I’m getting really into Kingfisher’s writing, after loving Nettle & Bone last year and just recently really enjoying Thornhedge. I found this one at my local bookstore in the used section and decided, even though horror isn’t really my vibe, to go for it. Which turned out to be an extra good call as, when I opened it to start reading, I saw that it was actually a signed copy. What a cool surprise! 

 

When Sam’s newest dig site (for her job as an archaeoentomologist) has to go on an unexpected hiatus, she takes the opportunity to head back to her childhood home in rural NC to check in on her mother. Sam had heard from her brother, after his last visit, that she’d been acting strangely. So, she shows up ready to drink boxed wine and watch British murder mystery shows. And realizes that maybe her brother was right… The house she remembers, all the eclectic art and bright colors, had been changed back into the sterile “perfect home” look that it had been when her grandmother was still alive and living there. And her mother is acting a bit off, jumpy and nervous and not at all like herself. Between that and the vultures everywhere and the invading bugs and jar of teeth buried in the garden, Sam’s scientific mind is struggling to explain everything away. 

 

This was a super slow build into the horror that really worked for me. The slow crawling growth in those vibes matched the roses/garden/bugs themes that were central to the setting/plot really well. As I started reading this, a friend messaged to say they had liked it, that it had just the right amount of creepy…and I couldn’t agree more. The atmosphere was spot on, but never too much for this scaredy-cat reader. I don’t want to give too many details away, because that ruins the fun, but the little bit of magic/supernatural that comes in to bring the plot home (as it were) was well-used, in combination with the rose garden and vultures and bugs and isolated/rural setting (including standard angry old man neighbor). And the “big creepy” that came with the finale was horrific enough to deserve the build, but not overwhelming or overdone. Again though, I have to ask (especially after just reading it in House of Hunger too), whyyyyyyyyy does horror always have to include loose teeth?! Ohhh my squeamish comes out with them.  

 

I *loved* the narrative voice. Sam’s super intelligent snarky-ness was fantastic. It’s different than the more fairy tale style narrations of Kingfisher’s other works (at least the couple I’ve read), which I maybe should have expected due to the genre change, but really didn’t. However, it was a pleasant surprise, because it was so well written. Self-deprecating, smart, sarcastic female MCs are a personal favorite of mine (and Sam’s passion for insects was especially endearing, on top of that). Plus, I enjoyed her scientific “prove its anything but” approach to horror too. 

 

Another thing I loved was the recognize-ability of the south, especially the rural NC that I know (and love/love-hate) in these pages. It had the classic old lady silly (and racist Confederate) house art, phone/internet access realities (as in, a lack of functionality), Cheerwine (iykyk…but we at least agreed on its gross-ness!), cultural traditions (including openly recognizing racism from the white population, which isn’t as typical, so that was a pleasant surprise), attics chock full of both legitimate old family heirlooms and useless “can’t throw this out” stuff, the giant armpit humidity vibes, neighborly small talk and suspicious/reclusive neighbors, and so much more.  The recognizability of many of these mother-daughter (and about grandparent) interactions, about propriety and making the front of a perfect home/family, fit the setting and story really well, and were both well portrayed and wonderfully, lightly, satirical. 

 

The finale was a really unique take on the way that rage builds over a lifetime when sidelined and ignored, the power that yearning for something different and working to protect it once you have it (especially when it began with a child’s desperation), can take on. It allowed the addition of a lovely emotional depth to a typical horror story. I really enjoyed my time with this book; totally entertaining. 

 

“It’s easy to think that sweet people are weak…” 

 

“Like many family dynamics, it didn’t have to be healthy, it just had to work.” 

 

“Ultimately, I’m still just a white women form the South, with the accompanying combination of hypersensitivity and total obliviousness.” 

 

I read my first book by Callender a few years ago, the YA novel Felix Ever After. It was such a solid read and I've been meaning to read something else by them since then. And then this one popped up on my NetGalley (and then was an ALC option through Libro.fm). And it was just the right fit at the right time. This has been a fantasy and romance heavy escapist reading year for me, so this was the perfect time for this book to be all over my radar. And then oh my goodness, it was actually perfect. 

 

Logan Gray made his (very famous) name as an award-winning child actor, but since then has slid into the role of Hollywood "bad boy" on and off screen. He's the actor persona that people love to hate, struggling with steady relationships, substance abuse and more. Mattie Cole is an up-and-coming "golden boy;" an actor new to the screen with a lot of buzz and a ton of worshipping fans, which is great, but not at all helping him with his insecurities about being new to the game and publicly out. These two are cast as the leads in an upcoming romantic drama-comedy, and are convinced to jump into a fake dating scheme to help bring greater hype to the movie. As they are forced to spend more time together, publicly and in filming, their rough start turns into a real connection. But they'll have to both deal with their individual traumas as well, in order to be able to fully commit to whatever they have growing between them. 

 

Ok look, early reviews said this was a bit more intense (topically and emotionally) than advertised, but that it also hits a lot hearder (in good ways) because of that. And let me just add my full-throated agreement to that sentiment. I had *all* the feelings while reading this. I cried tears of anger, heartbreak, happiness, hope...and I was all in for Logan and Mattie. I'm going to say a lot more, because I loved so much and have so much to say, but really, I already made my main point...that I freaking loved this book. A late contender, but absolutely an addition to, my favorite reads of the year list! 

 

So, let's see. I thought this was grounded in reality in a great way, with real (current) actors and movies being referenced to give it that validity. This was further developed and supported with the compilation of POVs and news clippings and social media and snippets from memoirs and fan fic that were scattered throughout. All the things that you'd find related to a story like this unfolding IRL were present in this novel and that was so well done. This story itself felt a bit expected and easy, for a while, as the movie script and the real life grumpy/sunshine dating situation mirrored each other. However, it was so well written and genuine that I found it compelling despite that. And as the story developed past the first half/two-thirds of the novel, the triple and quadruple layers of tension and relationship confusion became so nuanced and complicated and touching and difficult, in all the right ways, that that "expectedness" was completely overcome for me, and I was just lost in the characters and on the edge of my seat for how they'd work things out. I even made a note, while listening, that "this story builds a powerful momentum." And I couldn't agree with myself more, to be honest. 

 

Outside of the relationship build between Logan and Mattie, the other main theme of this novel was trauma (child sexual abuse, sexual assault, family/public homophobia, verbal abuse). There was a lot of it and it wasn't easy. Callender writes a short note about it, as a preface to the book, and I suggest every reader take their words seriously and be careful going into this. But it is all handled very realistically (understanding that no one experience of trauma is "right" or "wrong") and openly, but with care. Dealing with trauma, and vulnerability related to that, as well as how to support someone else's mental health without losing yourself to it, is so complex, and shown as such in these pages. It was heart-wrenching to read Logan and Mattie trying and (in small steps) managing to establish boundaries, communicate, create safe spaces, and support growth for each other, all while struggling to come to terms with their own issues and attempt to determine their own futures for themselves. The parts of this that had to be done away from each other were painful (for me as a reader), but such a great portrayal, and an important message that we cannot help others if we are drowning ourselves.   

A tangential theme to all of this is that no matter who we are, how famous/well off we may be, at the end of the day we are all people. People who are complex and flawed and dealing with things no one knows about. And everyone deserves to be treated with grace, as a human. What a commentary Callender makes on the media bullshit quagmire that going after justice causes a victim to deal with (sometimes/often to the point where they let the perpetrator "get away with it," because that’s easier for them, to not have to deal with backlash and public opinion). Heartbreaking. And way too real. Similarly, the way media narratives label "heroes" and "villains," and then proceed to treat exact same situations/choices differently in different people, based on those externally applied labels, without any nuance nor consideration of the why/context, is horrifyingly accurately shown.    

 

Before I close, I want to also say that I listened to the audio, thanks to Libro.fm. It was spectacular. The full cast and the bonus sound effects were fantastic! Highly recommend that experience. 

 

There’s so much pain and bravery and vulnerability in this novel here that it’s painful (in the way I love, as a reader, because it makes me so invested in the story and the characters). And it is so compellingly balanced with love (including some wonderful steamy scenes) and support. Plus: OH the HEALING! On that note, this story ended so well. There are so many ways that would have been less right, and so even though it was a lower key sort of vibe to finish, as opposed to the frenetic intensity of the rest of the novel, that more mature and balanced vibe was the exact right way to close. 

 

*I haven't done this in awhile, but I couldn't find a better spot to mention it, so I'm just adding it to the end here. If you are looking for a read-alike for If This Gets Out, try this book. It is, obviously, more mature (makes sense, as this is adult and that is YA), but the vibes are quite similar. And, in my opinion, this is better!* 

 

“I’ve never even had that experience, I’ve only acted the role.” (what a heartbreaking comment, in general and here specifically on the reality for, at least some, child actors) 

 

"True joy can't shine until we work through the darkness and look at the trauma - until we begin to heal. Isn't it more satisfying, then? To see a happily ever after that has been fought for in the end." 

 

"But I think that's where the work for a relationship comes in. Speaking about our needs, hoping they align - working to meet each other where and when we can. It might take a lot of work." 

 

"There is no guarantee that one person will make us happy for the rest of our lives. Instead, there's something else more powerful, even deeper: the realization of love we have for ourselves - and the joy in sharing this love with someone else, and experiencing the love they have for themselves, too. Instead of depending on each other for happiness, we find our happiness individually, and then share that happiness with each other." 

 

Well, I wasn't really planning to read this. But I flipped through it after it won this year's National Book Award for Fiction. And I was interested in the formatting - the sepia toned pages, the blackout poetry, the (seemingly) random, and quite explicit in some cases, images/photos. So, I decided to give it a go. 

 

Somewhere, in what feels like the middle of nowhere in the desert (maybe in a place that's not even real?), a young man spends time with a dying elder, someone whose path he crossed years ago, tangentially. But now, the two spend their full days together, trading stories of their pasts, their families, their loves lives. And as part of this sharing, Juan Gay passes on his lifelong project to our younger narrator. This project is based on the (real) Sex Variants: A Study in Homosexual Patterns, a collection of "case studies" of queer people from the early twentieth century (collected, as a lesser known fact of the book, not by the name on the publication who co-opted the work, but rather by a queer female researcher, Jan Gay). And as the story of those stories mixes with those of Juan and our narrators, we see how the past is, always, all around us, informing our present and influencing our future, even as we lose and mourn parts that have been erased. 

 

Look, my overarching feeling after finishing this novel is that I don't think I am smart enough to understand it. I mean, the writing was lovely, that poetry-prose style that is lyrical and intelligent and rhythmic AF. Torres also does some very cool things with his writing, like taking popularly understood grotesque/repulsive concepts (like end of life care and frail elderly bodies and institutionalization, etc.) and providing them beauty and grace through his language. It's also purposefully provocative, with some of the extra artistic pieces, like the images chosen and in the way the blackouts take out the context and leave just the raw sexual urges/acts (offering a powerful counter narrative to the original writing). And overall, the relationship between Juan and our narrator, the storytelling, and the memoria collected are building to an excavation that you know is coming, a coming together that you really wonder what will be revealed. But the snippets and vignettes jump all over, and I can vaguely see the connections, they also consistently felt just out of reach and honestly I couldn't always tell who was talking or what all they were referring to. 

 

Another aspect that had me all mixed up was what was real and what wasn't. Like, so many of the references, the people (historical figures), the (queer) history are real. I Googled (and learned) *so* much. And there was, naturally and necessarily, an addressing of the patriarchy and colonial influence on mental illness, and what qualifies historically and today (queerness, cultural differences unique to Brown people, etc.). The way these populations were “criminalized, stigmatized, pathologized,” based on a matter of perspective and what popularly counts as respectable; none of this is new thought, but the presentation of it is gorgeously written. And it was all a gorgeous honoring of and reminder to learn from our elders. But then I couldn't tell where Juan fell on that: was he real, fictional, a figment of the narrator's imagination or a part of his own self? Not until the "post-face" was that sort of cleared up (ish), so I felt unmoored throughout a lot of the reading. 

 

The way the title, Blackouts, is given multiple meanings - blackouts, as art form, as self preservation, as mental illness, as forgetting with age and time - is so intelligent, is so profound. Though it's balanced out a bit because I couldn't help but compare this in my head as "sad boy" literature, to complement sad girl shit like that of Otessa Moshfegh (My Year of Rest and Relaxation) and Melissa Broder (The Pisces), though of course much "higher brow." And there's the thing: past all my thoughts and reactions, I honestly don’t know what I think, because at the end of the day, I don’t know how much I really, truly understood any of it. 

 

“…a work of intense observation transformed into a work of erasure.” 

 

“I don't know what the word is...crestfallen, I suppose. / A fine word. / Where does it come from? I'm sure you know. / Well, cocks have crests, and other birds, and horses. / And mountains. / And mountains. And waves. And the houses of great families. / And they all fall down.? / That's right. The mountains crumble, and the waves crash, and they all fall down - the chickens and the families and the faces of landladies.” (this kind of verbal play, word dissection, dialogue, creative thought is always so impressive to me) 

 

“Tomorrow and tomorrow and tomorrow. The way to dusty death.” 

 

“The release of the want of the want of release.” (on electroshock therapy removing libido, and oh the layered meanings of this!, the wordplay!) 

 

“Darling, the only thing anyone should be embarrassed about is taking themselves too seriously.” 

 

“Yet the habits of poverty run deep - and I felt, underneath the surface, the same old dread. A constant sense that I'd forgotten to attend a vague but terrible urgency.” 

 

“It’s true, all erotic experience can be reduced to crudeness, nene. But does that mean it ought to be?” 

 

“How can you make a syndrome of a people?” 

 

“Remember this: not all ambiguities need to be resolved, nene.” 

 

And here we are, with the third and final book in this series that I have binge-read (or, to be fair, binge-listened-to). 

 

This third book jumps right into the next part of the story, as we are already quite comfortable with the world that Okorafor has built: the Leopard people, the juju, these four friends (Sunny, Orlu, Sasha and Chichi). The last book ended with them defeating Ekwensu and I had wondered what would happen then, in this third installation. It turns out, quite a bit. In an intense quest that involved myriad steps, Sunny and Chichi were charged with returning an item to Udide that Chichi's mother had stolen years before...and of course Orlu and Sasha wouldn't let them go alone, so the four of them take on these myriad mini quests along the way together. As they face many challenges, visit new/parallel worlds, and meet new friends, they also learn a lot about their own histories (where they come from, who their ancestors were, the truth about family secrets) and each really, fully, come of age as their pass their second level "tests." 

 

A note: If I am being honest, it has taken me a few days to get to writing this review, due to the Holidays. And reading through this trilogy so quickly has actually made it quite difficult to remember the lines between books. So if I reference or repeat something from an earlier book/review, or if this seems really vague, my bad! 

 

This was a nonstop adventure that really was a bit of a departure as far as overarching storyline, as well as the fact that it mostly gave up on "real life" (no more school, only intermittent interactions with family, really just the four focal characters, etc.) I mean, to be fair, Sunny and her oldest brother actually end up super-bonding in this one. True. And she does learn quite a bit about her family history. But it's all done within the bounds of her task from Udide, and not as a result of actual time spent with family (or time spent with them for the sake of it, but rather as a part of her quests). I did appreciate that, as the series went, it expanded in scope as the characters and world were developed: the first book was very Sunny-focused, the second grew to a little more family/local-focused, and this final book included some greater political/world patterns. That matches the growth of Sunny and her friends as they are going through puberty and coming more "of age." 

 

I have to be honest, there were a few parts of this story that I didn't really follow. And really, that's ok. I mean, I get that some things are new and confusing to Sunny and Co as well, so I'm ok with some vague-ness. But I never really feel like I understood the magical object Udide wanted back (why it mattered/what it did) and that's kind of a big thing to be confused on, as it is the quest/adventure that provides the framework for this whole book. So, that was a bit frustrating. However, I still enjoyed following their travels through different worlds and finding the giant (flying!) grasscutter and the relationship(s) growth and Sunny really starting to own and test the bounds of her new powers, so that was enough to keep me invested. Plus, little details like the insect that created daily art, her name was Della I believe, were lovely touches. I also loved the inclusion of the Nsibidi symbols and translations throughout the series, but especially the way they were used in this finale - very cool.        

 

One thing that really stood out to me in this final book was the patriarchal customs. They have been a common thread throughout - women serving and cooking and other traditional POVs/values within families and between generations - but they really felt more central here. What was interesting is the way they were addressed, as "they are what they are." They weren't subtle, though nor were they highlighted, and even though I wish they were less rigid, and it was clear Sunny did as well, they were just accepted. It was kind of a weird and insidious vibe that wasn't highlighted, but also wasn't subtle. I wish it had been challenged more, even if it was part of the cultural context, just like all the magical regulation impositions were... 

 

As far as how everything closes out, I really loved it. I mean, this was an epic final journey for these friends! I don't know how I didn’t see that reveal about Sunny and how/why she has her abilities coming, but it was a great little development twist, and well hidden (at least from me). I also thought it was a great detail the way that Sunny and Anyanwu split (doubled) and were developed together but also separately. I feel like there was probably a message in that aspect that I didn't *quite* get but it added a layer of complexity that was a nice touch, that I feel like this story really benefited from, especially in relation to that twist about Sunny's abilities at the end.  

 

This finale was an epic journey for these four characters. And really, I loved how it ended. Like, it was not actually an end, but rather a closing of a chapter, as Sunny steps into the next stage of her life/her future. It was closed enough, but still open-ended as it should be, since she's got so much life left ahead of her. And we see her step into it with confidence knowing she'll succeed even if it isn’t on page and even if that also includes some learning from mistakes, because of her belief in herself. It's really quite uplifting and inspiring. Sunny really grows into herself here, learning to trust herself even with/through occasional fear and uncertainty, and that’s a perfect final message for these MG/YA novels. 

 

“Everyone is connected to something. Connection brings you benefit, but it also makes you responsible.” 

 

“When you are afraid of annihilation and someone gets in the way of you stopping it, you will see that which is not there.” 

 

“When things are quiet and one is comfortable, only then does the magnitude of one’s most pressing problem become clear.” 

 

“To take is easy. To have the nerve is not.” 

 

“She’d done all those amazing things, sometimes by accident, in a panic, out of desperation, or while being courageous...but she’d done them.” 

 

“Seeing is not the same as caring […] You’re American; you should understand that more than anyone.” 

 

We’re back! I didn’t even realize the fifth volume had been published ‘til I saw it on the holds shelf at the library and I *immediately* added my name to the list. Just got it a couple days ago and…I totally just sped through it all in one quick sitting. 

 

It finally happened: Hades ended the super toxic relationship he had going with Minthe. And in a “heat of the moment” situation with Persephone on her birthday, he admits he wants her and they finally have their first kiss! But Minthe’s jealously ends with her and Thetis and Thanatos finding out a dark secret from Persephone’s past, which Zeus is now involved in (and calling for “justice” as a result), as well. At the same time, everyone is already out looking for Persephone after she disappears (Apollo is blackmailing her to cover his own ass and she freaks out and runs away, understandably). Artemis and Eros are trying to find her to prove to Demeter that they didn’t lose her daughter while responsible for her safety (and Hera gets pulled into the charade, which in turn leads to her finding out info that makes her suspicious about Apollo’s interest in Persephone). While in the Underworld, Hades searches desperately for his missing love and also rediscovers a lost memory from his own past, in which Persephone asked him how to bring mortals back to the world of the living…though he has no idea why she’d want something like that. And we are left on a very real cliffhanger of Persephone’s disappearance and the exposure of sensitive information about her.   

 

The plot really gets moving in this one, which is exciting, as that was what I felt like was a bit missing from the first few volumes. There is so much going on as buried secrets/cover-ups get revealed and memories are restored and there is a chance that the truth of a certain god’s sexual assault of another (*cough* Apollo *cough*) will finally come to greater light. I loved all of it. It was page-turning entertainment and I was super invested in the story development. There are definitely things I recognize from “original” mythology, but there are also some fantastic new spins, adding more present day feels to the traditional drama of the gods, and that blending is super well done. 

 

The character interactions in this one were also fantastic. Eros and Artemis pulling in Hera was great (and her running into Apollo and subsequent interaction with him was perfect). I thought Zeus finally trying to get involved and regain some respect was hilarious, a spin on his traditional vibes that I liked a lot. The more minor characters, Like Thetis and Minthe, and their efforts uncovering Persephone’s secret was a fun subplot. And I enjoyed Hermes’ general all over the place involvement – a cornerstone of his character throughout all retellings and iterations and always one of my favorites.  

 

Of course, Hades and Persephone stay adorably nervous and sweet with and about each other. The “trying to be professional and respect boundaries” while clearly wanting to jump each other’s bones and be around each other all the time is very cute. But I am grateful that we finally get a kiss (the reader deserves that!), as it saves the tension from getting to drawn out or repetitive/boring. (Speaking of, the first kiss panels are so good. You can really feel the energy and passion; all the heat in all the good ways.) And each of them continues to get more nuanced, and have more depth as far as emotions and reactions, as this series unfolds, and I am loving that. 

 

I honestly think my one complaint remains that I cannot always tell the difference in the panels of who is talking when. The coloring (which is bubbly and fun and I don’t hate that in general) and shaping of the characters, is just not consistent enough that I can always tell at a glace who we are dealing with. And since they often don’t call each other by name or have other indicators to show who is who, I do tend to be confused about who is in these interactions more often than I’d like. It does, a bit, mess with my ability to stay in the story. Also, there is sometimes jumping around within chapters to different parts of different storylines without a lot of indication of changeover, which doesn’t help that overall comprehension either. …I come out in the end with the general gist, but do wish it was a bit clearer.  

 

Overall, a quality installment and, especially with that cliffhanger finish, I can’t wait to see where things go from here. I’m really looking forward to some information coming out, some dramatic fallout (and hopefully some desreved justice) as a result, and, of course, the reunion of H and P (hopefully with more kissing)! 

 

I bought this months ago because...vampires. But also, this particular edition was edited, and included a preface by, Carmen Maria Machado, whose previous works (Her Body and Other Parties and In the Dream House) are both objectively phenomenal and subjectively favorites of mine. And then, I requested (and received!) an ARC of An Education in Malice by S.T. Gibson from NetGalley. (I was really into A Dowry of Blood last year around this time - Goodreads is calling it a cult hit and I can't really argue with that - so I was super hype about this one.) Since one of the MCs is named Carmilla, and it is, of course, a gothic vampire story, I felt like it was exactly the right time to read Carmilla myself, so it's fresh in my mind for comparisons and parallels. 

 

In a remote part of what is now Austria, Laura is a young woman living an isolated life, with just her ailing father and two attendants. Excitement arrives on their doorstep one day, as a horse-drawn carriage crash results in a new temporary member of their household: Carmilla. Having spent so much time alone, Alura immediately jumps into a close friendship with Carmilla, maintaining it even through Carmilla's oddities, moods, evasions and ever-more-noticeable volatility. However, as Laura is haunted by strange nightmares and nighttime visions and begins to grow weak and ill, and a neighboring nobleman comes visiting bearing a strange and terrible story, everyone may finally have to admit that Carmilla is more than what she seems. 

 

I really didn't know until recently that this novel pre-dates Dracula by about 25 years (based on original publication date). So cool! And while I am not an expert on Dracula nor on all original vampire-related texts, it was really interesting to see (even to an untrained eye) how many similarities and parallels of plot and theme there are. Bu here in Carmilla, the metaphors of sexual awakening, sapphic specifically, that dominate the relationship between Laura and Carmilla, are so strong and central. And I loved the idea of a threat/”evil” that is beautiful and captivating and you invite right into your home without the original fear invoked in Dracula (much more nuanced). Machado addresses this in her introduction (and I'll get to that in a moment), but really, it is fascinating to me that no one at the time could conceptualize or imagine that's what was happening for Laura. Just...lolz...at all the men. 

 

As I said, I also want to address Machado's introduction. It was short and superb. It has been awhile since I read anything by her and I had forgotten, a bit, her skill with words. It is academic and intelligent to an extent that requires real attention. And yet, if you give it that attention, it is accessible and carries a wryly humorous insight. Plus, bonus, the footnotes where she adds comments that are more than historical FYIs, like the “If this isn’t an orgasm, I’m a monkey's uncle” style ones, made me snort-laugh in the best way. I haven't read Carmilla before, but I am so thrilled to have been able to read it for the first time with the lens Machado adds: that of the [historical] context that this is fiction based on reality, a real correspondence that was found! It really added even more credence to the sexual coming of age metaphor, and I really enjoyed "searching" on my own, as I read, for what was left out - the details of this sexual and sexuality awakening that are carefully hidden and glossed over by a storyteller (and thus the voice of power) that would not give space for a woman to live/have/speak the truth of their own experience, imposing rather what society expects it to be and repressing everything else. I love literary criticism and unpacking that does not assign unwitting metaphor and symbolism, but rather legitimately unpacks what the writing and style says about the writer/the time/the biases, etc. And Machado does that with aplomb here, truly enhancing my reading experience. 

 

Back to the novel itself. I love a good traditional vampire story and this is one of the first…fascinating to see how so many myths and legends grew from this one tale. I recognize how so many popular (and less popular, but equally intriguing) vampire tropes began and grew and developed over time and I found that very cool. The gothic vibes are also all there - isolated settings, big castles, unexplored woods, cemeteries, nightmares, mysterious ladies/visitors - and really set the stage, a quality one, for all the gothic vampire novels that have come since. On this note, the illustrations were fantastic and really added to the atmospheric-ness of the novel. One final note, the older, "classical" writing style is a tougher one, mostly because I am not really used to it. So I was glad this wasn't too long, if I'm being honest. 

 

I was completely engrossed, for the short time it took me to read this. The lonely, haunting ambiance was spot on, both environmentally (the setting) and interpersonally (the characters and relationships). Laura's narration of the events was the exact right voice to hear it in, as the centrally affected character, as well as considering the reframed interpretation of the story as a coming of age/sexuality narrative (again - it changes everything that these letters from "Laura" were actually letters a real person wrote and her words were both stolen and edited without her approval/permission before being published). And, of course and as always...I love vampires.   

 

“But curiosity is a restless and unscrupulous passion…” 

 

“I experienced a strange, tumultuous excitement that was pleasurable, ever and anon, mingled with a vague sense of fear and disgust. I had no distinct thoughts about her while such scenes lasted, but I was conscious of a love growing into adoration, and also of abhorrence. This, I know, is a paradox, but I can make no other attempt to explain the feeling.” 

 

“But, I suspect, in all lives there are certain emotional scenes – those in which our passions have been most wildly and terribly roused – that are above all others the most vaguely and dimly remembered.” (Ah yes, the emotional reactions to a feeling of an attraction that runs counter to societal norms…how was this ever read as anything else) 

 

“Love will have its sacrifices. No sacrifice without blood.” 

 

“At another time, or in another case, it might have provoked my ridicule. But into what quackeries will not people rush for a last chance, where all accustomed means have failed, and the life of a loved one is at stake?” 

 

I am speeding my way through this series, partly because of the ease of the reading/listening language (I do tend to read MG/YA faster), but also because it's a fantastic story, and told so well, and I just want to stay immersed in it! 

 

After her adventures with Orlu, Sasha and Chichi in the first book, Sunny is settling into her learning and skill-building as a Leopard Person under the guidance of her mentor, Sugar Cream. But the terrifying Ekwensu, and the "end of the world" they're trying to bring, is not completely defeated yet. As Sunny's skill with juju and her ability to read Nsibidi grow, she (and the duality that is her spirit face, Anyanwu) must travel great distances to visit the city of Osisi, that exists both in our world and in the spirit world, to defeat Ekwensu for good. With the assistance of her friends, a giant flying grasscutter, and (to Sunny's surprise) her older brother, this dangerous task might actually be possible. 

 

This is a great continuation of the story Okorafor began in Akata Witch. It jumps in right away (and continues consistently) with giving the reader more details about juju, Sunny's abilities, and the Nsibidi language, the vagueness of which was a (small) critique of mine from the first book, so I was really excited for that. As far as development from the last book to this one goes, I also loved the way Sunny's relationship with her brothers grows. First, having two brothers myself, I always love solid sibling relationship rep. But also, it was cool to see how, as Sunny's skill and confidence grew, they were able to help/support each other, as a two way street, and the respect that grew from that was wonderful to watch in action. This novel introduces relationships that move from just friends to...more than friends...and some of the drama that comes with that. Not always a favorite "added drama" reading trope, but a realistic one (for all ages, but especially with puberty), and Okorafor managed to include it smoothly and realistically but not in an overpowering way. Speaking of puberty, it was, generally, really cool to see an inclusion of puberty-related aspects (like body changes, independence from parents, etc.) which are universal, but making them unique to complement this magical coming of age as well. Very nicely done. Overall, the added depth in the world-building and character development in this novel was great. 

 

In regards to the plot, it was solid. Nothing standout, as far as originality in development or anything, but entertaining and interesting. I enjoyed the way the "real" world was brought in a bit more here, with the way Sunny got involved in her brother's life (and the following consequences). And I totally loved that the final defeat of Ekwensu was accomplished in large part because of Sunny’s newness to the Leopard world and the insight and different perspective she gained from her previous, “regular,” life. The continued focus on things that seem on the surface to be weakness turning into the skill/knowledge/strength that help our characters succeed is wonderful. Also, I'm honestly extra interested in where the final book takes the story, since this finale makes it seem that the “big bad” has been defeated already. It's clear that some other potential quests are hovering, a bit ominously if I'm being honest, so the general direction is clear. But they're a very different storyline, and that's an unusual and unique way to handle a trilogy. I respect it. 

 

Since Okorafor is a champion of delivering important messages and lessons in her writing, I want to highlight a few of my favorites here. I loved the way that magic (things beyond the normally swallowed/allowed “truth”) allows for a gender equality that is so opposite of many traditional societies (definitely within the families and social groups of the Nigerians represented here). It is both beautiful (this kind of magic can always see what’s most important, and that’s usually what’s below the surface) and, one would wish, more universal. The moment when the "wise one" helps redirect the young Leopard People with “you were looking for the worst (and missed the actual message) through misinterpretation” was SUCH a key message. Humans - looking at myself here - almost always tend towards pessimism. Love this reframe! When the power of stories (truth and vulnerability), is used like it is here, as a strength that holds deep and powerful currency and magic, is highlighted in magic systems/world-building (especially when it's traded to ageless deities, because stories are the only thing they haven't seen all of or gotten bored with yet), it's a trope I cannot get enough of. It was heart-wrenching and beautiful here. Oh! Random, but, I enjoyed the little details like Sunny's [sneezing] allergy to juju powder. And I am glad that soccer took a bit of a backseat in this book...it's a personality-rounding-out type detail, and those are important, but I still just feel like its inclusion is jarring, compared to everything else. 

 

I've already started listening to the third book - I'm just having so much fun with this series.  

 

 

“Superstitions are like stereotypes in a lot of ways. Not only are they based on fear and ignorance, they are also blended with fact.” 

 

“To learn is to live.” 

 

“It forced her to not only look at the way she given information but also the background of the author […] Now she understood not only the rules the book taught but how to read those rules.” (what a lovely critical thinking lesson/message for readers) 

 

I read, and *loved* The Other Merlin earlier this year. But then I had to wait *months* for my library to get a copy of this second book! UGH. And now, just when I thought this was going to be a duology, I have read it and realized it is, in fact, a trilogy...and the final book doesn't come out until the end of August. That's like, 9 months away. I cannot wait that long. Woe is me. WOE. Anyways... 

 

So Arthur and Emry defeated Morgana at the end of the last book. And now that the jig is up with Emry pretending to be her brother, Emmett, she can train openly, as herself, as a court apprentice wizard. But of course, nothing can go smoothly as Arthur prepares for his foretold role of Camelot's future king and the hormones rage amongst this cast of characters. Arthur and Guinevere are betrothed, to unite their kingdoms, even though neither actually wants it to happen (the marriage, not the uniting; they're down for uniting). Meanwhile, Guin and Emmett are secretly seeing each other, leading to a situation that sets everyone up for a major scandal. And Arthur and Emry are head over heels for each other but trying to fight it, for everyone's good but their own...which is definitely going to come up, as they set off to France together to help seal alliances and find help so Emry can hopefully learn to control the new magic she picked up from her contact with Anwen. Back at the castle in Camelot, Lancelot is struggling with balancing being a squire with pursuing his own new romantic interest. And a group of young guards decide it's up to them to create a secret group dedicated to defending the castle, because no one in power seems to think the Duke of Cornwall amassing a personal army is a cause for concern. (You see where this is going, yea? The formation of Arthur's Knights of the Round Table are comingggggg!) When the royal wedding brings tragedy instead of celebration, the time is now for all these up-and-comers to step into the roles history knows them for. 

 

Y'all, this novel was almost entirely fluff. And I loved every second of it. It had the same spectacularly easy and escapist reading vibes as the first; lots of humor keeping the entertainment level high. I will say, the drama is growing, as the dangers become more international and political and throne related, as opposed to internal and relationship-y (though there very much still is a lot of that as well). But Schneider manages to balance that with hilarity (jokes and ridiculousness at soap opera style levels) in a way that kept the whole thing light. 

 

One of my favorite parts was the way the knights of the round table came together. The mix of those misfit, bumbling, too cool, best-intentioned guards/lords/squires is one of the most endearing "we're coming together to help our friend because he needs us, even if he isn't here and doesn't know it yet" things I've ever read. My sweet heart burst. France was hilarious. The fashion, the tennis, the gargoyle...OMG I laughed. (And I am so glad the gargoyle is sticking around!) I also was mostly annoyed by Guin and Emmett in the first book, but really liked what happened with their storylines here. And Gawain, who, while not supposed to be a fav in the first was one anyways, remained spectacularly, obnoxiously smooth and foppish here. Loved him. Arthur and Emry are perfect for each other and I love that, but oooof the pining is real and I'm for sure ready for them to just be together. And Morgana's story was creepy and totally separate, but has a lot of promise for the finale, so I can't wait for that conflict to happen. Especially because of Belliecent, as a foil for Nimue, is a new twist on this familiar story in a way that I am excited to see play out (not so much due to the elder Merlin, who I am annoyed with, but I'm willing to see what Schneider does with him). 

 

There was some real tragedy/death in the end, but because the entire premise of this is humorous, I wasn't overly emotional about it. And in one case, I was actively happy to be rid of the character, who had very few redeeming qualities, tbh. That being said, it did a smooth job setting up the final book, getting Arthur and Emry (at al) to the helm, so they can bring things to their conclusion and usher in the new rule in Camelot. I mean, we all know more or less what is going to happen, but this has been such a fun journey and I cannot wait to see all the specifics of this version, and, really, just spend a little more time with this diverting cast of characters.      

 

 mmmmmm that was so much fun, and funny once again; ;,- and I’m very excited for that finale; 

 

“I suppose that the problem with chasing your dreams [...] Whenever you get close, it turns out the target has been moved farther afield.” 

 

“Knowing what you want is a strength. And living your life takes courage.” 

 

“In my time, I have seen the world embrace many things that it shunned in my youth. But that is no excuse to be set in one's beliefs when the evidence in front of you disproves them.” 

 

“Sometimes, lies were a kindness, and the truth did more harm than any deception.” 

 

A few years ago, Aboulela's name popped up on a reading challenge list I saw, as a "read a book by this author" prompt. And I don't actually do many reading challenges (because I'm so much of a mood reader), but I love looking through prompts to get ideas. I looked into her body of work and added a few to my TBR, but as per usual...too many books and not enough time. A few weeks ago though, I checked this one in at the library and, when there were no holds on it, decided to, finally, read Aboulela.  

 

When Akuany and her infant brother, Bol, are orphaned in a raid on their village in southern Sudan, a traveling merchant named Yaseen takes responsibility for them. Over the next few years, as Yaseen leaves the family business to study in Cairo, Bol is adopted by his sister, and Akuany is sold as a house slave to an influential family within the colonial government system. As the years pass, this novel follows these three characters, though with a focus on Yaseen and Akuany and the bond they share, as the (self-proclaimed) redeemer of Islam and revolutionary leader, the Mahdi, rises to power and Sudan begins to fight against the Ottoman rule. As our characters are forced to choose a side, neither of which is above reproach, and the choosing splinters families and relationships. As the novel unfolds, we are also given chapters from the perspectives of Musa (a believer and follower of the false Mahdi), Robert (a Scottish artist and employee for an international ship-building company), Charles Gordon (a British general sent to bring Sudan under the rule of the British empire), and Salha (a wife of Yaseen). 

 

For a novel with such heavy and complex themes - emotionally, politically, theologically - this was such a lyrically written work of literary art. Aboulela brings the spirit of Sudan, its land and its people, alive. Even with such a focus on the upheavals of war and of leadership changes, no matter which side a person is on or what societal role they have, there is still something about the writing and storytelling style that makes this novel seem ethereal, rather than traumatic. Each character is written and developed with care and authenticity. There is such nuance in their individual hopes, attitudes, biases, frustrations. They are all just so human. And in that, whether they would traditionally/historically be considered a heroine, an antagonist, or something else, not a single one was fully unlikable, even as the criticisms and irredeemable characteristics are never given excuses. Truly a masterclass in that sense.    

 

This is such a culturally different read for me. I have read quite a few works by African and Muslim authors, but perhaps never in combination like that? And definitely not in this historical context. And y'all, that is why I love reading. Like, how else would you be able to get exposed to all of this? I mean travel is great, but you can only go so many places with the time you have, and of course traveling through time to get different historical perspectives is (as of yet) impossible. And so: reading. Anyways, I was especially fascinated reading about the different cultural and religious practices around marriage and divorce. And just in general, the intricacies of different family relations and responsibilities. It was also totally new to me to read a novel about a country at the crux of independence from one empire (Ottoman) and the potential onset of another (British), while they try to balance the natural yearning/fight for independence with the (for some) discomfort of supporting an internally rising leader that goes against (or really, flies in the face and deeply takes advantage of) their belief system. The complexity of this political situation was related in a perfectly nuanced, and yet truly accessible way. And I thank Aboulela for being willing to do that work, provide that knowledge, to this previously unaware reader. 

 

I also could not help but notice the many ways this story is so recognizable, so universal, despite how different the day to day lives of the characters were from my own. First, the way a charismatic man preys on the uneducated or those needing a hope to cling to (especially with using religious rhetoric and belief manipulation), is a pattern so familiar, a tale old as time. Although it is complicated by imperialism and colonization and the rightful organization to resist, the turn that style of leadership takes in sparking extremism is frighteningly familiar, in an array of present day conflicts and regions. Just a wonderful representation of regular people during big moments, and how that is both unique to a place and time, like this moment in Sudanese history, and yet also rings of universality. 

 

What an introduction to Aboulela's writing this was! I can see why she receives so much praise, and agree with it wholeheartedly. Although pacing-wise this is the type of novel I have to be careful to read when I'm in the right mood (I appreciate lyrical writing, but it can feel too slow to me if I'm not ready for it), I will be keeping other works by Aboulela in mind for those times, as her writing is stunning and representative and unearths so much of the people and history and traditions and nature of Sudan. 

 

“Injustice causes the kind of damage that perpetuates itself.” 

 

“I am not questioning his visions. They are his, but they are his alone. He has no right to extrapolate laws from them. Dreams are not evidence.” 

 

“Fighting an enemy is always easier than governing human complexity.” 

 

“Is that not what life is? We are entrusted with health or security or wealth or position or family or skills or children or all these things and then expected to do our best.” 

 

"The layman always expects us to answer in binaries - halal or haram, permissible or impermissible. Whereas there are shades - what is mukrah, disliked or nonpreferable, and even more subcategories. [...] So, what should one do? The answer is to choose life. Keep your faith within your heart even if your tongue is forced to say otherwise. Flee if you can. If you cannot, live in the hope of better circumstances." 

 

“But religion was only the outer shell, powerful slogans to attract the poor and illiterate. Shining rhetoric to whip up support.” 

 

“We are an independent country. That is the result of all the bloodshed. I might have mixed feelings about the methods used to achieve this, but one can never defend foreign occupation. Independence is natural and just.” 

 

 

 

 

 

My brother gave me the first book in this series last year as a Holiday gift, and I feel like getting started on it about a year later is really pretty good, for me! But for real, it was such a great surprise book choice because I have read, and loved, Binti (and Home and The Night Masquerade). So, of course, I had wanted to read more from her. This helped me move it up my list! (I have also been listening to the audiobooks for them, as I read - they are available through my library on Hoopla - and the narrator is fantastic!) 

 

Sunny Nwazue was born in the United States, but moved back to Nigeria with her parents (and brothers) when she was nine. She is Nigerian and she is albino. And it seems to her that, no matter where she is, she doesn't fit in. When she discovers that she is a "free agent," a person born with magical power (but not one born to magical parents, so she is finding out late in life), everything changes. Her "in-between-ness" begins to change from a liability to a strength. And as she begins training, she finds out she is part of a pre-ordained set of four, along with her peers Chichi, Orlu and Sasha, and they are being tasked with tracking down a magical criminal (a criminal that, Sunny learns, may have something to do with her mysterious maternal grandmother) and stop him from calling an unspeakable evil.  

 

I don't know what I was expecting, exactly, but this story met all my expectations. I will say, it is written in that in-between middle grade and young adult style, and, while there are definitely some mature topics and scenes that could be kind of scary depending on the reader (like horror-style bug swarms), the whole vibe (writing and character interaction, etc.) leans more middle grade, in my opinion. If I were to compare it to that most popular of MG/YA magic school series, it would line up really closely. I would recommend it as an alternative, follow-up, or "comp" read in a heartbeat (in fact, I plan to). But other than that, this is familiar Okorafor through and through. 

 

I absolutely loved the world-building. It is reminiscent of Binti, but is clearly more grounded in the recognizable, as it's an earth-based fantasy, versus space opera sci-fi. The West African traditions and cultures that are the setting and inspiration for the story are strong and beautifully rendered. And the magic system, juju, as an extension of that, is stunning. To steal a bit from the intro to book two (yes, I started reading that before even writing this review, because I couldn't wait for more), juju is "what we West Africans like to loosely call magic, manipulative mysticism, or alluring allures. And it was all of that in these pages. The lines of family/inheritance in magical ability, the way knowledge and learning are central to the system (both in improving skill and in being rewarded for it in its own right), and the use of magical items and writings and internal processes/foci to perform magic was all so much fun to read about. Like really, there is little I enjoy more than a well-developed magic system. And a magical world! The creativity in the greater magical community was great. I particularly loved some of the touches like the spirit faces, the "idea brewery" in the library, the little bee that creates art - so good. Plus, there was a gorgeous reimagining and reclaiming of traditional “weaknesses” (like dyslexia, defiance/ADHD, albinism, etc.). The way Okorafor writes finding strength and power in what sets you apart/makes you unique is an important message for young and older readers alike. 

 

Character-wise, it seemed like Sunny was mostly just along for the ride here (makes sense, being new to things). But then randomly has a pivotal role at the end, that she sort of struggles to understand/explain. I am curious to see if we get more depth on her abilities as we go, and hoping (and expecting) that we do. The one thing that stuck out to me as a bit awkward was the entire soccer storyline. The “she’s special and extra good at soccer randomly without ever actually playing for real” was a weird vibe to add, and I'm sure why it was there or necessary within the greater story. Otherwise, these four friends were great. The way they challenged and balanced each other is another great lesson and so sweetly written. I also appreciated the moments when they called out the adults, demanding that they “speak clearly.” It’s such a magical mentor trope that guides/mentors speak in riddles and I was totally here for these young people calling out the more knowledgeable elders like, "we can - and want to - help, but tell us what we need to do because maybe you don’t remember not knowing all that you know now, and can’t conceive that, if we have such a role to play, we don’t know everything you know, but should." It was just, really insightful. Not something you usually get in I loved that, again for readers of all ages to remember: ask for help/clarity and offer it!  

 

There was so much imagination in this first book. It had the traditional build of a "first book in a series focused on an MC with a newly discovered magical ability and a chosen one/group facing a major threat," but in a way that was both comfortably predictable and entertainingly new. There was a wonderful mix of lighter, youthful friendship and rivalry and naivete and the delight in learning new things, with just enough darkness from a greater/adult threat and magic used for power/evil to balance it out. And again, the world of culture and magic that Okorafor creates with her words is its own kind of magic. I am excited to keep following this story and these characters.  

 

“Knowledge is the center of all things.” 

 

“Prejudice begets prejudice. […] Knowledge does not always evolve into wisdom.” 

 

“They’re capable of great things, but potential doesn’t equal success.” 

 

"When things get bad, they don't stop until you stop the badness - or die."