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theirresponsiblereader's Reviews (607)
adventurous
tense
slow-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
No
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Complicated
What’s The Chronicles of Iona: Exile About?
This tale starts in 563 in parts of the world we now call Ireland and Scotland. A monk with royal blood is exiled from Ireland and sent to Scotland. A warrior is tasked by his king to keep the monk and his followers safe and present them to him.
Things start off rocky, but the monk—Columba—settles in for a bit. Then the king hatches a way to use the two of them for his advantage, sending the two off to engage with the Picts and return a hostage.
This partnership is destined to lead to the founding of the Abbey that stood as one of the last strongholds of Western Civilization and learning on Iona.
Columba
Following his exile—and likely the act of violence that precipitated it—Columba lost his faith. Or at least it was damaged greatly.
He still tried to look after his fellow monks that joined him in his exile—he wanted to do right by them—he wanted to do the right thing in general and when he could. He tried to preserve life and peace, to find a way to make a new life for himself and his followers. But he did so without any reassurance or conviction that the God he’d pledged himself to would bless the endeavor.
His struggle with doubt, with fear, and with a loss of faith was (personally) the most interesting storyline in the novel.
Aedan mac Gabran
Aedan has more emotional baggage than your typical warrior character—even one beset by perceived failure and grief. But he’s still the character that you’ve seen before (at least the type), it’s easy for the reader to enjoy Aedan, root for him, and understand what he’s going through.
There’s a prophecy that plagues him, too—family problems, a broken heart, grief, and a prophecy. Aedan doesn’t have a lot going for him other than a near-supernatural ability to fight.
Pair him up with a man of peace and you’ve got yourself plenty of fodder for a plot and conflict.
So, what did I think about The Chronicles of Iona: Exile?
I really wish I knew the history of this time better so I’d know how to evaluate parts of this—I can’t tell if Columba spouts (at best) heterodox sentiments because that’s what de Fougerolles wants to put in his mouth, or if she’s being consistent with him (for example) or some of the cultural mores of various groups in the book. I have an easier time buying the latter than the former. If however, this was just a realistic fantasy, I wouldn’t have cared either way–it’s just the historical aspect of this that gets me curious and reticent to evaluate.
What I do feel comfortable talking about is the writing—I would like to read some straight history from de Fougerolles, something tells me she’d be good at it. I’m not so sure she should write romantic/erotic dialogue (unless she’s reflecting contemporary phrases), however.
The pacing of this book left a little to be desired, de Fougerolles spent so much time setting up the world, introducing the characters, and moving things into place to get to the main action of the novel that it took an act of will to be patient enough to get through it. It was interesting enough to stay with it—but barely.
But when all the dominos were set up and the novel transitioned into telling the story promised in the blurb? It moved quickly, confidently, and engagingly. It felt like I’d put down one book and started reading another—a much more enjoyable one. Think of it as a Tootsie Roll Tootsie Pop that you can’t bite your way into the center of* but you have to lick and lick and lick through the hard candy coating to get to the Tootsie Roll center. But once you get to the center? Chewy sweetness.
* I never said it was a perfect analogy.
If the entire book read like the second half? This would be a rave—instead, it’s a cautious recommendation. It’s a good read, and a rewarding one—you just have to put in the time and effort for it. It’s a great mix of legend, history, and compelling storytelling.
My guess is, by the way, that the pacing issue wouldn’t be a factor if I’d read the entire trilogy in one swoop—assuming it keeps going on the way it was by the end. So, is it a weakness? Sure, but not a fatal one.
Columba and Aedan (and Aedan’s dog) are characters you enjoy spending time with and want to get to know better—there are one or two that show up later in the book that fit that bill, too. Having two more books to explore the characters and their world is just what the doctor ordered. For people interested in Celtic history, an interesting take on early Christianity meeting paganism, or just a good story about people from two different worlds coming together to forge an alliance—The Chronicles of Iona is worth your time.
funny
slow-paced
From the Back of the Book
I tried to come up with my own summary, and it kept coming out like those horrible paraphrases you turned in to your teacher after basically sitting down with an encyclopedia for ten minutes—technically not plagiarism (at least not to a sixth-grader’s mind), but not really original work.
Instead, let’s just see what the back of the book says:
Grab your magical sword and take the place of your favorite fantasy character with this fun and historically accurate how-to guide to solving epic quests.
What should you ask a magic mirror? How do you outwit a genie? Where should you dig for buried treasure? Fantasy media’s favorite clichés get new life from How to Slay a Dragon: A Fantasy Hero’s Guide to the Real Middle Ages, a historically accurate romp through the medieval world. Each entry presents a trope from video games, books, movies, or TV—such as saving the princess or training a wizard—as a problem for you to solve, as if you were the hero of your own fantasy quest. Through facts sourced from a rich foundation of medieval sources, you will learn how your magical problems were solved by people in the actual Middle Ages.
Divided into thematic subsections based on typical stages in a fantastical epic, and inclusive of race, gender, and continent, How to Slay a Dragon is perfect if you’re curious to learn more about the time period that inspired some of your favorite magical worlds or longing to know what it would be like to be the hero of your own mythical adventure.
So, what did I think about How to Slay a Dragon?
It’s a great concept—fantasy readers (and writers, I assume) are frequently talking about authenticity and if X technology or practice really fits with an era. Or how would you really go about doing Y? We’ve needed something like this book for years.
It’s just clever—it’s not just about the topics that Stevenson addresses, it’s how the topics are dealt with. There’s a great deal of wit in the setup and explanation of each one—and the way they flow from subtopic to subtopic. Jumping from person to person, location to location, and so on could seem erratic or jarring, but she makes it feel like it flows naturally.
I love her voice—I honestly wish I wrote the way Stevenson does. It’s not just the humor, it’s the way she approaches an idea. It’s the kind of prose that if I decided to get serious about writing that I’d want to study emulate.
Yet…this was one of those strange, I can’t explain it at all, the whole is less than the sum of its parts reads for me. It impressed me on all fronts, and yet I was bored almost the entire time. Until the last 40 pages or so, I’d eagerly pick it up and dive in, and then my mind would start wandering within a page or so.
It absolutely could be just what was going on for me this week, it’s likely just me—I fully expect after I post this and look around at what others say that I’m going to see a lot of raving. But I just can’t do that.
I’m sticking with the 3 stars because of the sum of its parts and because one of the first notes I made was, “if she keeps this up, she’s got a lock on 4+ stars.” Otherwise, this would be 2 stars.
By all means, fill up the comment section with ways I’m wrong about this one.
adventurous
emotional
hopeful
reflective
fast-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
“Look, I know we’re a feudal system and everything, but we’re living in a modern world,” I said, exasperated. “My underwear has elastic. I have a phone. We can talk like normal people. No one’s going to take points off the final score if we stop sounding like we gargle with bad BBC dramas.”
“Yes, but where’s the fun in talking like normal people?” asked Aethlin. “Half the time I’m a King of Faerie. The other half, I’m standing in line at Tim Hortons and some asshole in a hockey uniform has just taken the last sour cream glazed. We have to wallow in the aesthetic when we get the chance.”
“I will overthrow your kingdom myself,” I threatened genially. Not genially enough: several of his guard reached for their swords.
High King Aethlin sighed and raised a hand for them to stop.“Your reputation precedes you, Sir Daye. Could you please not make jokes about sedition?”
“Yeah, sorry,” I said.
I am just not capable of doing my typical post about this book, period. Instead, I’m going to give you a list of reasons why you should read When Sorrows Come. But first…
The Dust Jacket Flap
Because it feels wrong to start talking about a book without some sort of description, here’s the information from the flap:
It’s hard to be a hero. There’s always something needing October “Toby” Daye’s attention, and her own desires tend to fall by the wayside in favor of solving the Kingdom’s problems. That includes the desire to marry her long-time suitor and current fiancé, Tybalt, San Francisco’s King of Cats. She doesn’t mean to keep delaying the wedding, it just sort of…happens. And that’s why her closest friends have taken the choice out of her hands, ambushing her with a court wedding at the High Court in Toronto. Once the High King gets involved, there’s not much even Toby can do to delay things…
…except for getting involved in stopping a plot to overthrow the High Throne itself, destabilizing the Westlands entirely, and keeping her from getting married through nothing more than the sheer volume of chaos it would cause. Can Toby save the Westlands and make it to her own wedding on time? Or is she going to have to choose one over the other?
Includes an all-new bonus novella!
The (only?) Reason to Not Read When Sorrows Come
- You haven’t read the first fourteen Toby Daye novels—or you didn’t like them. The former I completely understand, the number of supposedly great series that I don’t have time for is large enough that I can sympathize. The latter? I can accept that people like you exist, but I don’t know if I can ever understand it
10 Reasons to Read When Sorrows Come
(In no real order whatsoever)
- If you’ve read books 1-14, reading this is a no-brainer, and you probably don’t need to be reading this.
- You get to see an incredibly Canadian knowe. How Canadian? Think Alpha Flight, The Kids in the Hall, Bob & Doug McKenzie, poutine, Tim Horton’s coffee, and extraordinarily polite people saying “eh”. That’s how Canadian I’m talking about.
- Getting to see the Luidaeg terrify a whole new cast of characters.
- The fun in seeing who actually shows up to see the wedding. (Hint: Just about everyone)
- The chance to see if Toby can make it through her wedding without bleeding all over her wedding dress.
- You can see what you-know-who from A Killing Frost is up to.
- You get to see Toby channel Harry Bosch:
Everyone matters. If there’s one thing I’ve learned from how hard Evening and her ilk have tried to convince me I don’t matter it’s that everyone matters. The alternative is a world where no one matters, and since I know that isn’t true, “everyone” is the only option we have left.
- Quentin gets a jaw-dropping makeover.
- A hint about a new squire…
- You need some joy.
And With Reveling
I’ve never talked about one of the bonus novellas that come with a Toby Daye novel, for reasons to complicated to get into (and frankly boring to me). But I have to say something about this one.
First, this is my biggest complaint in this volume—it shouldn’t be a novella. It should be the last chapter (or chapters) of When Sorrows Come. At the very least, an extended epilogue. It should not be read separately from the novel, and the novel shouldn’t be read without out it.
Essentially, it’s about the wedding reception. Toby and Tybalt relaxing, enjoying their friends and loved ones. Receiving gifts, blessings, and well-wishes—including one gift for Toby that made me laugh out loud. And another that
I absolutely loved it. It was the thick, buttercream frosting on the perfect cake of the novel.
A Final Thought about When Sorrows Come
I mentioned joy earlier because, on the eve of its release, Seanan McGuire tweeted:
…the purpose of this book is joy. I wrote it in 2020. I needed joy. Very, very badly.I need joy even more now. And if I can’t make it for myself, I can damn well give it to my imaginary friend.So you can pan the book for being simple, but I have no regrets. I needed joy. I think you need joy too.
Hopefully, McGuire got enough joy to keep going from what she gave her Imaginary Friend—I know she provided this fan with some, I imagine I’m not alone.
emotional
funny
slow-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
What’s Once Upon a Time in Hollywood About?
This is novelization—and retooling (as I understand)—of Tarantino’s 2019 movie. It follows two days (with typical Tarantino flashbacks and flashforwards for many of these characters) in the lives of a few people in 1969 Hollywood. A former TV star who had his shot at movie fame, and missed—he’s now a traveling bad guy (“heavy”) guest star on TV shows. His stunt double/gofer/driver, notorious for getting away with murder (and is somehow possibly the most sympathetic character. Also, Sharon Tate, Squeaky Fromme, and Charlie Manson.
The Packaging
I trust whoever put this book together got a nice bonus—or at least a good bonhomie slap on the back—it’s so well done. The whole thing is a throwback—the cover style looks like a movie novelization from the 70s/early 80s, with stills from the film. Inside you get a lot of the full-page advertisements for novels (and novelizations) that were era-appropriate and common in the back of Mass Market Paperbacks at the time.
It was a nice little treat.
So, what did I think about Once Upon a Time in Hollywood?
Eh…I’m not sure. I guess I should say that I didn’t watch the film—outside of the writer/director—there was nothing about it that appealed to me. I only picked this up out of curiosity about Tarantino as a prose-writer. That colored my appreciation of the novel for sure. It’s not surprising at all that a movie that didn’t appeal to me resulted in a novel that left me unmoved.
I’m glad I got to see what Tarantino was like as a novelist. I know what he’s like as a screenplay writer and director. And this was different—but similar. Had this been anyone else writing, I’d have commented on how well they capture the Tarantino-vibe. There are so many (seemingly?) aimless stories shared by characters that can only come from him (or someone trying to rip him off).
There’s also this nice recurring thing where a story is being told—characters introduced, etc.—that turns out to be the characters and story of the pilot episode that the has-been actor is shooting. Sort of a novelization within a novelization. That was neat—and there’s so much more going on in that story and with those characters than is possible for a 1969 TV Western, that I give myself a little slack
But as for the novel itself? Eh, I don’t know. I guess I think I understand the point—I just don’t see where they were stories that need to be told. It wasn’t a bad novel, and I don’t resent the time I spent reading it (as I frequently do with books that don’t work for me)—and I enjoyed bits of it quite a lot. But I’ve got nothing to say good or ill about it. Put this down as the most tepid of 3 stars.
dark
emotional
tense
fast-paced
What’s Meadowlark About?
Things aren’t going well for Cooper—a little prank leads his father to stop by his mother’s house on his way to work. When his father learns that Cooper’s been expelled from school, he drags him along with him to work.
Cooper’s dad, Jack “Meadowlark” Jackson used to be a boxer of some local renown, but that was then. He’s now a prison guard—one respected by his peers and even most prisoners. But Cooper still thinks of him largely as a hero figure. the boxer whose poster hangs on his bedroom wall.
While Jack gets to work in a prison tower, Cooper hangs out with the Warden—clearly a grandmotherly figure in his life. It seems like a pretty okay kind of day, actually. And then an alarm sounds. Several fights have broken out in various parts of the prison—the guards spread out to imposing order, and in the midst of chaos, three prisoners go missing.
It’s after this that things really start to go south.
The book then focuses on Cooper and Jack trying to make their way through the ensuing bedlam while they deal with their relationship. Being the father of a teen boy brings a certain level of difficulty, especially if there’s trouble between the custodial mother and the father. The violence—horrible violence—of the day creates a heightened atmosphere for their necessary (and rather touching) conversations.
What about the Art?
You can’t talk about a graphic novel without focusing on the graphic part of it, right? Which is really a shame because I’m not equipped for it.
Ruth’s art is exactly what this story needs—as usual, I don’t know how to describe the art, but the pencil work—sort of rough and heavy—fits both the action and the characters. The sort of sepia-coloring says Texas to me—and makes the setting ring true.
I did appreciate the not-at-all-subtle use of Ethan Hawke as Jack, it added a little extra flavor.
So, what did I think about Meadowlark?
This seems like the kind of story that S. A. Cosby or Jordan Harper would write—a mix of family drama and crime.
The emotions and family dynamic felt real, relatable—and was even touching. The violence and criminal behavior were just as visceral—and disturbing. You put them together with some compelling artwork and you’ve got yourself a winner.
I’d have liked a touch more depth—but given the medium, I’m not sure you could get too much deeper (without needing another hundred pages or so)—so I’m not holding that against it too much.
There’s a lot to commend in this graphic novel, and very little to complain about. I see that Hawke and Ruth have collaborated on an earlier graphic novel and I need to track that down.
adventurous
tense
medium-paced
Since it’s been awhile (too long) since I posted about this series, I thought it’d be a good idea to copy a bit of the introduction to this series I posted back in 2018 (slightly edited):
I had a brief conversation a couple of weeks ago with J.C. Jackson and she described the book as “Science Fantasy” and told us a little about the series. Something about fantasy characters but with modern technology, but phrased better. Not really getting what she said, I asked why not just call it Urban Fantasy, and she gave a decent answer—basically that she didn’t have enough vampires or werewolves in the books so readers told her she couldn’t. I was a chapter or two into the book when I figured out what she was saying.
In your mainstream Urban Fantasy, you have fantasy creatures—wizards, druids, werewolves, fae—popping up in our world. On the other end of the spectrum (or an other end, anyway) you have things like the Eddie LaCrosse novels or the Dragon Precinct books that have modern ideas (police squads, private investigators) used in a fantasy series. Jackson takes a different tack—it’s a typical fantasy novel in that there’s a lot of magic, elves, halflings, Dark Elves, etc. living next to humans—very standard kind of thing, but their technology matches ours (actually, it’s slightly more advanced). I loved this approach and there’s a good chance that I’d have had nice things to say about the book just because of this idea.
What’s Twice Cursed About?
Ketayl and her Paladin partner, Silver, are sent off to do fieldwork, bringing along another lab tech to look into a rash of werewolf deaths in the territory of the Alpha Prime’s pack (he’s sort of like the Marrock of this world). The local Terran Intelligence Organization office is primarily full of recent graduates from the Academy, most still learning the ropes—they’re not up for dealing with both the investigation and dealing with the Alpha. So, instead, they throw Ketayl into leading her first team because of her investigative abilities and to get her to grow into leadership.
She interacts better with the pack than anyone (except maybe her boss) expected—certainly better than she assumed. She and Silver quickly decide that this is another example of the rise in Necromancy that they’ve been chasing.
Through a combination of good procedure and being in the right place at the precisely right time (or wrong place/wrong time, depending on their perspective), they make great strides in the investigation—even if it essentially puts multiple lives on the line. Through it Ketayl gets a crash course in juggling personalities, abilities and unprepared-for team members.
A Gripe Resolved
Something that bugged me through a lot of the first book, and that really got on my nerves in the second book was (to cite that post) that most characters treat Ketayl “with the kind of care usually reserved for glass on the verge of shattering, they only tell her as much of the truth as they want—all the while, wanting the benefit of her intelligence, abilities, and magic. It feels condescending and manipulative. And for that to be the way those closest to her to treat her? I can’t stomach it.” There were characters throughout that didn’t treat her that way, but they were the distinct minority.
None of them were around this time—only those who saw her strength, who believed in her when she didn’t really believe in herself (which is still going on ), and those who didn’t have preconceived notions about her. Despite herself, she responded to that kind of confidence well and is able to rise to the occasion.
I do wonder what it’ll be like when they spend more time around some of those other characters—will they see the growth in her?
A Quibble Exasperated
I do have another quibble with the series—Jackson has two story arcs that she appears to be taking a “slow burn” approach to. I’m all for that, but while she’s letting the development of those arcs build deliberately—she’s telegraphed where they’re both going in a way that takes away the deliberate, careful way she’s going about it.
It’s hard to talk about that without getting into plot specifics, but hopefully, that paragraph makes sense.
Now, that’s a quibble—not a full-on gripe or criticism. It’s a thought I have every so often while reading (and when writing about it), but I shrug it off and move on with a fun read.
So, what did I think about Twice Cursed?
I really dug it. The Alpha and his crew were a lot of fun (I hope we get to see them in a book or two). Ketayl’s growth was great—both in leadership and social interaction, but she has a few places where she’s able to flex the magic muscle that she’s long kept under wraps, and…yeah—I really loved those scenes.
I’ve been kicking myself for getting behind on this series—I had this and the next book on my shelf for years untouched—and I’m so glad I got back into this world and with these characters. The mix of tech and Fantasy, and characters you can’t help but want to befriend makes for a fun time. I’ll be back for more soon.
(Over the weekend, I bought the next two books, so even after reading this, I’m more behind).
funny
informative
slow-paced
What’s key is that the stock of curses is ever self-refreshing, The fashions change, as always and everywhere, but what persists is taboo itself, a universal of human societies. What is considered taboo itself differs from one epoch to another, but the sheer fact of taboo does not. Language cannot help but reflect something so fundamental to our social consciousness, and thus there will always be words and expressions that are shot out of the right brain rather than gift-wrapped by the left one.
What’s Nine Nasty Words About?
McWhorter looks at nine of the “bigger” profanities in English (with some asides to discuss related words), tracing their history, evolution, varying definitions, and contemporary usage. He points out periods where they were verboten, periods where they were perfectly acceptable—and what made them profane again.
The flow of the book comes from this thesis*:
On that matter of evolution, profanity has known three main eras—when the worst you could say was about religion, when the worst you could say was about the body, and when the worst you could say was about groups of people. The accumulation of those taboos is why “just words” like h***, s***, and n***** respectively harbor such sting.
I don’t know how accurate that is, but it kind of makes sense—and it works pretty well as a framework for the book, too.
* The book uses the actual words, I wimped out and elided them.
The chapter headings give you a pretty good idea of what the book covers and shows how the framework is used (with the addendum at the end):
1 D*** and H***: English’s First Bad Words
2 What Is It About F***?
3 Profanity and S***
4 A Kick-A** Little Word
5 Those Certain Parts.
6 Why Do We Call It “The N-Word”?
7 The Other F-Word
8 Being in Total Control, Honey!
9 A M************ Addendum
So, what did I think about Nine Nasty Words?
I largely enjoyed this book, I find the history and evolution of English fascinating—and while I try to eschew the use of profanity, I’ve found the development of those words very interesting—and I can appreciate a clever and inventive use of them in art.
This was a great look at those words—in particular, I enjoyed McWhorter’s demonstration of how the words function as various parts of speech, as well as the varying nuances of meaning. It was a clever mix of entertainment and education.
McWhorter has a great style, too, throughout the book he sprinkles little gems like:
To understand how language changes without allowing a certain space for serendipity is to understand it not at all.
The [N-]word is indeed twenty-first-century English’s Voldemort term,
The chapters on slurs—”words about groups of people”—mixed in a bit too much contemporary social commentary for my taste, but I’m pretty sure most people won’t agree.
On the whole, this was a great mix of entertainment and education, I doubt this is the definitive work on the subject (and McWhorter would likely agree), but it’s a solid work and I’m glad I read it.
challenging
dark
emotional
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
No
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
What’s Stalker Stalked About?
Lexi Mazur is a pharmaceutical sales rep who has a habit of sampling her products in addition to drinking pretty heavily. When her boyfriend of about a year breaks up with her, things get worse. Her pill uptake and drinking increase, and she escapes into Reality Shows like The Real Housewives of ______, and her new obsession (literally), Socialites. She’d been heavily invested in those shows before—it was a bone of contention with her ex—but she sunk to pathological levels after the break-up.
Soon, Lexi begins showing up at locations that she knows one or more of the stars of Socialites will be, trying to put herself in a situation where their paths will cross, in the belief that it’s all it will take for them to befriend her. Once they’re friends, her life will improve and she’ll get a bit of the glamorous life they have—maybe even a role in the show.
She has some reason to think that this behavior will work—it has been the foundation (and eventual doom) of her romantic relationships.
Yeah, Lexi is a stalker—she just has a new outlet for these impulses. Her behavior and substance abuse spiral to new depths. We get some details about her prior issues and behaviors, but the novel primarily documents her descent to rock bottom.
That would be enough for most authors, but here’s where Goldberg throws in the plotline that makes Stalker Stalked stand out. In the midst of all the above, Lexi starts to sense that someone is watching her. Stalking her. Is it one of her exes? Is it someone from Socialites? Is it just her imagination, maybe a side-effect of some of the medication she’s abusing?
And then the threats begin…
Low-Hanging Fruit?
Lexi’s story aside (as much as you can do that kind of thing in this book), this book is a sharp satire and critique of TV Reality Shows.
As I read it, I wondered occasionally about Goldberg picking a target that’s too easy. Where’s the challenge in taking shots at Reality Shows?
As easy a target they might be, it’s a target that seems to demand this kind of attention and examination. The cultural impact of this kind of shows—and the social media influencer accounts (and wanna-be social media accounts) that tell the same kind of fictions—is large enough, disturbing enough, that we need as many artists in as many possible media to put them under the microscope.
Looking at this phenomenon through Goldberg’s lens something jumps out at me (and I realize that I’m probably fifteen years behind other people on this insight), this kind of reality shows provide a socially acceptable form of stalking for the masses. How many people think they’re getting a special kind of insight into the lives of these stars? A special, private, view of their day-to-day life? How many unbalanced viewers like Lexi are out there learning that this is an appropriate way to live and take the license to do the same but for people who aren’t on TV?
So, what did I think about Stalker Stalked?
I didn’t like Lexi—at all—for the majority of the novel. I wouldn’t have described myself as terribly invested in what was going on with her or in her well-being. She’s just unsympathetic, unpleasant—the kind of character that most novels would have cast as the villain (one you may ultimately find sympathy for).
As much as I wasn’t able to get invested in her as a character, I couldn’t stop reading. Something about the novel—and I really should be able to put my finger on what it was, but I can’t—gripped me like a Lee Child or Nick Petrie thriller. Compelling doesn’t quite express it—I had to know what was coming next. Lexi was like the proverbial car wreck that you can’t take your eyes off of. Also, I was pretty curious about some of the people around Lexi, how were they going to fare in the face of her problems.
Eventually, however, I started pitying Lexi. I started understanding how she got where she is and how she was tumbling toward rock bottom.
Stalker Stalked is a gripping read, a tragedy that you can’t look away from—that you can’t get enough of. It’s disturbing and thought-provoking. You’re going to want to get your hands on it.
adventurous
dark
emotional
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
What’s True Dead About?
Jane and the rest of the Yellowrock Clan are headed for New Orleans after a little excitement near her new home. There are two things that bring her to her old hunting grounds and her “freebie house.”
The first is a new, looming threat to her as Dark Queen, Master of New Orleans, and pretty much every Mithran in North America—at least those who are her loyal subjects. It’s a threat that has roots in ancient vampires, magic that Jane hasn’t encountered before, and possibly a tie to the “liver eaters” of the Cherokees. It’s going to take more than a couple of sliver stakes, shotgun blasts, and a wicked grin to take care of things.
The second reason to head for New Orleans is much more pleasant—almost as elaborate, it should be added. Jane’s strengths are best displayed in combat, figuring out what supernatural threat is out there, and that sort of thing. But social events, diplomatic moves, and things like that? Not what anyone thinks of when they think Jane Yellowrock. For good reason. Thankfully, she now has a staff.
While dealing with new supernatural forces set against her and the big social event, something more immediate is plaguing Jane. She’s unable to control her shifts—she’ll wake as the cat, or in half-shifted form. She won’t be able to change back when she wants to—and Beast isn’t doing much better with it than Jane is.
All in all, Jane’s got her hands (or paws) full.
Beast
Beast gets some great moments—possibly better than Jane. She has her own agenda at points and is keeping secrets still.
I feel like I should have more to say about Beast here, but I really don’t. Mostly because I wouldn’t be able to avoid spoilers. Also, I’m not sure when I’d shut up.
Simply put, she’s a delight.
Leo’s Long Game
Over the course of the book, Jane learns some things, pieces together a few more, and makes a couple of good guesses about what she calls Leo’s long game. What she comes up with helps her—and the reader—to see her arrival in New Orleans and most of what she’s done in various situations for Leo in a new light.
It’s not as drastic as some other UF series have been when the chief protagonist learns that changes their understanding of pivotal moments in the series—but it is pretty significant. You won’t be able to think of the series and Jane’s adventures in quite the same way again—you’ll have a richer, more nuanced idea.
I’m so glad she did that.
So, what did I think about True Dead?
This thing started off with a bang—a killer first chapter that had everything a Yellowrock fan would want. When I saw the heading reading “Chapter 2,” I stopped cold. How had she fit all that into a chapter? I seriously thought I was wrapping up Chapter 3 at that point. Sure, Hunter’s chapters tend to be longer than many of the things I read, but anyway you cut it—Chapter 1 gets things rolling in a big way.
It didn’t stop from there—the hits keep coming, Jane’s sharper than she’s been in a couple of books. Not that I’m complaining about the books, but Jane’s been going through a lot lately—and now that’s fairly settled. She’s adjusted (at least more adjusted) to her new role and position. So now when trouble is on the horizon, she can throw herself at it.
And, boy howdy, does she. There are a few scenes that feel like vintage Jane—sure, given her new status she ends up dealing with things in a very non-vintage way. Long-time fans will enjoy seeing Old School Jane.
But New School Jane has more than a few surprises up her sleeve, and as fun, as it is to take a nostalgic look at how Jane dealt with problems, it’s more fun to see the way Jane deals with them now.
True Dead felt like a gift to the reader—not just because we get to see Jane tooling around New Orleans again with a vamp killer in hand, but because of everything else. The new challenges are great—and watching all the members of Clan Yellowrock rise to them is just as great. There’s a lot of joy, some sweetness, a little romance (and a little of the stuff that accompanies romance), we get to see some old friends–including a couple of pleasant surprises. And there are some very unpleasant surprises, too. Like every good writer of a long-running series, Hunter knows how to put her readers through the emotional wringer.
What it sets up for book 15? Ohh boy, I already can’t wait.
In the meantime, get your copy of True Dead as soon as you can. If you’ve read this far in this post and don’t know Jane Yellowrock? Fix that and thank me later.
funny
lighthearted
mysterious
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
What’s The Good Byline About?
I’m running late, and don’t have the time to come up with my own synopsis, so I’m just going to borrow this from :
Meet Riley Ellison, a smart, quirky young heroine with Southern charm to boot. Riley feels adrift in her small hometown of Tuttle Corner, Virginia, newly single and bemoaning the decline of print journalism, which has dashed her long-held dream of succeeding her grandfather as an obituary writer at the local newspaper. When her childhood best friend commits suicide with no warning, the grieving family asks Riley to write her obituary. As she investigates why such an ambitious young woman might want to end her life, Riley begins to consider that her friend Jordan may have actually been murdered. In the meantime, her love life becomes complicated when her ex Ryan returns to town just as things are heating up with a hot newcomer—who may have had something to do with Jordan’s death.
A Couple of Things I Just Don’t Get
I don’t get how big Tuttle Corner is—there’s a lot about it being a small town, but when it comes to crime, the influence of the paper Jordan worked for, and just how “famous” an obituary writer from a small-town newspaper can be. But, you know what? I just didn’t care—the story and characters are engaging and charming enough that it falls into the range of the old MST3K theme song line, “Just repeat to yourself, it’s just a [book], I should really just relax”
Now, there are several chapter epigraphs about the art of obituary writing, I’ve never really given it much thought (although there’s something in the back of my mind saying I’ve read/heard/seen something about it years ago). It’s really an interesting concept–I’m a little curious about the idea now.
So, what did I think about The Good Byline?
Back in 2019, I took part in a thing called the Indie Crime Crawl—a celebration of Independently Published Crime Fiction. Someone (I can’t remember who, but I wish I could) talked about this book and series during it. I bought it as a result, and then just didn’t find the time to read it until now. Shame on me.
This reminds me of Karen E. Olson’s Annie Seymore mysteries from about ten years ago and made me think about tracking down those books as soon as I finish this series.
This was a fun story, just complex and tense enough to satisfy the Crime Fiction reader. The style and characters are light and breezy. The rom-com part of this works well. The charm of this book is all about Riley–and she’s got more than enough to win over any reader and keep them coming back for more.
I will be.