savage_book_review's Reviews (328)

My TBR pile hates me right now. This book popped up on my IG feed on the day of its release, and after seeing the gorgeous artwork and reading the premise I just had to give it a try! And I think it's safe to say I'm now certain of my preferred type of vampire - sparkles are definitely a no-no, the morose and brooding is OK I guess, but what really works for me is the sunshine-y sweet yet sexy vamp with a lust for (after)life and a dark side that he only uses for good. 

On that note, Zavier is definitely a vampire I need more of in my life! His boyish enthusiasm is impressive for a 300 year old, and despite the fact that his motto is literally 'touch her and d!e', you cannot help but kick your feet at his devotion to Celine and his almost ridiculously upbeat attitude! Even when he's off committing unspeakable acts, his quips and snark make his entirely loveable! There's a little bit of Josh from 'Lights Out', a little bit of Jenna Levine's 'My Roommate is a Vampire' and a little bit of Mick St John from the TV series 'Moonlight' all calling out to me in Zavier's character, and I am totally here for every facet of him!

For a newly minted detective, our FMC Celine doesn't necessarily do all that much detecting. Her job does give the story a nice underlying subplot which weaves together well, but ultimately the focus of the book is more on the development of her and Zav's relationship. There are a lot of threads of her personality and background which have been left loose, and I am hopeful these will be explored further in future books in the series, so I'm reserving judgement on this for now. The authors have done a great job at laying the foundations of her personality and giving us the FMC Zavier is head over heels for, but I just want to see more character development as I think she could very easily become a proper badass and an even more perfect match for Zavier.

I was thoroughly entertained by this book from page one. With a little bit of thriller, crime fiction, various shades of romance and comedy, this should feel like a mish-mash of genres but somehow it's perfectly balanced, even as you find yourself experiencing a different angle to the narrative with every turn of the page. The story flows brilliantly and is so easy to read, and pretty much never fails to make you smile. I would have liked more time for the tension to build a little more before the denouement as I think it would have helped with the tonal shift in the story, added an extra layer of heart-fluttering for the reader and given character relationships a little more time to develop, but overall it still works really well and gives you exactly what you crave.

Having said that, there are moments of quiet reflection that are heart-warmingly beautiful. In particular, I'm thinking of Zavier's relationship with his best friend, Tom, and just how different he feels as a character when they're together. There's still the cheeky banter, but there's a softer, more genuine side to Zav which comes out in these interations, which just adds even more to his character for you to love. Likewise, there are more emotional moments that are so well written too; they're harder to read and hit you right in the feels, but somehow still allow the story to remain lighthearted. The balance is really well struck and I commend the authors for their skill!

Ultimately, the only reason this doesn't get a five star rating is that I just want MORE of everything! More random odd jobs, more bloody murders, more grumpy/sunshine dynamics... Just everything. It's a fantastic read and I would have been happy to read it even if the page count had been twice as long! I'm already adding book two to my WTR list, so next time the other books awaiting my attention can't threaten to crush me under their weight...

I really struggle to get a handle on Natalie Haynes. I think her Radio 4 show, 'Natalie Haynes Stands Up for the Classics' is brilliantly done, and some of her writing is thought-provoking, incredibly well researched and poignant told. But equally, I find that her non-fiction style can be quite meandering, and lacks clear drive and purpose. Sadly, I found 'Divine Might' to fall into the latter category.

Take the section on Artemis, for example. A large proportion is taken up by the author undertaking a comparison between the deity and Katniss Everdeen of 'Hunger Games' fame. While it's certainly interesting to see how far Katniss' character might have been inspired by the Goddess of the Hunt, it's not really why I picked this book up. I totally understand that it's trying to make this Olympian more relatable to a modern audience and keep this book at a 'general audience' level, but by doing so it feels like the book is straying too far from its intended point. The Hunger Games is far from the only pop culture reference, so the issue persists pretty much throughout.

I absolutely did enjoy the reminders of the various Greek myths that feature the Goddesses showcased. But again, it felt like it relied very heavily upon the Iliad and the Odyssey, which narrowed the field of reference somewhat. Indeed, apart from Demeter's chapter (the centre of which is of course the myth of her daughter's kidnapping by Hades), I think all of the chapters essentially draw on various stages of the story of Agamemnon, Clytemnestra and their children or ancestors in some way. Yes, there are other stories referred to, and I accept that the Trojan War is probably the best documented and most well known Greek myth so it would be odd not to include it, but there are so many other fascinating tales that form the Greek pantheon and I just think it's a shame that they weren't used to highlight facets of the Goddesses' personalities. 

Her take on Hestia is probably the best chapter; as the author explains, the Goddess without the grand stories, temple ruins and archaeological evidence is not exactly the easiest to pin down. But somehow she does it well. This feels like what I had expected the rest of the book to be; an exploration of the Goddess which would have me coming away knowing a little bit more about each one, their stories and the contradictions that spring up around them. Unfortunately, the other chapters don't have as clear a structure, and there was very little to grab and hold my attention, or that educated me further. I was just left questioning what point the author was trying to make nearly every time.

The author is a great writer and she clearly knows her stuff, but I'm thinking another offering to the Muses might have gone a long way.

This month's pick for my work book club was one I figured would be completely outside my comfort zone. But, as it turned out, listening to the author read her own words and bring them to life was a surprisingly soothing experience. And while I still can't say that that it's a book I'd have chosen to pick up, I'm actually quite pleased that this book introduced itself to me. 

It is an incredibly gentle story, with the characters leading the way. There's not really a plot as such, it's more just following the lives of these two people, Ulysses and Evelyn, who are linked thanks to a chance meeting, a shared appreciation of a particular piece of art, and the city of Florence, Italy. You watch the world develop around them, and as much as they grow and change, they stay exactly the same. The initial meeting is a little clunky, but it becomes clear why it's done the way it is later on, and as Ulysses settles back into his 'normal' life you very quickly start to become attached to him and his family.

There is something faintly farcical about each of the characters; all of them have an air of ridiculousness that should only exist in fiction. And yet, I'll bet if you think hard enough, you probably know someone who vaguely reminds you of one or more of them. They are each so well drawn, described and emotive that they feel entirely real - they might not have an action packed or glamorous life, but the writing takes the mundane and makes it beautiful. Similarly, where there are more unique or special moments, they are made to shine while being brought down to earth enough to make them feel accessible to all of us who dream of lives that are not our own. 

The language employed by the author in the description of the Italian scenery, art and people is almost lyrical, and just adds yet another layer of feeling to everything. At the same time, she also reverts to coarser language, swearing and almost caricature-like behaviour in places. But somehow it all mixes together really well and feels effortless and relatable, and adds bright splashes of colour throughout.

The depiction of same sex relationships throughout this book came as something of a surprise, my having gone into this book blind. But what I found so impressive was the fact that the author has managed somehow to balance the period setting and the hidden nature of such relationships feom the wider world with the fact that characters still feel, act on and embrace their desires, and others readily acknowledge, and more importantly accept, their feelings without question. It should feel incongruous, but it in fact it came across to me as one long love letter to love, in all its forms.

I have to give a huge amount of credit to the author for being an incredible narrator. For the majority of the book, it was my 'background noise' while I did something else. Nevertheless, it kept my focus and throughout I was fully cognisant of events, even though there aren't many 'stand out' events. This was fully down to the author managing to bring each character to life, giving them all unique voices and somehow managing to remain sounding totally natural. Again, even when the voices are a little 'odd', somehow they totally suit the character. Where I had expected to be bored and zone out, I suddenly realised I had been paying attention when I found myself laughing or sympathising with one of them. I strongly suspect that, if I'd been eyeball reading this one, I'd have DNFed it. But thanks to the wonderful narration, not only did I finish it, I felt it.

That's not to say I didn't find myself frustrated at certain elements. The sudden shift from following Ulysses to Evelyn is jarring, and the ending taking you 'full circle' is nice, but doesn't leave the reader with a particularly satisfying conclusion. There were also relationships I hoped would develop but didn't, and I lament some missed opportunities. But for a book that I came to with skepticism, it has almost completely won me over.

Although I really enjoy Alison Weir's fictionalised version of the Tudor court, I have found the last couple of her books to be a bit more difficult to get through. Add to that the fact that Mary I is always the Tudor I find the least accessible, it's hopefully understandable why I've put off reading this book for a while. However, I was very pleasantly surprised!

The author, as always, does a wonderful job bringing her character to life, sticking well with the established facts while filling in the gaps of emotions and thoughts with sensitivity and an even hand. While in her author's notes she admits she favours the more 'traditional' view of Mary and has gone more down this path with her narrative, nevertheless she has given Mary depth, allowing the reader to perhaps get an insight into her motivations beyond her all-consuming Catholicism and love for her mother. Particularly at the beginning of the book, I found myself somehow mistaking the third person writing for a first person one; it was that easy for you to slip into the mind of the young Mary. This did falter as things progressed - as she becomes more closed-minded, so too does the ability to follow her trail of thought diminish.

There were elements of her character that I didn't get on with quite so well. Firstly, the fact that she remained quite literally completely oblivious to "what passes between a man and a woman" until her wedding night. And I mean COMPLETELY oblivious. While I can absolutely accept that it was normal for women to be innocent of sex before marriage, given the scandals of court life and the general bawdiness even of her own fool, I found it quite hard to believe that she wouldn't have had any knowledge  at all. Even one as pious as Mary would surely have been able to gather enough to have even an abstract understanding? I don't know, but it just didn't sit right with me.

It also frustrated me that Mary could not see her own hypocrisy. This is one of the character flaws that makes me dislike the real Mary I, but reading this book has given me the understanding why it bugs me so much. Ultimately, she is quite happy to resist orders from her father and brother to temper her faith, but when the shoe is on the other foot she berates Elizabeth for offering that same resistance. This came through in the writing so clearly to me, and I found it an excellent portrayal of her single-mindedness. What I did notice was that the change in her affections for Elizabeth and Edward seemed to change in no time at all - the writing and story flowed really well, but it did feel like a story of two parts when it comes to her siblings, and indeed her religion.

I will never truly understand the religious position of the 16th century or indeed why it mattered (matters) so much about the specifics of how someone worships the Christian God. As a result, I can only look upon Mary I as something of a zealot when it comes to her faith being the 'true' faith. Again, this means that her time as Queen was, for me, far more difficult to digest because of the seeming lack of explanation for Mary's ordering of heretics to be burned other than 'my religion is better than your religion'. While I get that this was the author's aim, this lack of exploration meant that I did lose some interest towards the end as it felt like less thought has been given to it.

I was fully prepared for this to be a slog, but I was surprised at the lightness of the writing despite the more difficult subject matter. I enjoyed the little tidbits of speculation about Mary's feelings for Ambassadors Chapuys and Renard, the brief but well developed framing of her relationships with her various stepmothers and so on. It's moments like this that the author is so good at; you know it's supposition, but it's been so seamlessly woven into the narrative that you start to think "well, just maybe...". 

It's definitely worth a read as it makes you think about your reactions to the real Mary I, but ultimately it is unlikely to shift your perceptions of her by too much.

Another RARE find last year, this is the second of Hannah Lynn's Greek mythology retellings I've read. Telling the story of Clytemnestra, this is a heartfelt and emotive version of the tale, bringing the female experience to us through the gaze of a mother who just wants what's best for her children.

While she's still got strength of will rolling off her in spades, this version of Clytemnestra is far more 'domestic' than other iterations I've read. Involving herself completely in the raising of her children, including teaching her daughters how to defend themselves, playing games with them and even sleeping on the floor outside their bedroom at night to protect them from threats, I found her much easier to understand and sympathise with. Her horror at her eldest daughter's fate is universal, but I loved the fact that her first thought here was to ensure the same couldn't happen to her other children, rather than jumping straight to 'ten years later - revenge'. 

I also enjoyed the fact that her partnership with Aegisthus builds slowly over time from genuine affection, rather than the portrayal of a scorned wife choosing her husband's sworn enemy as a bedfellow out of necessity, or to increase the level of vengeance. He's a beautifully drawn character, and gives some context to the idea that Orestes is a gentle soul, raised by this man to be compassionate rather than by his true father, who would probably have destroyed him. Likewise, the fact that he's not actively plotting the death of Agamemnon is very refreshing!

The flow of the writing is gorgeous, allowing each relationship to build naturally - nothing feels forced or rushed. The characters that need to be jagged are; Agamemnon and Electra both crash through the 'gentle' storytelling like wrecking balls, but rather than being jarring it just cements them in the reader's mind as the outliers and the ones to watch out for. Conversely, when we are introduced to Pylades you very quickly wish he'd been in the story all along; seriously, I'd put this depiction his relationship with Orestes on a par with the beauty of Madeline Miller's depiction of Achilles and Patroclus. It is of more an innocent sort of love but, oh, did it pull at my heartstrings!

I also like the fact that the story continues beyond Clytemnestra. I have heard that bit of the myth before too, but never in as great a detail and so it was really interesting to see the author's take on it. And again, really beautifully done. 

I wouldn't say this is a particularly dramatic retelling; there are moments of drama where you'd expect them to be, but it's not overblown. Again, the focus is very much on the character and their feelings and motivations rather than providing every gory detail. It just has a whole ton of heart. And I loved it.

I went into this book relatively blind; having picked up book two in a charity shop because I'd heard good things about the series, I figured I'd best start at the beginning! So while I was a little thrown by the fact that it's more a Beauty and The Beast retelling than a Romeo and Juliet one, I certainly wasn't going to complain as BatB is on equal terms with Hades and Persephone whe  it comes to favourite retellings (I know, I know, basically same difference...). 

Firstly, I wasn't expecting to giggle quite as much as I did. From Dallas claiming Theo James as her 'freebie' (good choice, I approve! And if he'snot cast as Romeo if/when this becomes a TV show or movie, I will riot!), to the text banter between Romeo and his friends and the complete sass and stick that Dallas throws Romeo's way, I was surprised by how lighthearted the book was. And yet, it manages to weave in darker themes without killing the mood; the moments of violence, strife and raw honesty serve to forge that connection between reader and characters that has you wanting them to get their HEA.

I will admit that I found Dallas pretty insufferable for the majority of the book; she is a complete brat, a spoiled rich kid and a daddy's girl who basically throws a tantrum whenever she doesn't get what she wants. And yet, I didn't dislike her. Her fiery spirit and determination to make her husband's life a living hell is actually quite enjoyable to watch unfold, if only so you get to see Romeo's reactions. While she does seem to mature slightly towards the end of the book (and certain admissions and events do allow you to see her in a different light), I felt that this was purely down to the relationship development between her and Romeo, rather than due to any significant growth in her character personally.

As for Romeo... his story arc is very reminiscent of the Duke of Hastings in Bridgerton (which does get a name check, so assuming some inspiration here). While on the surface I can understand their knee-jerk reactions, their whole argument is based on faulty logic and that just bugs me. In Romeo's case, it's even starker given his intentions once he's achieved his coveted position within the family business. But aside from that, he's another gorgeous male lead that draws you into his orbit and makes you want to submit. Yummy!

While it is helpful to ground you in space and time, I did find myself wincing at some of the contemporary/pop culture references, which are going to cause this book to date poorly. Indeed, one of the running threads of Dallas' personality is a love of a series of books about a boy wizard with the initials 'HP'. Now, while details have been changed, we all know what the authors are actually referencing. And while I absolutely accept that they couldn't see into the future and were simply referencing a beloved series, now reading that reference just feels awkward. There are also lots of brand names, tech references and so on that make perfect sense now, but give it a few years and it'll just make the book feel 'old fashioned'. 

Otherwise though, the plot is well paced and the writing is engaging and easy to read. However, I would say that the character building is a bit patchy - I feel like we got an excellent grounding in Romeo's friends (who I assume are going to be the MMCs in the next couple of books?) and Romeo's father, but everyone else still requires more flesh. They're certainly more than placeholders - they all have 'something' about them, but not enough that I got a clear sense of the 'feelings' in their relationships with our MCs. 

This is another series I'm definitely happy to continue with and am very glad the next two are already sat on my TBR pile.

I appreciate this is a re-release with some additional moments added and editing done, all of which brings the author's now added experience into the mix, but wow. For a debut novel, this is spectacular. Had me by the heartstrings from page one, and kept playing them all the way to the last line. I thought I loved Emily's 'Never After' series, but this... this is just beautiful.

The relationship between Alina and Chase (and their friends) starts out so innocently and them a younglings are just so cute! It took me a moment to settle with the fact that Chase is only a couple of years older than Alina - his background gives him a 'world-weary' outlook that makes him seem far older, and right at the introduction there is a second where I felt a little weirded-out by the idea of these two becoming friends. But thanks to the helpful reminders at the start of each chapter, I very quickly aged him down appropriately! Both characters are so well drawn throughout, and there's not a moment or interaction that feels out of place. The secondary characters also stand up to scrutiny, with proper personalities and their own stories bumbling along in the background (some of which I assume we'll be seeing later in the series). 

The pacing of the story works really well. We spend a good proportion of the book watching the characters grow up and getting to know them, but it's a really well done way of worldbuilding - it gives great depth to the characters and means that, when we reach Part 2, they are all properly fleshed out and tangible in the reader's mind. And yet, it still goes by at a swift pace so it doesn't feel like it's all detail and no progress. Part 2 then slows down enough to really get into the heads of Chase and Alina and give you all the great romantic tension, but without dragging it out unnecessarily. And while there are a couple of moments of 'perceived betrayal' that had me reading through my fingers (I have a real love/hate relationship with that trope!), for once I've found a book where the characters actually get their sh*t together and it gets resolved quickly! 

That being said, I don't want to mislead you and make you think that the characters are good at communicating. They are pretty terrible at it, actually! But that is part of the progression of the narrative, and I loved watching them learn. Likewise, her tactful handling of the issues suffered by Chase and Alina's parents is a testament to her own experiences; the reader judges them harshly, sure, but it's not because of their problems, rather what they choose to say and do while stuck at the bottom of their pit. On the other side of the coin, it's really easy to sympathise with Alina and Chase for their reactions to their parents' issues, to understand why they may be the way they are and to cheer for them when they finally seem to start to take back some control for themselves.

I'm really pleased I've finally entered Sugarlake, and I cannot wait to pick up the rest of the series from my TBR pile!

So this is a Hades and Persephone reimagining I've wanted to read for a long old time now, and it certainly didn't disappoint. With a mafia romance slant and MCs with a taste for each other's blood, it's everything you'd hope for from this particular sub sub-genre. And yet, there's something I can't quite put my finger on that's missing.

Unsurprisingly, the biggest draw in this book is our MMC Kal. Fulfilling all of the usual morally grey personality traits we love, he's very appealing and enjoyable to read about. Likewise, our FMC Elena also lives up to her role as this world's version of Persephone (apart from the fact she's awful at gardening!) and, while she can come across as petulant and bratty, she too slots nicely into the roster. But theree in itself I think is part of my issue; there's nothing that really makes them unique, or stand apart from the crowd. 

The narrative flows very well and goes at a nice even pace, making it easy to read, digest and enjoy. It is dark in some respects, but I'd place this more at the 'baby dark' end of the spectrum - there are some depictions of mob justice, but it's mostly inferred rather than graphic. There are a few moments where I felt the plot got a little tangled up in itself, like the author was trying to juggle too many ideas in the space of one book, so there are a couple of plot points that I essentially just let wash over me. However, I didn't find it that detrimental to the reading experience.

I also like the callbacks to the myth, and Greek tragedy etc in general. There's plenty of poetry references too which, although I'm not a huge fan of poetry, really helped with the emotion and gave Kal a way to express himself more softly. Plus it's a great foil to his 'touch her an d!e' moments! In spots, the writing itself was almost poetic and it gave even more depth to Kal and Elena's feelings for one another. Some of it is totally swoonworthy!

The version I've got is the reissued, 'traditionally' published edition, meaning it's full of extras including a bonus epilogue, colour art, author's footnotes and the prequel novella (which I will come back to shortly). The author's footnotes are lighthearted and give a little bit of an insight into the process behind writing the story, and it was cute to read them as I went along. Part of me was expecting them to pull focus, but actually they do add a little bit more enjoyment. The bonus epilogue is a nice little extra segue into the next book in the series, and I can't help but love the "bad guy becomes a softie when he becomes a parent" trope.

As for that "prequel"... that in itself is a good read, but the author's introduction to it and other author's notes are contradictory, which bugged me. At the front of the book, it states that you may find the novella prequel helpful for context, but it's placed at the back of the book. There is also a footnote in the main story that suggests this. However, when you flick to the back to start reading it, the author's intro implies that it "didn't fit" at the front of the book because it was written separately and without the H&P myth in mind. Except the characters refer to each other as Hades and Persephone within the novella, and it is a genuine prequel which can be read without fear of incurring spoilers. I read it after the main book, but actually I feel like it does give some good context to the world and characters, and I do kind of wish I'd read it first...

I'll be interested to see how the other stories in the series are tied together as my understanding is they are interconnected standalones. And I will be reading the rest of the series - of course I can't stay away from Greek myth retellings!

What. A. Riot! That was ridiculous, sweet, heartfelt and just the sort of lighthearted fun I was hoping it would be. A fantastic take on the story of Lady Jane Grey and the religious turmoil of that period... only it's not religion, it's people who have the ability to shape-shift into animals that are the subject of persecution! A completely mad take on history, where fiction is so much better than reality!

I challenge anyone who reads this book not to immediately picture Emma Watson at Jane. Because, quite frankly, she's Hermione Granger in all but name. And it's brilliant! It really shouldn't work, but actually when you stop and think about it, they might be onto something - it is well documented that Jane was bookish and well respected in academic circles, even at a young age, but in other texts she can come across as something of a bore. This book, although blatantly fantastical, actually brings heart and warmth to the character and part of me likes to hope that perhaps this is more reflective of the real woman. 

I also adore what they've done with G. Again, keeping a lot of the basic historical record intact, while having a great time playing about to fill in the gaps. And no mummy's boy dynamic this time! My mind automatically supplied me with images of him as Flynn Rider by night and his horse by day, which again just adds a whole extra layer of hilarity! But my favourite thing is the relationship between the two - the pacing and development of it is great, it flows well within the wider story and, even with the completely mental elements, is so believable! 

I won't say that I found it 'laugh out loud' funny (although I did have a giggle a couple of times), but it certainly made me smile broadly throughout. There are so many little nods and references in here; so much fun to spot, and I'm sure I've missed loads! Everything from Shakespeare to Monty Python to Game of Thrones; it'd make a brilliant drinking game! Although I would say that some of the references are probably a bit outdated for a book pitched at the YA market, equally the humour is pretty timeless, so while the readers might not realise a line has been co-opted from somewhere, it'll still get a laugh!

Even with the absurdity that just keeps on coming, if you buy the premise then there's nothing outlandish or not inkeeping. It's really cleverly done. The only thing I found slightly unnecessary were the few asides added in by "the narrators" - they caused a blip in the flow of the story and didn't really add any substance.

Very, very enjoyable, and definitely one I'd recommend!

I tried so, so hard to like this. It's Stephen Fry, for heavens' sake! With counterfactual history! But I just... can't. It's meandering, slow, and by the time I got to the instigating event, I was so far from invested that the fact you basically have to start all over again was just too much.

Both Stephen Fry and Richard E Grant are fantastic narrators, and if I didn't have a million podcasts to listen to I would gladly use this to soothe me to sleep of an evening. Both of their voices are ones that you don't just listen to - it feels like your body absorbs them into you. But, while Richard E Grant has a harsh enough tone to successfully portray his chapters, Stephen's voice is just... all wrong. Hearing that voice playing a 24 year old just feels odd. And while I acknowledge that the book was written in 1996 and vernacular has changed since then, again hearing that voice talk about being 'cool', 'hip', 'funky' etc. is really off-putting. 

Likewise, you can tell it's written by Stephen Fry. The prose is marvelously verbose, but there are so many tangents that the narrative goes off on that it was very hard to remain focused. Likewise, at least at the outset, there's no clear rhyme or reason for the time jump chapters, which just adds to the confusion. Sadly, I agree with the professor on this one!!!

I may try eyeball reading this one day. I can see why other people would like it and certainly it contains Fry's usual combination of wit, charm, intelligence and eye-rolling at the stupidity of aspects of modern life, but this version, on this day... it's just not for me.