Critique

I cannot stress enough how much I love this book and this series. I would definitely recommend it to any lover of fast-paced fantasy novels. Certainly stories about aliens, people with superpowers, or even aliens with superpowers are nothing new. However, I feel like the treatment of this is fresh, especially amidst the crowded room that is vampire super power novels. I get a little tired of John (number four) complaining so much about not being able to see his girlfriend, and I really hate love triangles, especially when they seem thrown in just to create more tension between the characters. That’s why I’m glad at least half of this book is about numbers seven and ten, and six takes a more active role in the story. I’m really stoked on number nine. He seems like a crazy fool, and I can’t wait to see more of him in the next book.

Over all, the narrative does a great job of drawing me into the story, the back-story and the overall fantasy. I find myself disappointed at the end when I have to wait another whole year before I can read the next book in the series.

Critique

I cannot stress enough how much I love this book and this series. I would definitely recommend it to any lover of fast-paced fantasy novels. Certainly stories about aliens, people with superpowers, or even aliens with superpowers are nothing new. However, I feel like the treatment of this is fresh, especially amidst the crowded room that is vampire super power novels. I get a little tired of John (number four) complaining so much, especially about the fact that he’d rather be a regular kid and not have super powers. Get off it already. None of us believe you. That’s why I’m excited to see Six come along and unleash some serious butt kicking. She seems to be far more fond of her super powers than John is. The narrative does a great job of drawing me into the story, the back-story and the overall fantasy. I find myself disappointed at the end when I have to wait another whole year before I can read the next book in the series.

Critique

*This review contains spoilers.

First off, the given synopsis doesn’t really do justice to what this book truly is, which is a very dark journey through life under an oppressive government during the midst of war, and the psychological trauma of losing a family member who is the representation of hope and light in a family. Banner does a wonderful job of revealing the content throughout the novel, so as not to give the whole thing away immediately. However, it continues to move toward a very dark direction, and although I found myself wanting to continue reading in order to finish the story, personally, it became less enjoyable the further along I got in the book.

That’s not to say, certainly, that I don’t recommend this read, because I do, it’s just that I would definitely consider this more on the literary side of the fantasy fiction spectrum. If you’re looking for a fun, lighthearted fireside fantasy, this isn’t the book for you. However, if you’re looking for a well-written book with more of a literary bent that explores a world of magic and kingdom era war and weaponry in a more realistic way, then you will definitely enjoy this book.

Critique

To be honest, I was a little disappointed in this book. Perhaps it’s that my hopes were so high to begin with, but they weren’t quite met. Given the overview, there was certainly a recipe for an excellent tale—steampunk, Victorian England, the hunchback of Notre Dame as the main character, but as a teenager, and having been raised completely differently—but the execution was a little lacking.

Specifically, I felt like the story was rushed, and Slade didn’t take the time to relish in the scenes, the action, the science, etc. Give it a hundred to two hundred more pages, and I think the whole story would really come alive. I would care more about the characters. They would have a bit more time to develop, especially Modo, who could use a lot more writing about his magical power as well as his training. We need more character backstory, more development, and more description about everything involved.

The ending certainly leaves it open for a sequel or a few, and I’m hoping they get better with each installment.

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

Honestly, I’m not sure how to approach this review. I’m sad because, to my knowledge, this is Siobhan Dowd’s last book. Both Bog Child and Solace of the Road have been published posthumously, and I feel that although I still have a few books of hers to read that were published prior to these two, I am already internally mourning over the loss of such a great writer.

Dowd seems always able to find the perfect balance between telling the character’s story in an engaging way and bringing the reader into an understanding of why the story is important, that it is more than simply a story about a person, but that there are larger elements at work, things that people should generally know about and empathize with, broaden their worldviews to understand and incorporate the messages that Dowd is so deftly communicating through her stories.

Solace of the Road is no exception. At first I found myself irritated with the first person narrative of a young girl who is stricken with a difficult past and struggling with who she is and was as she begins her journey maturing into a woman. So often I wanted to reach into the story and say, “Please stop thinking this way and making these kinds of decisions. You’re only going to end up hurting yourself.” However, even that sentiment brought me the realization that Dowd is so masterful in her storytelling. Dowd wants us to feel that way in order to show us the story, partner with us in our reading rather than just telling us something and giving us the easy answers. She forces us to grapple with many of the same difficult aspects of life that Holly/Solace is going through.

I often felt exactly the same way when reading Bog Child. Having grown up in America with two parents who loved me, I have no idea what a person in Holly’s shoes is going through. Even now, I can’t say that I truly know any more than I did before, but I will say that I have a stronger sense of empathy for people in Holly’s position, or even Holly’s mother, who often make decisions reacting to their circumstances rather than thinking things through and landing on the best possible choice. They make the best of what they have, and although they hurt others in the process, it doesn’t happen without a sense of self-awareness and self-loathing they must work through. Holly is a complex character who feels very tangible. I wouldn’t be too surprised if I actually met a ‘Holly’ one day, and she turned out to be exactly the way that Dowd has described her. I recommend this book to all readers 12+.

Critique

As always, Gaiman’s imagination reaches nearly no bounds. However, what makes him such a great storyteller is not the ability to imagine, but to take those concepts and ideas and flesh them into an enjoyable story. One of the largest flaws with books in the fantasy and science fiction genres is that the imaginative concept is great, but the story itself is poorly written and can’t carry the concept to its fullest spectrum. Gaiman’s work, on the other hand, is both imaginative and well conceived. 

The Graveyard Book is no exception. Bod seems to be a true to life character who still struggles with the same problems that face any teenager growing up. His, though, are often compounded by the heightened danger that accompanies being sought after by a murderer and raised in the world of the dead. I recommend this book to all readers 11+.

Critique

At first glance, I was surprised to see that a book like this had been awarded the prestigious Newbery, especially when its competitors were Feathers and Elijah of Buxton, but as I read through each of the monologues, it was clear why this book had been selected the winner.

Not only is it a unique addition to children’s literature, a collection of 22 monologues designed to be performed by children, but the content really brings to light the history of an English village in the 11th century. Schlitz has found the balance between fun and educational, and her historical interjections interspersed throughout the monologues bring context to the complicated history and social structures she brings into the story. At some level, it could be perceived as a terse Canterbury Tales for children. I recommend this to any readers 9+.