Perhaps one of the best installments of the Harry Potter series. There is a certain shift in the tone and mood, one that benefits Harry's charac★★★★★
Perhaps one of the best installments of the Harry Potter series. There is a certain shift in the tone and mood, one that benefits Harry's character growth. Things a more mature: there is no longer such a strict distinction between good and bad. Harry, as well as the other characters, all offer –at one point or another– opinions and or make choices that are somewhat questionable. Harry's loneliness and anger also showcase that he is no longer just a child. His shifting feelings towards the adults in his life further demonstrates his growing up. The story itself is both entertaining and touching. Harry's adventures perfectly combine drama and comedy so that the reader is always engaged. The illustrations were lovely. Jim Kay's stile is refreshingly different from the existing HP franchise, I just wished we had more illustrations....more
An eerie and elegantly written novel that thrums with increasing suspense. Waters' masterfully renders past times and The Little Stra★★★✰✰ (3.6 stars)
An eerie and elegantly written novel that thrums with increasing suspense. Waters' masterfully renders past times and The Little Stranger shows that she can faithfully write non-Victorian settings. The novel's vivid atmosphere lacks the passion which we can find in other stories by Waters. This novel is rather slow paced: Dr. Faraday's befriends the Ayreses who soon reveal themselves to be struggling. Their financial situation and poor reputation is not the only thing that bothers them. Something 'sinister' is occuring in the crumbling mansion they live in, something that seems set on haunting them. While I found Faraday's narration compelling, I was never really taken by him or the other characters. They might be fully-fleshed out people but their vigourless conversations didn't make them particularly fascinating. It is the constant tension that makes the storyline so gripping. The ambiguous characters and strange occurrences are the best aspects of the novel. Waters' writing is –as per usual– simply terrific. There is something refined about the way in which she writes, that complements the setting of her story. Not her best but a solid read for fans of Gothic fiction....more
The premise itself was enough to intrigue me. A close-knit group of friends attending Oxford? Yes please. Naomi Alderman's style lends ★★✰✰✰ (2 stars)
The premise itself was enough to intrigue me. A close-knit group of friends attending Oxford? Yes please. Naomi Alderman's style lends itself well for this: it has a 'polish' that evokes notions of privilege. However, the characters and plot do not convey the good qualities of Alderman's style. Throughout, there is a sort of entitlement which feels hollow: Oxford is not the forefront of the story, and it is the annoying attitude of the characters which render this novel so self-important rather than the 'exclusive' setting. The Lessons lacks the compelling characters of The Secret History, the atmosphere of The Likeness, and the dramatics of If We Were Villains.
The focus of the novel isn't as clear-cut as I expected. For such a short novel, I found my interest wavering time and again due to the lack of the story's focus: Oxford seems forgotten soon after the first few intriguing chapters and Mark's house also becomes seemingly forgotten. Alderman doesn't spend enough time maintaining the background of this novel and the characters are not fleshed out enough as to detract from this. I would have been forgiving if I could at least have read about a decent character study, but there was no such thing. This 'group of friends' was composed of interchangeable characters who were so poorly developed that even the author is aware of it and tries to excuse her poor rendition of them by having the narrator say things like 'so and so is still a mystery to me' and 'no one ever understood what she/he was about'. Really? That is a cheap trick. Her characters aren't unknowable as they claim to be, but rather, they simply lack, in all fronts. They are shallows sketches who do not even appear that often in the novel. And I wouldn't have minded as much if at least the two 'main' characters were fully developed. But they weren't. Their relationship was...questionable. We saw no proof or progress, but we are made to believe that the protagonist falls under the influence of this very charismatic character who is anything but interesting. They all read like copies of the cast of *ahem* The Secret History *ahem*. What was the point of it all? Lastly, the 'Italian' factor of this novel is complete nonsense. At least google real Italian names for Pete's sake....more
On the one hand, I enjoyed Clément Oubrerie's style. On the other, I couldn't help in thinking that it did not mediate Pullman's worl★★★✰✰ (3.5 stars)
On the one hand, I enjoyed Clément Oubrerie's style. On the other, I couldn't help in thinking that it did not mediate Pullman's world. It was at once too simple and too adult. It didn't emphasise the strong suits of the novel, giving the story a different tone. Nevertheless, I did like it and once I started it I became more adjusted to Oubrerie's 'vision'. ...more
A novel that is both challenging and hear-rendering, and Allende showcases her skills for creating vivid characters and| | blog | tumblr | ko-fi | |
A novel that is both challenging and hear-rendering, and Allende showcases her skills for creating vivid characters and riveting storylines. This translation carries through a rhythm that is resonant with the one of writers such as Alice Hoffman. But before I delve into a review...who thought that cover was a good idea? I can't believe that someone who had actually read this novel would decide to put this corny cover and add that cheesy inscription ('every friendship leaves a trace'...). No. Just no. This is badly marketed. You miss out on a readership that would actually enjoy and appreciate this novel while making readers who will end up giving it poor reviews because it isn't what it advertises. This isn't a light, fluffy, romcom. Allende talks about rape, torture, violent deaths, drugs, and many more topics that do not fall under the type of genre which that cover suggests. Couldn't you have used an image that at least evoked the 'winter' ? [image] No?Alright...you have the power Scribner. Rant over.
Allende handles challenging topics in a way that renders the reading process far from painful: balancing small everyday trifles with the most toxic aspects of our society. And she does it so well. She is a swift storyteller: the language and phrasing make each page incredibly compelling (kudos to the translator). The atmosphere created by Allende is enriched by graceful descriptions and wistful observations. She handles horrific situations in a upfront and honest way, she does not shy from portraying the ugliness of the world, and yet, the story doesn't suffer from it. Far from it. The seriousness is contrasted by the incredibly sympathetic and 'real' main characters. I was engrossed by their pasts and by their present. The nostalgic tone of the novel is heightened by the characters contemplations. Allende's expressive prose make this novel a true pleasure to read, despite that it explicitly depicts difficult – if not downright horrible – scenes. There is an element of humor that contrasts the character's painful experiences. I recommend this to fans ofAnn Patchett and Anne Tyler....more
I won't deny that –initially– there is an underlying tension that renders some portions of the story to be gripping. The first opening lines2.5 stars
I won't deny that –initially– there is an underlying tension that renders some portions of the story to be gripping. The first opening lines propel us into what promises – and fails – to be an intriguing mystery. My main reservation about this novel is that it switches tones too often: there is an unbalanced – if not jarring – disparity between the seemingly 'dark' components and the unbelievably ridiculous moments. I initially thought the narration and story reminded me of Joanne Harris' Gentlemen and Players but it never really holds onto its strengths. That book perfectly balances humor and drama. Lying in Wait does not. The narrator who is almost gleefully telling us about their 'bad' intentions loses all its appeal. There are scenes and monologues that are just oddly grotesque: they do serve the purpose of unsettling the reader but they lose their desired effect by repulsing us and by making us question the believability of their situation/words. What should be funny is so ridiculously lampooned that it just becomes irksome. The satirization of 'class' is completely overdone. Comments about 'oh dear, the unemployed' or 'we do not mix with them dear' were more annoying than witty. The appealing premise leads to a ludicrous series of events which on the whole lead to a pointless finale. Then again, the story serves no real purpose and delivers no real message. The characters are all inept and their naivety is just downright irritating. I know that the story is set in the 80s, but I refuse to believe that people were so gormless. What could have been a compelling mystery filled with dark humor ends being an exaggerated parody of the genre....more
He didn't think of himself as a bad man, but he knew he probably wasn't a good one either.
What I most like about this series is thaRating: 3 stars
He didn't think of himself as a bad man, but he knew he probably wasn't a good one either.
What I most like about this series is that Rankin has really a knack for fleshing out a city and its people: Rebus's reality and surroundings are almost tangible. His everyday life is somewhat bleak and there is a certain authenticity brought by his 'unromantic' surroundings; the writing itself reflects this, for it is quite matter-of-fact almost to the point of seeming 'unsentimental'. This is why I wasn't really 'blown away' by this novel: I would not call it dull but it was lacking the sharp ragged edges of a hard boiled novel and the intricate complexities of a more physiological crime novel. The characters, while offering believable dialogues were not interesting enough: I was disappointed by the turn of events which lead Rebus into solving 'this mystery'. Rankin never ventures outside his well trodden plotlines. Nevertheless, I did like the way in which Rankin portrays Edinburgh....more
There is something incredibly endearing about Collins' stories. His narratives can seem – at a first glance – | | blog | tumblr | ko-fi | |
3.5 Stars
There is something incredibly endearing about Collins' stories. His narratives can seem – at a first glance – 'frivolous' but they are so much more complicated than that. It is his subversive mimicry of melodrama that allows him to criticise certain aspects of his society. To me, Collins' is in fact humours: he plays around with his characters by endorsing and or challenging the norms of his society. Curiously, unlike two of his most famous novels, these stories contain 'supernatural' elements which somehow makes them less impressive....more
There is something both compelling and reassuring about Christie's novels. Her wit and her love for drama renders her work incredibly e★★★★✰ (4 stars)
There is something both compelling and reassuring about Christie's novels. Her wit and her love for drama renders her work incredibly entertaining. Her style influences the tone of her stories: murders and murderers are viewed in a light way.However, Christie always manages to make interesting points in regards of human nature. She is always pondering on what would cause someone to harm another. And she goes about it in a fun and endearing way. Her works make for a quick read, but if you read between the lines, you see just how complex her stories are. One of the best things about this novel was its cast of characters. The Leonides are all striking, and they do provide a lot of amusing scenes and or dialogues. There are plenty of almost theatrical moments that vividly portray the family's dynamics. The 'twist' is revealed to us in a clever manner. We are given the information to find who the murderer is, however, Christie does not parcel out said information in an obvious way: Red Herrings abound, distracting us from vital and useful evidence. A novel that offers Christie's skills at their best, despite that this story lacks her most lovable detective. ...more
A solid crime novel that is very matter-of-fact; our narrator Rebus makes a rather interesting protagonist, one who has many flaws thaRating: 3.8 star
A solid crime novel that is very matter-of-fact; our narrator Rebus makes a rather interesting protagonist, one who has many flaws that further characterize him, making him more compelling to the reader. His strong sense of justice wavers time and again: things are not easy or clear-cut. This story is heavy on the police procedure and the corruptions running in various circles: government and so forth. Rankin brings Edinburgh to life through a vivid portrayal of the city's life. There is a strong sense of place and of 'community'; in fact, this novel is –in some ways– challenging the gap between social classes. ...more
Pros •dynamic dialogues that always ring true to life: Coben has a knack for quick and quirky sentences •the narrator is engaging and oRating: 2.5 stars
Pros •dynamic dialogues that always ring true to life: Coben has a knack for quick and quirky sentences •the narrator is engaging and offers a rather funny commentary •Nap – aka our narrator – refers to his brother as 'you', which adds a sort of immediate effect to his thoughts, throughout the story he is sort of carrying a conversation with his deceased brother, and it is easy for the reader to identify with said brother, making us somewhat complicit in what is happening to Nap •action packed: the story does not miss any beats
Cons •a bit too light: the humour sort of "overwhelms" the storyline •the plot itself is very hard to believe •the characters lack depth, they are very one-dimensional •Coben has a formula, and this books demonstrates his usual tricks (hero is separated by his high school love years later she pops up...) •the narrator is a tad too snarky, most of the scenes lost their credibility through his jokes......more
There is something that I find particularly infuriating about not liking Slaughter's work. Maybe it is because I do love the way she wrRating: 2 stars
There is something that I find particularly infuriating about not liking Slaughter's work. Maybe it is because I do love the way she writes: the first few chapters were brimming with promise. But, and there is a big but, her potential is wasted on intolerable characters and an annoying focus on a relationship that is eye-roll material: she seems to use the same formula. And maybe, maybe, I would go through with it if it wasn't for the gratuitously graphic content and saccharine moping on part of Sara and Jeffrey. Last but not least, Lena, an attempt to give us a 'I'm a tough cookie' sort of woman that is so unlikable I felt like throwing my book against the wall. And I hate mistreating books....more
"If I had been a man, I would have knocked him down on the threshold of his own door, and have left his house, never on any earthl
Rating: 4.5 Stars
"If I had been a man, I would have knocked him down on the threshold of his own door, and have left his house, never on any earthly consideration to enter it again. But I was only a woman – and I loved his wife so dearly!"
A thoroughly entertaining novel that is intriguing from the very start. One of the most famous works of what is now called 'sensation fiction', it combines gothic elements with romantic ones voicing anxieties of the Victorian era in an almost inconspicuous manner.Serious issues are shadowed by highly dramatic moments charged with an almost surreal quality. This novel is a brilliant example of melodrama that is brimming with Collins' sharp sense of humor. His characters are vivid and interesting. Marian, well, I loved her. On the surface she confirms the idea of a resolute strong woman is either 'manly or unattractive', yet, if you look beyond that, you see that she is a much more encompassing portrayal of a resilient woman living in a society that seeks to diminish her sense of self: she believes Victorian gendered ideals for she is a Victorian woman. Still, Marian remains aware of wanting to behave in a way that wasn't deemed appropriate; she scorns most members of her own sex because they are made to fit notions of femininity that she abhors. Her sister Laura embodies conventional ideas of a woman, an ethereal fragile beauty, yet, when the situation demands it, she showcases a willful mind. The bond between these two sisters is one of the strengths of this novel.
"Any woman who is sure of her own wits, is match, at any time, for a man who is not sure of his own temper."
Then we have Count Fosco...well, he is an engaging 'villain'. I sort of loved-to-hate-him. His appreciation for Marian was priceless. Walter Hartright wasn't as interesting as the other characters, however, I did enjoy reading about his deep friendship and loyalty to Marian, who he had initially judged based on her appearance. His love for Laura is somewhat 'instant', but, I believe that it fits with the overall story.
"The woman who first gives life, light, and form to our shadowy conceptions of beauty, fills a void in our spiritual nature that has remained unknown to us till she appeared."
The story slowly unravels the mystery of this 'woman white', with Marian and Walter acting as sleuths. I did find the last part a tad drawn out. Marian seems to fade into the background which seemed odd given her pivotal role in a major section of the novel.
"The only mystery that remains, is the mystery of his motive"
“Come on, kids.” I stood. “Where?” “There's a bar around the corner. Lemme buy you drink before the war.”
★★★★✰ (4.5 stars)
Despite having read two of t
“Come on, kids.” I stood. “Where?” “There's a bar around the corner. Lemme buy you drink before the war.”
★★★★✰ (4.5 stars)
Despite having read two of the later installments of Kenzie & Gennaro, I was still able to enjoy this first investigation of theirs. They are perhaps less weathered than their future selves but their line of enquiry is equally engrossing. Lehane's distinctive wit characterise a lot of the narration, and Kenzie's wisecracks pepper his story. The tone of his later novels are somewhat less jokey: experience might have diminished Kenzie's – very entertaining – wise-ass commentary.
No one spoke for a few moments. I think we were all too impressed by the realization that we knew someone who used “conundrum” in casual conversation.
The story is rooted in Boston: Lehane's vivid rendition of the city pulses with life. He swiftly illustrates neighborhoods through amusing and accurate observations. Here is a nugget of his sharp-witted descriptions:
If Donald Trump puked, Copley Place is probably what would hit the toilet.
Yes, the building has marbles fountains and golden statues. Lehane also takes time for more serious and reflective contemplations. A lot of his commentary addresses the way in which certain neighborhoods appear to one another and how these preconceptions inflamate hate. Part of the focus of this novel is the strife between the opposing gangs, however, I think Lehane incorporates a lot more than that through his plotlines. There are the 'powerful and untouchable' politicians, the police, the ones who have to live in a 'war-torn' terrain. Lehane emphasizes how they all similarly try to drive a wedge between them and 'the others'. Kenzie is not a flawless rendered judgment-free character. He too shows – to his own remorse – prejudiced behavior. Kenzie is one of the novel's strengths. He is so incredibly engaging that it is hard for the readers to want to leave him.
“I go on the presumption that everyone's full of shit until proven otherwise, and this usually serves me in good stead.”
The story propels us through Kenzie's investigation which include more than a few 'rough' encounters. While the action drives forwards the plot, we also get a lot of interesting and unhurried scenes which helps to give us a fuller picture of the characters involved. Characters are another of Lehane's fortes. Besides the endearing protagonist, we have a series of believable and complex characters vividly depicted through Lehane's skillful style. For example, through a few remarks, he aptly evokes Bubba's 'essence':
“If Bubba could have been born in another time, like say the Bronze Age, he would have been all set.”
While the mystery and the plot are not as complex and intricate as the following installments, this first novel introduces us to Kenzie, Gennaro and Bubba, and on the whole, it allows us for a more depth reading of their characters.
“The world according to Bubba is simple - if it aggravates you, stop it. By whatever means necessary.”
Even after a third reading I am still surprised by how much this novel resonates with me. A lot readers will start Vill| | blog | tumblr | ko-fi | |
Even after a third reading I am still surprised by how much this novel resonates with me. A lot readers will start Villette expecting a rehash of Jane Eyre—a novel which I enjoyed but wasn't particularly taken by—which is a pity given that the narrative of Villette takes its reader through a much more labyrinthine path that the straightforward Bildungsroman of Jane Eyre.
“No mockery in this world ever sounds to me so hollow as that of being told to cultivate happiness. Happiness is not a potato, to be planted in mould, ant tilled with manure. Happiness is a glory shining far down upon us out of Heaven. She is a divine dew which the soul, on certain of its summer mornings, feels dropping upon it from the amaranth bloom and golden fruitage of Paradise.”
From the first few chapters I fell in love with Villette. Brontë's writing is so insightful that it is hard not to highlight, or make a note of, every single paragraph. She has a way with words, managing to orchestrate long yet fluid phrases, that beautifully convey the many nuanced feelings and thoughts of her protagonist as well as the different landscapes she navigates. She offers her readers intricate and sharp observations, vivid descriptions, thoughtful asides and complex character studies that struck me for their realism. Villette's plot rests upon its narrator's interior struggle. In fact, this novel, is all about Lucy Snowe. A study of her psychology and of her shifting sense of self. Yet, even upon a third reading, she remains somewhat unknowable to me as she is careful to keep her feelings in check, and on more than one occasion she refrains from sharing certain knowledge with her readers (speaking of, there is an almost meta aspect to her narrative as she directly address readers and refers to scenes occurred in previous 'chapters'). Her self-division
“Oh, my childhood! I had feelings: passive as I lived, little as I spoke, cold as I looked, when I thought of past days, I could feel. About the present, it was better to be stoical; about the future–such as a future as mine–to be dead.”
Her unreliability seems a natural outcome of her not wanting to reveal herself completely to us and others, and perhaps by lying to her readers, she can also deceive herself. We never know why she has become so alienated from her feelings but given that even as a child she was self-possessed and quiet observer, it seems that it is merely an aspect of who she is. This divide between duty and self-fulfilment, reason and feeling, is the main focus of the narrative. Brontë’s Lucy, similarly to her more famous literary sister Jane, is a woman living on the social margins of her society: an orphan with few living relations and or friends, she lacks conventional beauty and the wealth necessary to be respected by society. Lucy minimises the loss of her family, not wanting to dwell on how this affected her nor on the difficulties she experienced as an orphan, dismissing that period of her life as “a long time—of cold, of danger, of contention”. Her hardships go unheard since “to whom could [she] complain?” and so she grows accustomed to solitude believing that “there remained no possibility of dependence on others” . The narrative that follows will see her confronted with different forms of femininity and womanhood which are often embodied in the women she meets in England and in Villette.
“When I looked, my inner self moved; my spirit shook its always-fettered wings half loose; I had a sudden feeling as if I, who had never yet truly lived, were at last about to taste life: in that morning my soul grew as fast as Jonah's gourd.”
One of my favourite scenes sees our narrator rejecting ideals of femininity in a museum. One painting features a Cleopatra-like figure whose sumptuous body makes our protagonist at ill at ease; the other one demonstrates the traditional life of woman: a young and demure bride, a wife and mother, and finally a widow. Lucy, in the course of this maze-like narrative will demonstrate a headstrong will in that in spite of the concealment of her feelings she remains true to her self. Her character is so real that I was inevitably drawn to feel what she felt: I wanted what she wanted, for I couldn't stand to see her unhappy.
“My state of mind, and all accompanying circumstances, were just now such as most to favour the adoption of a new, resolute, and daring–perhaps desperate–line of action. I had nothing to lose. Unutterable loathing of a desolate existence past, forbade return. If I failed in what I now designed to undertake, who, save myself, would suffer? If I died far away from–home, I was going to say, but I had no home–from England, then, who would weep?”
The ending is ambiguous and somewhat open-ended yet those last bittersweet pages soften the story's final blow. The cast of characters is not necessarily likeable but I grew fond of them nonetheless, Lucy's banter with a certain professor and a rather spoiled pupil made for some truly entraining scenes. I appreciated how imperfect and sometimes idiosyncratic these characters were as these things made them all the more believable. This novel is a beautifully written character study that plays around with Gothic and Romantic elements. There is great character development, shifting dynamics between friends and acquaintances, a painfully concealed and unrequited first love, and a series of feverous experiences which blur the line between reality and fantasy...Villette is a compelling portrait of a woman's shifting individuality.
DISCLAIMER: this novel is decidedly of its time so expect a lot of phrenological references (or viewing someone's physiognomy as indicative of their character), the majority of Catholics in this novel are definitely a wee bit fanatical, many annoying remarks—usually by men, but sometimes by women as well—regarding women (the weaker sex etc...), a major character owns a plantation in Guadeloupe and no one bats an eye about it (I definitely recommend Jamaica Kincaid's Lucy for those interested in postcolonial sort of retelling of Villette, it is a short but truly captivating read), people from France and Spain are often portrayed as 'other', even 'alien', and a little girl with learning disabilities is referred to as a 'cretin' and some other unpleasant terms.
There is something incredibly endearing about this novel. From the very first line, Dickens draws us in, making us Pip's confidantes, so ★ ★ ★ ★ stars
There is something incredibly endearing about this novel. From the very first line, Dickens draws us in, making us Pip's confidantes, so that we eagerly follow him on his journey. [image] The first section of this novel, revolves around Pip's childhood, and Dickens manages to reflect the young age of his protagonist onto the narrative itself: there is a youthful element despite that Pip is telling us of these events retrospectively, and while he sometimes foreshadows things to come, the element of surprise and discovery is not lost. I particularly enjoyed this first part: the Gargery household is a vivid and somewhat nostalgic portrayal of Pip's childhood home, however imperfect it may be.
"In the little world in which children have their existence whosoever brings them up, there is nothing so finely perceived and so finely felt as injustice. It may be only small injustice that the child can be exposed to; but the child is small, and its world is small"
The neighbours and routines add a layer of authenticity to the setting and to the story: the relationships between the various characters were always engaging. Miss Havisham...well, Dickens sure knows how to create a compelling yet eerie character. The feelings she evokes in the reader are further emphasized by her household. There is an almost surreal, magical, element to her. Pip's growth of character is...not exactly for the best. But, we do see glimpses of his regret, and we are made to emphasize with his situation. His newly found ambition, made possible due to his sudden 'great expectations' will cause both us and him sorrow. I was particularly saddened by his rebuttal of Joe.
"As I had grown accustomed to my expectations, I had insensibly begun to notice their effect upon myself and those around me. Their influence on my own character I disguised from my recognition as much as possible, but I knew very well that it was not all good. I lived in a state of chronic uneasiness respecting my behavior to Joe. My conscience was not by any means comfortable about Biddy."
But it isn't all gloom and doom. Pip does inspire sympathetic feelings, especially through his new friendships such as the ones he has with Herbert and Wemmick. I was pleasantly surprised by Magwitch's storyline, and I was all too glad to see Pip's opinion of him change. I was supportive of Pip's love for Estella, despite the latter being a cold and unlikable character. Dickens, however, skillfully manages to make such a distant and detached character admirable:
“What?” said Estella, preserving her attitude of indifference as she leaned against the great chimney-piece and only moving her eyes; “do you reproach me for being cold? You?” “Are you not?” was the fierce retort. “You should know,” said Estella. “I am what you have made me. Take all the praise, take all the blame; take all the success, take all the failure; in short, take me.”
He makes his own characters aware of their reputations and behavior. And Pip too realizes Estella's difficult personality. He evades falling into the 'love struck fool' trope because he is not oblivious to the fact that his feelings for Estella are quite irrational:
"Estella was the inspiration of it, and the heart of it, of course. But, though she had taken such strong possession of me, though my fancy and my hope were so set upon her, though her influence on my boyish life and character had been all-powerful, I did not, even that romantic morning, invest her with any attributes save those she possessed. […] The unqualified truth is, that when I loved Estella with the love of a man, I loved her simply because I found her irresistible. Once for all; I knew to my sorrow, often and often, if not always, that I loved her against reason, against promise, against peace, against hope, against happiness, against all discouragement that could be. Once for all; I loved her none the less because I knew it, and it had no more influence in restraining me than if I had devoutly believed her to be human perfection."
It is easy to relate and identify with Pip partly due his intrinsically likable nature: no matter what he does or do, he never causes hatred or contempt. We are made to 'feel' for him even in those situations where he himself is to blame. He is at the very chore of this novel: there is an immediate connection made to him due to very nature of his character. Sensitive, somewhat naive, not always thoughtful, but possessing a soulful mind, he is a fully fleshed individual. The plot, later on, is not quite as engrossing as it initially was, but, overall, it was a compelling tale of friendship and moral values. Touches of humor lighten the topics touched plus, Dickens knew how to phrase things. I appreciated and rooted for the novel's nuanced protagonist and the memorable cast of characters supporting his tale....more
Clearly, to expect 'classics' to be 'masterpieces' is wrong. The Castle of Otranto is laughable. Poorly written, poorly characterized, aRating: 1 star
Clearly, to expect 'classics' to be 'masterpieces' is wrong. The Castle of Otranto is laughable. Poorly written, poorly characterized, and with a storyline that lacks any sense whatsoever. Actually, nothing that happens makes sense. Walpole solely focuses on his dialogues which are atrocious. Gothic? This? No. This is just an excuse of a novel. ...more
Gripping from the very start, Lehane's novel follows Kenzie going head to head with an incredibly dangerous individual, someone who makes his victims Gripping from the very start, Lehane's novel follows Kenzie going head to head with an incredibly dangerous individual, someone who makes his victims wish they were dead. Lehane's vivid portrayal of Boston – of its geography and its people – provide the story with a graphic background. His dialogues are the perfect combination of clever and witty, while Kenzie's introspective observations often strike a chord with the reader. Both thought provoking and engrossing, this novel is seriously addictive. ...more
A surprisingly entertaining novel that brims with a polite sort of humor that is nevertheless appealing to the modern reader. VariousRating: 3.5 Stars
A surprisingly entertaining novel that brims with a polite sort of humor that is nevertheless appealing to the modern reader. Various characters give their account in regards of a missing diamond worn by Rachel Verinder on her eighteenth birthday. This yellow diamond, also known as 'moonstone', we are told has been stolen from India by Rachel's uncle who upon his death left it to his niece. On the morning after her birthday Rachel discovers the diamond missing and her household is soon thrown off balance: police question the servant and houseguest with little avail. Sergeant Cuff is brought to investigate but the diamond remains missing. An acquaintance of Rachel wanting to 'solve' the case asks a few of the people involved to recall the events surrounding the disappearance of the diamond, the first account, for example is given by Gabriel Betteredge, faithful servant of Lady Verinder. I loved his bit. He often recalls things that are not strictly pertinent to the diamond but he is also very aware of this and apologizes in advance. His account creates two vivid pictures: a before and after the diamond. In the light of the following events, the Betteredge's initial account becomes incredibly nostalgic. He gives a great sense of place, of the household and the servants within the house. Betterdge is an amiable character and whose depth is given by his habits and mannerism. The following threads were not as enjoyable, they were shorter and less encompassing: Drusilla Clack, an ardent Evangelical, gives us nothing of too much importance, Dr. Candy and Jennings were forgettable despite the vital information given by their accounts. ...more
luce (cry baby)
>
Books:
reviewed-in-2017
(163)
