booksthatburn's Reviews (1.46k)

I loved UGLIES, but IMPOSTORS feels too young for the adult I am now. It relies enough on knowledge of the first series, but I think I’d be confusing for someone who tried to start here without reading the original quartet. The new stuff that it adds feels very coincidental. Early on there’s a thing that happens to Rafi where's she's thinking about something that she predicts is totally gonna happen. It ends up forcing the moment instead of building any kind of anticipation, messing with my thoughts and chilling the meta-narrative level in a way that pulled me out of the story. There are also references to technology that were thoroughly explain in the previous books, but doesn’t really show how they work this time around. All of this makes it feel like an awkward middle ground between not wanting to rehash things explained before, but also by referencing most things based on them being different this time. Also I don’t like how the romance plot seems very forced.

I'll keep my fond memories of the first three Uglies books and I don't plan to read this new series.

I’m so happy about BITTER MEDICINE. Often I can get very stressed out by stories where the two parties are lying or misrepresenting things, usually because the reasons don’t make any sense, except as transparent excuses to further the plot. When this happens I either become distressed by the lie(s) or I’ll lose the suspension of disbelief and can’t stay in the story. At all points in BITTER MEDICINE, Elle and Luc are being as honest as they possibly can be with each other (given the constraints on them). As they grow closer they work first individually, and then mutually, to get rid of the barriers between them. In each new stage of their relationship they work to accept whatever obstacles cannot yet be removed. The story is driven by their need to fix their individual problems, gradually turning into a realization that they can help each other accomplish more than either could without help.

Elle's relationship with her brother Tony is loving, but strange, as she feels obligated to protect him but he is amused and exasperated at how much she contorts herself to keep him safe in a situation that she sees as her fault. Tony is a fascinating character, cheeky and irascible, he decides what he wants and goes for it - consequences be damned. I suspect he must be more prudent than how Elle sees him, or else he wouldn’t have survived this long in his suddenly mortal state, but she’s so protective and cautious that if he takes literally any risk she sees it is insensible from her very particular baseline. They're both in hiding from their younger brother who wants to kill Tony (and then probably Elle) in pursuit of a power he can only have if they're both dead. 

Luc is lonely and deliberate, turning things over in his mind before making any move. He's also in a brutally uneven power, dynamic with his boss, Oberon, who has taken steps to conceal this from those around them. Early in the book, Elle asks Luc a question which he keeps turning over in his mind, using it as a way to explore the possibility of something other than the way he’s been forced to live for two centuries. Gradually he figures out that the person he's been ordered to find (and likely kill) for his job is the brother who's been trying to kill Elle and Tony. Luc is trying to make up for what he sees as a failure in his past, some thing that was actually less terrible than what everyone else has assumed, but a geas on him stops him from correcting the record, and potentially relieving some of the scorn and fear that others hold for him. 

Oberon, Luc's boss, is exploitative, intense, ruthless, and terrible. Long before it’s specifically clear what kind of a hold he has on Luc, he’s casually racist, more than a bit sexist, and dismissive of a particular character's gender identity as part of that sexism. I don’t think that “and also he misgenders people" is necessary in order to mark him or anyone else out as a villain, but the way that it’s done here quickly differentiates him as a nasty character. It also serves to set him apart from his employees who are just hired muscle who sometimes kill people. Where for them it’s a job and a skill, for him it’s an obsession, and extension of his obvious need for power and control. Through whatever combination of power and privilege, he’s gotten to the point where he literally doesn’t have to give a shit about what anyone else thinks, and he wields that knowledge to make Luc's life a living hell as a side effect of his seeming need for control and obedience. Oberon's cruelty is casual, systemic, and occasionally specific. 

I like the wrecking crew (a particular group of Luc's colleagues). Part of their early antipathy towards Luc is from thinking that he did a terrible thing which crosses a line for them. The ways in which that story is more complicated are gradually untangled in the narrative, but it speaks well for them that what they think he did would cross lines that are not to be crossed.

I’ve enjoyed this audiobook narrator’s work previously, and this was up to their usual excellent standards. The range of voices is nice and the performance was engaging and easy to follow. The worldbuilding unfolds naturally along with the story, aided by the oscillation between Elle and Luc. Their different backgrounds provide different experiences and occasionally different ways of looking at the exact same bit of the story. I like the context-sensitive approach to a kind of "all the spirits/creatures are real" style of worldbuilding. All the living supernatural entities have an item which connects their powers to their bodies, but other than that they have existences and magical parameters consistent with their cultures of origin. Luc has a true name and can be affected by misuse of it because he's a European-style half-elf. Elle is the descendent of a Chinese medicine god and she often works her magic through calligraphy to create charms. Elle's friend and coworker is a helpful (mostly background) presence, suggesting the shape of a long-term bond without distracting from the current crisis and main storyline. She's also a ghost, providing opportunities to explore a few more aspects of how magic works which are specific to her. 

Read BITTER MEDICINE for a fantasy romance about building a better life together, and figuring out how to hold on to what actually matters in the face of seemingly unbeatable obstacles.

Immediately disliked the style.

---Contains spoilers for the first book---

BLOODMARKED is about grief and reconciliation, building some thing new out of the ashes of what was. It's a tale of power and legacy, how people choose whether to continue in the paths that are handed to them or to try and make something better and new. It’s also a story of intimacy and trust, particularly between Bree and her loved ones. 

One of my favorite worldbuilding aspects is the way Bree gets an opportunity to delve more into Rootcraft as a community practice, expressed in a particular way through her, but also continuing to emphasize that she's not alone. LEGENDBORN is in many ways about her entering an almost entirely white space and figuring out how to exist under their rules, while in BLOODMARKED she is gradually figuring out where she fits into a larger Black community of Rootcrafters. The Legendborn Council members seek to confine and control her, seeing her blackness as an impediment or something they have to deal with in pursuit of their own aims. For most of the book she’s on the run, constantly on the news with her friends and hours, never quite feeling safe and desperately needing somewhere to land. She's trying to stay ahead of the racist institution which wants to use her while pretending that they and their ancestors didn't do anything wrong.

Alice really gets to shine, or at least have much more of a role now that she knows what’s going on with Bree and can be part of the main action. I’m also very happy with how much William is around. I love books with a beleaguered medic who knows that almost none of his instructions will be followed by the heroes who keep getting injured and only barely making it out alive. I particularly love the arc of Bree’s dynamic with Sel. Their relationship has always been complicated, but by having Nick be elsewhere for most of the book there is room for the two of them to work out a lot of stuff even while his presence is still felt. 

As a sequel, BLOODMARKED directly addresses the revelation from LEGENDBORN that Bree is a scion of Arthur. There’s a mostly new storyline related to machinations by the council, trying to exploit Bree while simultaneously ignoring or at least downplaying the implications of her existence. I’m not sure whether anything is fully introduced and resolved, but the way that most of the book takes place away from campus means that this has an entirely different (though complementary) feeling from LEGENDBORN. There are frank discussions of the fact that many of Bree's ancestors were enslaved, that a particular one of them was raped by a descendent of Arthur, leading to his power in Bree's veins. As a series, The Legendborn Cycle is about how racism in the past has impacts on the present, how the path to get here matters for what we do in the present. When people and institutions continue to benefit from racism in the past, they have incentives in the present to perpetuate inequalities, as well as to be overtly racist when their power allows them to get away with it. Bree's very existence forces the Legendborn to deal with their racist past, and then some of them choose to deal with it by helping her, breaking that cycle, while others do everything in their power to bury her and pretend that nothing bad ever happened.

This isn’t the last book in the series, and there’s a development towards the end which specifically sets up a new paradigm in the next book. Except for a very short section towards the end, Bree is the narrator and her voice is consistent with her style in LEGENDBORN. The story is self contained enough that it would mostly make sense, even if someone hasn’t read the first book. It does a pretty good job of explaining backstory as it becomes relevant and generally avoid potentially confusing infodumps while getting the reader up to speed.

The ending is excellent! The final section upsets the status quo in a variety of ways, some of which are terrible for various characters and their plans, but all of which were narratively interesting and unexpected to me. I definitely didn’t expect some of the decisions made right at the end, and I look forward to how those will be handled in the next book.

The opening pages have a bizarrely dense infodump between two enemies which seems entirely performed for the sake of giving info to the reader, not because the characters actually need to say these lines to each other.