has brought his reader into the lives of the characters and done a masterful job creating connection and empathy with their struggles and triumphs.

It seems no accident that Yep has chosen silk as the object of the plot and a main symbolic theme throughout the writing. One can feel the connection, the threads that bind chapter to chapter, person to person, and generation to generation as his story is weaved throughout its 75-year span. I recommend this to all readers 10+ as it will connect with both children and adults.

Critique

These are fast-paced can’t put it down until your finished kind of books, and this edition to the series is no exception. However, I find myself wanting a lot more from them and the world that Scott is creating.

Don’t get me wrong, I really do love these books, but I have a lot of general qualms with them. I want more magic, and I want to know how the magic is being created. When we all were transported to Hogwarts, there was an explanation of how the magic worked throughout the world, which had very particular rules about what one can do when and how long it takes to acquire that knowledge.

So, ok, I know that Scott is not trying to recreate the Potter world, but it would be nice to know what rules the magic of this world operates from. The best explanation that we get at any point from either of the twins is, “I don’t know, somehow you just know how to do it.” I think this is a travesty and is missing out on a crucial element of drawing us into the story. How are they developing these abilities? How do they feel as they’re creating the magic?

Every once in a while we get a peek into the whole thing, but it’s not nearly often enough. Even the other immortals have cool spells that I’d like to get a little more depth on. Most of the time, they simply say, a shaman taught me this, or I learned this from Circe. You learned what from Circe? Is it a spell that you cast? How are you creating the magic?

Anyway, past all that, it’s a fun read and, in my opinion, more engaging than the first two, but not as good as the third. Josh and Sophie have generally become less whiney and are starting to jump into this whole being special and having magical abilities thing. They seem more willing to tackle the adventure set before them. I like the thickening plot between what Dee is doing and how it relates to all the elemental swords. However, I really do get tired of Josh waffling between sides. It adds some layers of conflict to the story, but I think Josh’s reasoning is pretty weak and somewhat unbelievable. He should either stand in his convictions one way or the other.

Critique

I was thoroughly excited to read this book, just based off of the name and the cover, and although, I would generally not recommend judging a book by its cover, this book proved to be wonderful. The premise is already charming, that there would be need for a governess to oversee children who happen to be raised by wolves. Beyond that, it’s every bit fun that you would expect.

The children adapt and learn quickly, but Wood makes them consistent to their wolfly roots, throwing in squirrel chases and conversations with housedogs. They seem like believable characters, as believable as children raised by wolves can be, I suppose, and all of the other main characters in the story are just as ridiculous but lovable, as any good historical satire of Victorian society would be.

Wood’s writing style reminds me of the dry wit of Roald Dahl, and it’s about time that we had books in that style again. I can’t wait to read the rest of the series as it comes out, and I recommend this to readers 9+, focusing more on 9-12.

This is one of those books that I have the opportunity to read every now and again that I really cherish. My favorite books in the young adult genre are those that delve into the difficult, real-life experiences of teens placed into impossible circumstances. I also love learning about these other cultures and the truth behind what has been happening around the world. It’s unfortunate that all too often here in America, we don’t care enough about the world outside of our own country to pay it much mind. The entire story is happening during my lifetime, and I had no idea that there was such strong oppression in Laos until after reading this book.

As for the text itself, Manivong narrates the story in a way that creates an excellent balance between the plot and characters and the description of the world. I could have used a bit more, actually, of the description of the awful circumstances in which our main characters have found themselves. Overall, it’s a compelling story with beautiful narration and an educational journey that is good for American audiences. I recommend it to readers 12+.

Critique

Very much in the tone of Harper Lee’s To Kill A Mockingbird or John Grisham’s A Time To Kill, this exposé of the climate of the South in 1963 reveals the social and racial tension 100 years after slavery had been banned. The mentality of the African American community is still too often that of passive-aggressive servitude, and taking that final step to bridging the gap proves to be more of a mountain than it should be. The White community is often both cruel and two-faced when it comes to their African American townspeople, and it’s sad to see that people were treating each other this way even this long after slavery had been abolished.

Burg also relates the happenings of the townsfolk with that of the important historical moments during the summer of that year, which ushered in the Civil Rights movement in full force. This text is not for the faint of heart, but it’s a great tool in order to help us all remember how far things have come in America, and how far they still need to go for full racial equality and dissolving enmity between cultures. I recommend this to all readers 12+.

Critique

Steampunk is on the rise, or shall we say, gathering steam? This recent novel by Westerfeld is a perfect example of the kind of possibilities open to this new fantasy genre, and I, for one, am very excited at the prospects before us. Personally, I’m growing a bit tired of wizards, dragons, fairies/elves and vampires, as it seems that almost all of the recent fantasy novels fall into one of those four categories, the only exception being the novels written by Garth Nix, Kate Constable, Elizabeth Knox, or Kristen Cashore.

Steampunk, and its sister Madcap (which is more like Victorian fantasy/sci-fi in the same way that Steampunk is Industrial and Scientific Revolution fantasy/sci fi) are widespread enough at this point, as a fantasy genre that there are several people picking up their brushes, instruments, tools, and pens to create Steampunk art in their own artistic field.

For the young adult literature discipline, Leviathan is likely to be an early industry standard for others to follow much like Lord of the Rings is for elf/dwarf fantasy, Interview with the Vampire is for vampire mythology (not including of course Dracula), and Pern is for dragons—yes, it’s that good.

What makes Westerfeld such a talented writer in the fantasy genre is that he’s not solely reliant on the fast-paced action and fantasy tropes that so many in this genre have a tendency to fall into. He integrates all of the elements that make up a good story—social commentary regarding politics, nationalism, gender equality, and the general social unrest caused by scientific advancement, specifically as it pertains to biogenetics and cloning, as well as three-dimensional characters and an overall depth to the story because of the many layers of internal and external conflict encountered by the characters. Even as an alternate version of the history, many of the same elements that caused World War I are explored throughout the text.

My only criticism is that I wish it were a self-contained one off rather than a series, but I suppose I may change my tune when I see the second book. I recommend this to all readers 12+.

Critique

Even though I was certain Montmaray was not a real place, I continually second guessed myself throughout reading the text. Cooper does such a fantastic job of creating a believable history, topography, and culture for this imaginary island that it makes it difficult to believe it’s not an actual place.

Also, typically I don’t like the whimsical girl 1st person narrative, but I believe it worked for this story very well. However, there were sometimes where the journal concept Cooper uses to tell the story breaks down a bit. By that I mean specifically that the events and the way Sophie is relaying those events seem less like a girl writing in her journal and more like a standard 3rd person omniscient narrator.

The most accomplished element of the book is certainly the intertextual weaving of historical fiction with historical fact over the course of the history of Montmaray with the rest of Europe, as well as the discussions that arise between the characters about their roles in the world as European royalty given the tumultuous nature of Europe at the time. The war feels real told through the eyes of Sophie as does everything else about her little island kingdom. I recommend this novel to readers 13-17.

Critique

Lawrence has composed a beautifully written book that aptly creates two different worlds. The first, the ‘real’ world is a heart-wrenching account of children who are suffering from Polio, but are able to be brightened because one girl decides to be brave enough to show up every Saturday and narrate an ongoing story. The second world is the frame story, the fantasy tale that Laurie creates for the kids in the Polio ward, which feels equally as tangible as the first.

It soon becomes clear that the two worlds are merging, and each child represents a character in the story. Laurie doesn’t always necessarily intend for it to play out that way, but through the merging of the worlds, it becomes clear to the kids that the story must be finished. Lawrence has created a treasure where both stories keep the reader interested and informed at the same time, rooting for the heroes to overcome the giant, and for the kids to overcome Polio. I wouldn’t be surprised if this novel is in the clear running for the Newbery. I recommend it to all readers 8+.