Read, Rate, Review, Re-Read

...we used to be friends, but i haven't lost my love for Veronica Mars one bit. From sassy dialogue to the addictive LoVe scenes, Rob Thomas' fantastic screen writing is a pleasure to watch, and surprisingly, palatable in fiction form. Although the writing isn't anything ground-breaking, and the plot in this particular novel wasn't stunning or suspenseful, the characters are so true to canon and well-developed that any true Veronica Mars fan will appreciate (and devour) this.

Unlike the first novel, this one read a lot more like an episode of VMars - there was the usual Neptune setting, the usual characters of Mac, Keith and Cliff prowling the offices of Mars Investigations, and the typical drama involving the incompetent and corrupt sheriff's office. There was extended scenes with Wallace which brought a host of awesome banter to the read, and more than a mere mention of other ancillary characters from the series including the Manning's, Weevil and Duncan Kane. 

LoVe fanatics will also be pleasantly surprised to find that Logan isn't invisible in this book - although his presence is temporary, it's nice because the relationship is built upon and evolves during the prose, instead of falling apart by Veronica jumping ship when things get hard. Its clear that Thomas and Graham have tried to show Veronica's maturity and adulthood consolidating her as a person who knows what she wants, and is willing to take some (albeit limited) risks and make some moral sacrifices, in order to keep those whom she truly cares for around her. 

Overall, marshmallows will adore this book. Although I would have liked it more if there were more twists and turns (I felt the story line was somewhat predictable), the characters are strong as always and there is that extra bit of Logan-time to sweeten the pot. For those that haven't seen Veronica Mars 1) See it - it's the best TV show ever to grace the silver screen, and 2) You may want to put off reading these books until you have a basic background knowledge of the characters. This book is certainly enjoyable as a stand-alone, but it will make a lot more sense and be a lot more explanatory if you already know the back-story.

Brief Background: Emily's best friend Sloane has, in a manner of speaking, abandoned her for the foreseeable future, and gone to places unknown. In her wake, she leaves a list of tasks for Emily to complete, from the benign to the ridiculous. Hoping that completion will lead her to her friend, Emily sets aside a summer of pursuing the list of challenges, and manages to completely change her life in the process.

What I Liked:

Concept: Fresh off reading Matson's other well known novel - Amy and Roger's Epic Detour, I was expecting the light, summery read that preceded this. I wasn't disappointed. It was fast paced, required little deep analysis, and (unlike its predecessor) captivating. I found myself finishing this book in under two days because not only was it extraordinarily easy to read, but it was also fun to read. It was a pleasingly detailed novel without the commitment, and I found myself never looking up to the page numbers to track how far through I was, because I was too busy being engrossed in the story.

Humour: Unlike Amy and Roger's, this book was more lighthearted. It didn't deal with the depths of grief (although, Emily has in some ways lost someone as well), and it had, inflected throughout the prose, little asides or phrases which actually made me laugh out loud. It may have been the eccentricity of Emily's family, and Frank's friend Collins which made me laugh the most. It added to the enjoyable nature of the book.

Romance: Not overbearing, and not the central impetus of the book, it was also far less intense and more natural than that in Amy and Rogers. There was no love triangle trope, nor the sudden-and-unexplained make out session-turn heartfelt relationship. This was a growth of feelings between two characters that felt organic - lovely yet awkward and not overdone. The touching on infidelity was also appropriately addressed.

What I Didn't Like:

Frank: It wasn't that I didn't like Frank as a character, because I didn't have any strong feelings towards him. It was more my discontent that Frank and Roger seemed to be the same person, and I really didn't have much of an affinity for a repeated character. It may have been because I was, at one stage, reading both books concurrently, but it made it all the more obvious that Frank and Roger were virtually twins. Both mild and nonabrasive, they both served the purpose of making the female protagonist look awkward and being there to nurture her character development. I think Frank could have been a lot more relate-able and personable if he'd been crafted as his own character without the need to make him Emily's assistant.

Overall

I really enjoyed this book, as it was light, fun and easy to read. It didn't give you much to dislike, mainly because it never really got beyond a superficial, summer novel in terms of themes, but if that's what you're looking for then this would be perfect.

Brief Background: Amy is a teenager whose life is at a crossroads. With her mother moving across the country from California to Connecticut, her father traumatically passing away in the months prior, and her estranged twin brother checked into an East Coast rehab facility, her summer isn't looking up. Fortunately, she has a road trip from the West to the East in the company of Roger, an old family friend. Gradually, as the unexpectedly long road-trip continues, Amy begins to re-find the person that she lost through the trauma of recent events.

What I Liked: 

Concept: This was a fun, light, summer read. Admittedly, in Australia it is winter right now, so the whole "summer-road-trip" concept didn't really apply, but regardless, it was a simple plot to follow with minimal effort required. I liked that I could pick this novel up at any stage and pick up straight from where I left off, there was no complexities I would have to go back and re-read, and the characters were (in some ways) blessedly predictable. Being an eBook, this became my go-to work book which I could pick up on lunch breaks or in between tasks, and for that purpose, it was perfect.

Structure: Aside from the literary structure of clean, well grouped paragraphs with reoccurring motifs (fast-food discoveries, mottos of states, random friends of Rodger to bump into) the quirky playlists, notes and postcards littered throughout the book were playful and interesting. They piqued my attention when I felt myself getting into a reading slump with this particular book.

The History and Geography Lesson: Being from Australia, one of the most interesting parts of this book was experiencing snippets of American landscape through Matson's depictions of Yosemite, the surrounds of Utah, Colorado and Nevada and the lush, Kentucky mansions. Similarly, being a history buff, I adored the reoccurring explorer and 20 questions theme. 

What I Didnt Like:

The Romance: I found the relationships between characters rushed, contrived and unsatisfactory. Additionally, complications such as the Roger/Hadley relationship/breakup were never fully explained or explored - it seemed that Roger was so desperate to see Hadley for the whole book only to forget about her 10 minutes after driving away from Kentucky. Similarly, any romantic attraction in the book for Amy lasts about 10 seconds before she either rebuffs or kisses the love interest, and for me, this just didn't seem realistic. I get that Amy was supposed to be growing as a character, taking more risks and learning to move past her traumatic experiences. But I think even the ultimate relationship pairing was so rushed and unexplained - there was absolutely no discussion between characters as to a mutual attraction or any tension build up at all. It felt fake, convenient and contrived.

Amy: I found it extraordinarily difficult to relate to Amy as a character. It wasn't that I didn't sympathize with her - her experiences were clearly very intense and obviously affected her personage and interactions with ancillary characters, but the way she reacted to things was extremely unpredictable and sometimes annoying. As a reader, it was difficult to tell whether Amy was ashamed and thus secretive, shy and thus secretive or depressed and thus secretive. Perhaps it was a combination of the three, but although you could see what Matson was trying to portray as Amy's greatest fear - revealing the true feelings towards the accident - it was never really explained why or how Amy had come to decide that shutting her feelings up and crying indiscriminately was the best course of action. I also really disliked Amy's blunt awkwardness, particularly at the start where she offered very little to the discourse and made the first 100 pages a bit of a chore. It was lucky this book was so easy to pick back up where you left off, because I did put this down a lot, and didn't have much of an urge to finish it.

Predictability: Honestly, this book is very formulaic. It sticks to the classic summer romance script and doesn't vary much from it. From reading the 'brief description' at the top of this review, you pretty much have all the hints you need to ascertain what the conclusion of the novel is going to be. The ending is underwhelming and frustrating, and I think that stems from the problem of predictability.

Overall

I would recommend this as an easy, filler read. Expect it to be slow at the start, and for the pace to pick up in the second half. If you can make it through the first 100 pages, you're all set for a predictable, yet fluffy ending.

Brief Background: Celaena Sardothien, a young-yet-skilled assassin from Terrasen, is captured by her enemies and enslaved in the mines of Endovier at the tender age of 18. After a year of labour, she is offered a deal by the Crown Prince of Ardalan - enter the royal competition to become the King's personal assassin, and have a chance to reclaim her freedom. The competition is by far the least confronting side of living in Ardalan, Celaena soon discovers. Dark, twisted adversaries lurk at every turn, and she is confronted by the uncomfortable feelings she develops towards some of the other people at Court - loyalties which she never intended on making. 

What I Liked: 

Originality and depth of setting: There is no doubt that Sarah J. Maas put an extraordinary amount of time in developing Erilea ("the world"), including the intricate histories of Ardalan, Terrasen and Eyllwe, and the former's eventual dominance over the continent. The map at the very front of the book proved essential in piecing together the various places which Celaena and her companions have come from and go to throughout the novel. The setting is well described, evokes feelings of loneliness, oppression and opulence and is brilliantly carried throughout with asides of bloody history (mostly from Celaena's own past, but also that of others). It is clear that the author spent a lot of time not only developing, but (within her own head, at least) living in this world.

Language and structure: The short paragraphs kept things moving quickly, and Maas didn't spend an exorbitant amount of time describing the intricate details of character's faces and clothing. Although the detail was there, it was clearly ancillary to the action laced throughout the novel, and the author was quite brilliant at the pacing. Unlike some young adult novels, which can get stagnant in the middle, this book did not. It continued to be a page turner and placed snippets of action throughout the prose instead of leaving the winding up of conflict right until the end of the book. Similarly, I was impressed by Maas' writing style which was surprisingly eloquent and polished (unlike many other YA novels which are unfortunately rough around the edges and colloquial). I appreciated her literary prowess and use of language devices, which were present enough to make the prose interesting and embellished, but not so overpowering it became convoluted (see my review on "Shatter Me" for the exact opposite of this).

Celaena's Character: It was so refreshing to pick up a young adult novel with a strong, centrally focused, female character without her becoming a replica of either Hermione Granger or Katniss Everdeen. Celaena is no doubt her own, flawed, yet lethal personality which offers a breath of fresh air into a genre which is quite often littered with similar or extraordinarily weak female protagonists. Celaena wasn't just strong, lethal and capable, she was similarly imperfect. Vain, arrogant and snide, Maas has created a character which not only provided a rallying point but also showed that skill-beyond-measure isn't necessarily good for the soul. 

What I Didn't Like:

The Duel Scene: Without giving too much away, I thought the conclusion of this scene was confusing - so fast paced that it became erratic and unbelievable. Celaena is a strong character on her own, and I felt that this scene dis-empowered her by the reliance on ancillary characters to come to her aid. Similarly, the ending was sort of unbelievable given the amount of injury sustained to all characters involved - it sort of seemed like a bit of a cop-out, yet the amount of detail and linking of central themes here led me to believe that Maas wasn't simply trying to find a convenient way out for her protagonist. Instead, it just became a frenzied and convoluted scene which probably wouldn't have mattered so much if it wasn't so crucial to the tying up of mysteries. It was the one part of the fast-pacing that I thought let the book down.

The Good-vs-Evil Divide: Aside from Nehemia, there really appear to be no characters in this book which show both good and evil. There are no "bad" characters which show a struggle, or "good" characters who show overwhelming flaws. The adversaries in this novel are damned as such from the moment you meet them - showing, at times, no reason for their avarice or depravity, as their character and back story are not well developed. Instead, Maas spends a lot of time building her hero/heroine characters, who similarly don't appear to show much of a struggle between their upbringing and their moral views. That is to say, for characters such as Chaol and Dorian, who have been raised with the views of the court, although suspicious of Celaena and Nehemia, feel almost unequivocally that they are worthy of sympathy, or that their moral standing is pure. There is very little personal growth here. Yes, Chaol may get generally less gruff and more likeable throughout, but it isn't due to his internal struggles, and is attributed to his general liking of Celaena. I think a lot more could have been done here to add to the geo-political tensions of Erilea. 

Romance: I just couldn't be drawn into the plausibility of the romance in this novel. The characters themselves just didn't really match well together, and I was much more interested in the possibility of other romances which never developed. Surprising to me because I felt as if other pairings were not just more suitable, but also showed more of a connection. I wasn't sold on the pairing for the majority of the book - mostly because their interaction (however flirtatious) seemed contrived and convenient for the plot. Celaena, although ultimately shown to be an independent character, I think could have carried the novel on its own without a need for male characters to fall for her.

Overall

This book at major parts which irked me, however I will be reading the sequel. Maas' pacing, language and talent for creating mystery which isn't dependent on an overarching love story is quite addictive, and I will be back for more. 

Brief Background: The small country town of Pagford is shocked when Parish Councillor and well known townsman Barry Fairbrother suddenly dies of an aneurysm. In his absence, a seat on the local council is vacated and a race to fill it ensues between the factions concerned with social welfare, and those who want to see the local estate (full of struggling individuals mostly on public welfare) cut off from the district. The novel is written from many different perspectives, each weaving stories linked with the character's social class including drug abuse, unhappy marriages, loneliness and friendship.

What I Liked:

Character development and POV: Whether I'm slightly biased by my love of Harry Potter and my childhood spent in a world created by the words of J.K Rowling or not, there is no denying that this author has considerable talent in character development. That talent isn't wasted here - with a plethora of flawed and interesting characters on display, and almost all mentioned being given a point of view at some stage. The way Rowling uses emotive language and descriptive prose to weave seamlessly between character's points of view is uncanny - it was changing frequently within scenes and chapters, and yet it was never convoluted and rarely confusing. The "voice" of each character was markedly different, and by the end, as a reader I felt as if I really knew the fictional people from Pagford, even if I'd known them but 500 pages.

Exploration of themes - child/parent relationships and marital relationships: One thing Rowling managed to convey wholeheartedly here, is that despite many of the characters sharing similar family lives and relationships, each were unhappy in different ways, each struggled with different aspects of coming-of-age, and each resolved their issues very differently. For some characters, it was the varied moral values which kept relationships strained. For others, it was the pretense of a happy, content life, upset with the revelation of dark secrets. For some couples, the resolution was to break up, and for others it was to forgive and forget. It was a constant reminder that no matter how things appear, behind closed doors are difficulties that we may not comprehend.

Social setting: Despite the picturesque notion of Pagford with which the reader is first greeted, the culmination of social tensions and the development of characters with varied social backgrounds provides the backdrop for class warfare and the realization of themes of iniquity and unfairness, elitism and narrow-mindedness. The struggles of the Fields are central to the book, and underpin many of the tensions within families, between characters and major themes.

What I didn't Like:

Slow pacing: Particularly at the start of the novel, the slow pacing made it difficult to get into. Of course, I was hooked on Rowling's writing by 50 pages in, but even with the death of Barry within the very first portion of the book, it was still slow moving. I think my eagerness to get my fill of JKR meant I could overlook this and persevere, but I think for some less tolerant readers, it may mean the difference between reading this gem and not.

Descriptive language: Although the literary devices utilized by the author are stunning, her writing does have, at times, a tendency to focus on finer points of setting or character and become somewhat convoluted. Adding to the problem of slow pacing, I think this book perhaps could have been written just as effectively with 100 less pages, simply due to occasional lapses into descriptive scenes where very little happened. However, I am inclined to add this also to a positive, because without these asides the depth of character may not have been reached.

Overall

I loved this book - just shy of five stars for me, I think it was an excellent introduction into the adult genre by J.K Rowling, and once I got really into it, I couldn't put it down. 

It's hardly surprising I want to reread the best series ever created (in my humble opinion), because it was such an influence on my child and teenage years. I have this connection with the series that I really have never experienced again - being able to fall so completely into a magical world with a host of inspiring and well written characters is something that J. K. Rowling simply nailed. I've periodically picked up one of the seven books for a reread since I finished the series multiple times, but I haven't ever done a complete reread of the books in sequential order. So, I figure with exams behind me, now is the perfect time to do such a thing, and review them.

As part of the rainbowthon challenge, I have the Philosopher's stone to read and will work on from there! I hope to finish the whole series by Harry's (and J.K. Rowling's) birthday - the 31st of July...and if i can, i may reward myself and buy the complete adult box set off book depository XD.

July Harry Potter Reread Challenge:

July 1st - July 31st

1. Philosopher's Stone

2. Chamber of Secrets

3. Prisoner of Azkaban

4. Goblet of Fire

5. Order of the Phoenix

6. Half-blood Prince

7. Deathly Hallows

Having exams building up for the last two weeks has meant a lot of overeating on junk food (more oreos please), but also a distinct lack of reading (unless you count 'Commercial Applications of Company Law which is riveting).

So! To jump back on board I'm taking part in the Carpe Librum girl's Reading Rainbow Readathon! I'm super excited for this challenge. Basically you just pick books where the spines reflect six colours of the rainbow (red, yellow, orange, blue, purple and green). Incidentally, I always thought pink was a rainbow colour but I'm not complaining because 6 books is going to be a real challenge. For full guidelines see the linked video by gingerreadslainey :)

Official challenge runs from the 15/06 until the 22/06, but because I don't finish exams until the 17th I'm slightly adapting the rules so that I can focus on study :) I know this is a slightly ambitious list but I really want to see how much I can get through!

Here's my list:

1. Yellow - The Casual Vacancy - J. K. Rowling (I can't BELIEVE I haven't read this yet!)

2. Orange - In Cold Blood - Truman Capote (Penguin Edition)

3. Blue - Throne of Glass - Sarah J. Maas

4. Purple - Narcopolis - Jeet Thayil

5. Green - Since You've Been Gone - Morgan Matson

6. Red - Rendezvous at Kamakura Inn

It is soooo unlikely I'll even make it through half of these considering that at least two of them are over 500 pages, but I'll see what I can do. I feel like at least my TBR is quite varied - 1 adult fiction, 1 crime, 1 historical/cultural fiction, 2 young adult and 1 classic. Hopefully the variety should help me get through this stack!

Brief Background: Bruce Pike is a middle aged ambulance driver who, after attending the scene of a dead teenager, harks back to old memories of growing up as a young boy/teen in Sawyer, Western Australia. Shaping his memories are his friend Loonie and mentor Sando, with whom Bruce fosters a passion for surfing. However, the pursuit of extreme thrills and becoming extraordinary also exemplify how when you're young and reckless, you can forget about mortality. Although the latter half of the book is considerably darker than that of the first, the experiences Winton recounts here are nonetheless familiar for anyone who has pushed the boundaries in their youth, and suffered damage as a result. 

What I Liked

1. The setting. Winton has a way with words when it comes to creating a setting that no other author can match, in my humble opinion. His eloquent, beautiful prose is enchanting in a way which is quite (unfortunately) indescribable. The use of sensory language and words which evoke great emotion from the reader are particularly poignant when describing a beach setting where (it would appear) Winton feels very at home. When Piklet, Sando and Loonie are out surfing at the point you feel the exhilaration which comes from the love of the beach and the sport - and this is rapidly transformed to blind fear and anticipation when they're surfing the Old Smokey. Similarly, the depictions of Piklet's home life present a damp, dark place which he obviously doesn't feel as comfortable. Through Winton's fantastic scene setting, they reader really gets such an emotive attachment to the water, as if they really were in Piklet's world.

2. The symbolic use of breath. Laced in subtly to the prose, the symbolic breath is present in Eva's twisted obsession, Loonie and Piklet's competitive deep water diving, Piklet's eventual career and the experience of being dumped by waves in the surf. It is written into almost every dangerous, living-life-on-the-edge experience had in this book, and Winton's little quotes interlaced into Piklet's consciousness regarding it were poignant - fantastically portraying the fragility of life and how many of us in youth disregard it in our pursuit to be extraordinary.

3. The characters. Although unlikeable and frustrating at times, the varied ages and experiences of Eva, Sando, Loonie and Piklet displayed a range of experiences, values and characteristics. Winton also has a knack for portraying how one character's actions change another character's: Eva and Piklet's encounters shaping Piklet's later experiences as an paramedic, Piklet and Loonie's experiences at the Nauticus shaping Loonie as the ultimate disciple, Sando and Piklets closeness after surfing the Old Smokey creating a deep reverence towards Sando. The interactions between characters are part of what carries the novel.

What I Didn't Like:

1. Although stylistically brave and suited to Winton's prose, I didn't like the dialogue being written without quotation marks. It was sometimes confusing and odd. However, it did fit stylistically with the rest of the novel, plus, the dialogue itself was thoroughly believable, so it didn't leave too much of a sour taste.

2. The last quarter of this novel felt rushed and it would have been more subtly climactic if it were slower to reach it's conclusion. Although it appears like this was used as a device to portray the consequence of age and experience, taking less risks and picking up a damaged life and moving on, there was a lot of content here which was given very little time/words. It felt a little big contrived towards the end which I think was a shame, considering the rest of the story was absolutely brilliant.

Overall

Despite my gripe about a rushed ending, this is a fantastic and beautifully written novel. In some ways it is a classic coming-of-age tale, but it delves much deeper beneath the surface of surfing and adolescence and intricately explores the themes of fragility, mortality and damage, tied together with the want of being extraordinary, and savoring every last breath.

Brief Background: Rachel is an alcoholic who has lost her job, her home, her husband and her life. Trapped in an endless cycle of drinking and depression, she takes the train into London every morning where she passes by the homes of people that she, for two minutes of the day, can see directly into the lives of. Jess and Jason, the names she has given to two of these individuals, are her favourites. She imagines their life of blissful happiness, until one day when she sees something that changes everything. What ensues is a mystery told through the eyes of three women - Rachel, Megan and Anna, who offer varying perspectives of a story of seduction, mediocrity, jealousy and obsession.

What I Liked:

1. Character development. Superficially, all the characters in this book are unusual in the sense that they are deeply unlikable, at least to begin. Rachel is rash, and doesn't learn from her mistakes. Megan is superficial and self-interested, caught up in her own boredom. Anna is vindictive and hypocritical. Cathy was about the only character who seemed to have any sense of a moral compass and empathy - indeed, she is probably the only really likable figure. However the reasons why the characters act how they do are very well explored by Hawkins, particularly because she uses the perspective of all three major female protagonists. Additionally, the sprinkling of information throughout the prose transforms your understanding of Rachel, Anna, Megan, Scott and Tom as you read further, which adds a layer of mystery and intrigue.

2. Development of themes. Themes of loneliness and boredom were very well explored in this novel. Although all three of the major female protagonists experience this, they all deal with it in very different ways. Megan is a philanderer and a wanderer. Anna is an obsessive, anxious mess. Rachel turns to her alcohol addiction and develops obsessive patterns of behaviour. Additionally, the book explores the theme of how we perceive others through our own voyeurism and intrigue. Rachel is forever lamenting how she 'needs' to know about the goings on during the mystery of Megan's disappearance, Anna is constantly worrying about Rachel's mental state, Megan feeds off an obsession of getting people to want her. If you bother to delve past a superficial reading of this book, the thematic elements are absolutely fantastic.

3. The use of unreliable narrator/s. Whether its due to their own bias, or inability to remember plot points, the use of the unreliable narrator allows Hawkins to build a mystery which unravels itself slowly and surprisingly throughout the book. Although at first Rachel's black-out can seem convenient, it is very cleverly used as a plot device, whereby Rachel systematically begins to remember more, not by pure coincidence, but by coming to terms with certain facts about herself and those around her which enable her to piece together the fragments of her memory.

What I Didn't Like:

1. Tom's brutal honesty. Although he's shown to be a malicious character towards the end of the book, I didn't like how the exposition of his character and the facts about his indiscretion were so laid bare by the dialogue. I probably would have preferred a bit more subtlety from a person who is shown to be clearly very emotionally manipulative and a talented liar. Although I did like the ending of the book, I think it was a touch rushed.

2. An ending without Scott. I really wanted to know what happened to Scott and Kamal, and we really didn't get to experience that at all. They were basically written out in order to focus on Anna and Rachel, however integral these two male characters were to the story-line.

Comparisons to "Gone Girl"

Although the premise for the books are undeniably similar (both being psychological thrillers based around the missing wife conundrum), I think this book topped Gone Girl, for me. It was Hawkin's understanding of the fragility and deceptiveness of the human psyche which really got me going far more than the female antagonist in "Gone Girl," who was calculating, cruel and downright bad. The fact that all characters in this novel are flawed, but also redeeming in some way is what made it such an irresistible page-turner. 

Brief Background: Lochan and Maya are two of five siblings growing up in a highly dysfunctional household. With a father who abandoned them for a new life across the globe and an alcoholic mother, the two eldest siblings have found themselves in a unique and undesirable position of trying to raise their two younger brothers and sister. Couple this stress with Lochan's social anxiety and difficulties in adapting to change and you have a recipe for drama. When Lochan and Maya develop feelings for each other, it's often hard for the reader to discern whether this was an authentic tale of brother and sister affection-turn-attraction, or simply the product of Lochan's loneliness and the tumultuous environment they find themselves in.

What I Liked:

1. Writing style. Poetic and lovely is how I would (inadequately) describe Suzuma's style. It was beautiful to read, and made the conundrum of incestuous love a more pressing question rather than immediately making the reader decide they didn't agree with the premise. I think the authenticity of Lochan and Maya's feelings was well portrayed by the writing style - it conveyed the sense of fragility, confusion and ultimately tear-jerking pain surrounding their relationship.

2. Character development. Surprisingly, it was the ancillary characters who I thought were the most adequately developed. Kit, for example, was a highly unlikable figure throughout most of the novel, but the development clearly showed him as a scarred and emotionally unstable character who was deeply affected by his environment. The depiction of Lochan's struggles with social anxiety made his retreat into his family life more realistic, and I think the problems he had facing public speaking and interaction with his peers were well portrayed.

3. Relationship development. Neither of the characters jumped straight into this and although there was definitely a sense of urgency in their love affair, it was certainly developed slow enough to portray the inner turmoil present. The prose also clearly raised the larger questions of whether Maya and Lochan were organically attracted to each other, or whether it was a result of Lochan's virtual social exclusion and Maya's brokenness. This was ultimately left for the reader to decide.

4. Moral questioning. I love that this book didn't put the ick factor on incest as a straight up. The characters were flawed, the relationship fragile, but ultimately, it never set out to completely deride incestuous/brother-sister relationships. For me, it raised the larger questions of: Can we really decide who is allowed to love who in today's society? Do we have a right to outright ban incestuous relationships which are not based on a power imbalance? Are the risks associated with childbirth due to incest enough for society to condemn these relationships? I mean, what about relationships where both parents have hereditary disorders which will be ultimately passed onto their children - why do we allow them to love? What about homosexual relationships which can ultimately not have biological children? It's all quite fascinating, in my opinion.

What I didn't like:

1. Convenience of ending. I feel like (although it was tear-jerking), Suzuma took a slightly easy road out here. Instead of forcing the characters to deal with their issues and society's condemnation of their relationship, the ending simply dealt with the characters in order to allow one to escape virtually unscathed (in a progressive sense, obviously there would have been clear emotional issues attached to that but we don't get to see much of the future here).

2. Emotional maturity. Although Maya and Lochan are in a unique position, I feel like occasionally their inner monologues were slightly too mature for their age. Keeping in mind Maya is 16 and Lochan is 17, I felt at times I was reading through the eyes of emotionally mature adults, particularly when the two were at home. Their self-awareness was rather too rational at times to seem as if it was coming from two teenagers (albeit older teenagers with a lot more responsibility). 

Overall, I think this book is thought provoking and emotionally satisfying. It delivers on controversial romance and scandal, but sometimes fails to appreciate the position of teenagers in society. Ultimately, depending on your views, the ending may be a bit lacklustre, but it's definitely worth the read.

Disclaimer: If you loved Shatter Me, perhaps don't read this review. I didn't.

First Impressions: Unnecessarily flowery and convoluted prose was not only annoying but made finishing this book impossible for me. It is extraordinarily rare for me to fail to finish a book I've bought, but I really couldn't bring myself to in this case. The main character was completely over-the-top and unrealistic I couldn't relate to her at all. I simply felt no connection to the rest of the characters, except perhaps Warner and that was only because he appeared to have more than one dimension. There was a distinct lack of any likability in other characters, probably carried by the lack of humor and inadequacy of setting. I would call it a light read, except I couldn't stomach it enough to actually finish reading it.

Things I Liked:

1. Sexual energy between main characters: Mafi obviously has some skill in constructing the scenes of intimacy here. In some ways this book read like a watered-down erotica. Perhaps if it was erotica it would have been more palatable, as the overly descriptive prose probably would have been a positive and not a negative.

Things I Didn't Like:

1. The prose. I HATED the writing style here. Although I appreciate a writer who can take risks with their style, this was so over the top it appeared as if Mafi was just trying to be different. The strikethroughs, although annoying, were just the very tip of the iceberg. The convoluted and unnecessarily prevalent metaphor was what really got to me. If she had used these metaphors more sporadically throughout the prose it could have actually been a positive and not a negative. But within one paragraph, the amount of metaphor used to describe very simple feelings or actions made me want to vomit. It was flowery, it was highly unnecessary and it made it so sickly sweet and over the top. It was the main reason I got to the last few chapters and just couldn't bring myself to finish it.

2. Juliette. I just couldn't bring myself to care about this whining, unrealistic female protagonist. She was completely dependent on the male characters around her to direct her or save her, and had absolutely no backbone. Reduced to a crying mess around Adam and an outwardly angry however spineless individual around Warner, she really only had one dimension and it was downright annoying. Additionally, she was written as a classic Mary-Sue in every way. I'm sorry, but what kind of tortured soul gets let out of basic enslavement for three years without sunlight, adequate physical exercise or hygiene, yet appears as a supermodel with literally every main male character able to comment on how beautiful and perfect she is?! I've seen better fanfiction written by a 13 year old hardcore fan of Draco Malfoy who tries to inject themselves into Harry Potter by creating a OC which represents the perfect version of themselves! 

3. Character. Everyone was the classic good vs. evil. Very little time was bothered exploring the backgrounds of the characters aside from perhaps Warner, which was just alluded to briefly. For me, Warner was the only slightly interesting character, and I think that it was for this reason.

4. Laziness Convenience of plot. So there just happened to be a car full of groceries waiting to whisk Adam and Juliette away from the bad guys right when they needed it? So Adam and Juliette just happen to be immune from the radiation that would otherwise kill everyone in sight? So Adam and Warner just HAPPEN TO BE THE ONLY PEOPLE IN THE WORLD TO BE ABLE TO TOUCH JULIETTE?! I don't think I need to say much more. It was unrealistic and downright stupid to read. If a writer can't even be bothered to create a realistic and imaginative escape route for their protagonist/s then why would I spend my time reading the content? 

5. The dialogue. Did anyone else notice how often Adam just said "Juliette..." ?!?!?! Like he's some kind of smitten lover who can't possibly formulate words to describe how perfect Juliette is? It didn't create urgency or emotion, it just looked stupid. The rest of the dialogue was stunted, awkward and convoluted. 

I guess you can tell that I didn't like Shatter Me. If you can get past the awful writing, terribly cliche and Mary-Sue protagonist and lacklustre plot, maybe you'll like this book. 

Just as a disclaimer: I usually don't like SciFi. Whether it be in movies, books or other media, I just find myself being put off by all the sciencey-technological elements which distract myself from the characters or plot. So when I first picked up Red Rising I wasn't expecting what I found.

Brief Background: Red Rising is set in the future, where humans have been inhabiting other planets in our solar system for 700 years. Society is split into a colour/class system where the colour you are represents not only your personal attributes, but your job, your quality of life, and the societal expectations of you. The Gold class is the ruling elite, who are shown to be cruel, calculating and opportunistic, reinforcing the hierarchical system. The protagonist, Darrow is a Red, a slave who toils beneath the surface of Mars, trying to make it habitable for humans. However when a sudden event transpires which changes his life forever, Darrow is thrown into a world where he is shown he has the capabilities to do much more for his people, and to topple the society from within.

First Impressions: I could not put this book down. I was intrigued when someone told me I would like it because it echoed the Hunger Games, but I'd never expected to find it so enrapturing. If you liked the Hunger Games for the world building, the action and the dystopian future with an oppressive social hierarchy, I think you would like Red Rising. But don't read Red Rising hoping to find a Katniss/Peeta love story - you'll be sorely disappointed.

What I Liked: 

1. The setting. During the book, you get thrown between different worlds so fast it's sometimes hard to adapt. But once you get into the swing of things, the intricacy of each of Brown's settings is so incredible you can feel like you're there. There is a focus on world-building here which is different to a lot of the other classic YA dystopians, and the worlds are certainly not cliche in the way that some other novels are. I loved the "arena" style institute and the challenges.

2. Darrow. Of the negative reviews of Red Rising I've read, most are concerned with the infallibility of the main character. I emphatically disagree. Although Darrow is uncharacteristically strong and a natural leader, he is a flawed character. Firstly, his strength and prowess are shown to be partly due to the physical transformation upon him by Mickey, and are thus not exactly his inner attributes. Darrow is shown to be mistrustful of his body at certain times, not knowing exactly how to use his strength which he ultimately grows into. His skills are all attributable - the work in the mines has shown him to be dexterous and quick, and his background has given him an ability to relate to those around him on a peerage level rather than one of superiority. Although he is undeniably quick witted and intelligent, he is also shown to be rash, fueled by anger and retribution, and has deep feelings of guilt which run throughout the novel.

3. Action. Not knowing too much about the novel before going in I was given fantastic twists and turns along the way. Red Rising is definitely fast-paced and is 100% a page turner.

4. Parallels between history and prose. The linkages between communism and capitalism in colour, setting and protagonist could not be clearer. In some ways I think this could probably have been achieved in a more subtle way, but it didn't detract from my appreciation (as a massive history nerd).

What I didn't Like:

1. Occasionally the setting and plot moved too fast for me to get a proper grip on what was happening. Although the fast-paced nature of the book keeps you intrigued, the world-building and unfamiliarity of setting require a deeper and slower approach by the reader which I don't think Brown fully appreciated. It can sometimes feel a bit chaotic.

2. Character building: although Darrow was well rounded in my opinion, other characters, especially those in the latter half of the book weren't satisfactorily explored. I feel like by the end of the book I still didn't know much about Mustang or the Jackel - he popped up very late and despite the mystery surrounding him for a good half of the book, I feel like his actual appearance was somewhat lacklustre and disappointing. 

A thriller-like prose set in a near-dystopian America tells the familiar story of a controlling government, social unrest and technology which has been used to segregate society. In this world, genetic markers are used to identify young boys who have a predisposition to crime and are therefore transformed into wards of the State, separated from society into an institution known as Goodhouse. Somewhat like a prison, but also doubling as an educational institution, life is rough at the Ione Goodhouse, where this novel is set. 

The protagonist is James, a 17 year old male with no idea as to his real name or birthplace. A transfer to Ione, he originally was held at Goodhouse La Pine, before it was destroyed by the religious insurgents (The Zeros), a group whose radical faith impresses upon them the need to purify the earth of the criminal element of children with genetic markers of crime. It is through Ione that James meets Bethany, the daughter of a Goodhouse doctor who has a penchant for misbehavior.  

The book begins in a sort of disjointed fashion, skipping between time-frames and using flashbacks to portray James' psychological unrest as a result of his experience at La Pine. Although this gives good background and setting, it can often (at least at first) disrupt the flow and sequence of the story. This is a common theme throughout the book, where fast paced action often fails to deliver the understanding of setting and emotional attachment for the reader. 

The characters are generally well developed - James is neither a hero nor a villain, which I particularly enjoyed. He is clearly a flawed character, but his grappling with morality and social norms along with his inner psychological turmoil make him a likable figure in a book with many sinister ones. Although his choices are somewhat predictable, it conveys the themes of redemption by love and the struggle against an unfair social system well. Owen, James' roommate, is at first contrived and unlikable, but is further developed into an understandable and sympathetic character. Other figures such as Creighton and Davis represent the stereotypical school-bully types which may seem artificial, if not for the darker element of the book which gives them a bit more credibility as tyrannical characters. 

The artificiality of some parts of the book is really what contributed to my lack of appreciation here. The way in which Bethany and James meet up in various ways throughout the book seems generic and not very imaginative; sometimes dipping into the realm of plain unbelievable. The story line of the Mule Creek prisoners seems largely forgotten for a good half of the book, and only reappears really to tie up loose ends in the last couple of chapters. The background story of the Zeros and their history is largely ignored, which gives them a lack of authenticity. 

Despite these flaws, the book is somewhat easy to read. It does tie up things nicely at the end, yet leaves a sense of future development for characters. If you like thrillers and young adult fiction, you may find this enjoyable. However, if you prefer a deeper prose with real emotional attachment and intricately detailed action, this one isn't for you.