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justinkhchen's reviews
571 reviews
The Bromance Book Club by Lyssa Kay Adams
3.0
3.5 stars
I'll start my review with a caveat that I'm not a seasoned romance reader, which very much correlate with the unique setup of The Bromance Book Club. The 're-education of love' by way of referencing the regency romance sub-genre is perhaps the strongest aspect of this otherwise run of the mill output.
Aside from the book-within-book interludes, the primary narrative is a serviceable second chance romance, relying heavily on well-worn tropes (moments of miscommunication, one final dramatic quarrel before reaching the happy ending, etc.). Though thoroughly amused by the drama and comedy throughout, I had to turn off my critical brain at the oftentimes cheesy and overly-manipulated scenarios (going to an art supply store as a date, no matter how thoughtful, does not warrant that much awe and giddy).
All in all, The Bromance Book Club is pleasant enough; I appreciate it the most when it goes 'meta' and referencing its own genre tropes. Do I wish it had push that train of thought further? Yes. But as it stands it's more than enjoyable with its charming, relatable set of main characters (particularly appreciate the inclusion of speech disorder as a character trait; as someone who have a similar condition, it's nice to see it represented), and plenty fun antics to distract.
p.s. definitely try the audiobook, which in my opinion is the ultimate way to consume this.
I'll start my review with a caveat that I'm not a seasoned romance reader, which very much correlate with the unique setup of The Bromance Book Club. The 're-education of love' by way of referencing the regency romance sub-genre is perhaps the strongest aspect of this otherwise run of the mill output.
Aside from the book-within-book interludes, the primary narrative is a serviceable second chance romance, relying heavily on well-worn tropes (moments of miscommunication, one final dramatic quarrel before reaching the happy ending, etc.). Though thoroughly amused by the drama and comedy throughout, I had to turn off my critical brain at the oftentimes cheesy and overly-manipulated scenarios (going to an art supply store as a date, no matter how thoughtful, does not warrant that much awe and giddy).
All in all, The Bromance Book Club is pleasant enough; I appreciate it the most when it goes 'meta' and referencing its own genre tropes. Do I wish it had push that train of thought further? Yes. But as it stands it's more than enjoyable with its charming, relatable set of main characters (particularly appreciate the inclusion of speech disorder as a character trait; as someone who have a similar condition, it's nice to see it represented), and plenty fun antics to distract.
p.s. definitely try the audiobook, which in my opinion is the ultimate way to consume this.
No Exit by Taylor Adams
4.0
4 stars
Comparing to movies, if you enjoy one-location thrillers with a dash of dark humor, such as Panic Room or Red Eye, than No Exit by Taylor Adams should be right up your alley. Even with its shaky beginning, the novel briskly transitions into an efficient tale for survival, with just enough twists and turns to excite.
**Minor spoiler ahead**
In contrary to most thrillers, which tend to trip over their narrative in their last act, No Exit begins with its weakest section. Taylor Adams sets up plenty conditions in order to isolate the characters as well as their location (a highway rest stop), unfortunately many of them seem naively convenient (such as the absolute absence of traffic and device to charge a phone). Suspension of disbelief aside, the protagonist, college student Darby Thorne, initially comes across as very standoffish and judgmental, profiling people based solely on their appearance (she immediately labels Lars as THE suspect without any substantial proof), which leads to some questionable character decisions in order to get the plot rolling.
Fortunately once the cat-and-mouse game starts, there are enough fast actions and clever fake-outs to distract readers from over-analyzing their validity. Even with some extraneous threads never being fully utilized (the child's Addison's disease is basically a throwaway detail) or fleshed out (the initial kidnapping is possibly the worst planned crime ever), Taylor Adams is able to sustain a level of entertaining chaos, ramping up each character's inadequacy at being either a kidnapper, or a heroine. The constant course correction by both parties is what keeps No Exit addictively engrossing, and the novel also doesn't hold back when it come to violence, adding a layer of irreversible severity to the mix.
**Minor spoiler ends**
Overall, No Exit is a lot smarter than most thrillers, with just enough levity keeping it from descending into merciless torture porn. If you can get pass the unrealistic setup and an unlikable protagonist in the first couple chapters, you'll be rewarded with a wild ride.
Comparing to movies, if you enjoy one-location thrillers with a dash of dark humor, such as Panic Room or Red Eye, than No Exit by Taylor Adams should be right up your alley. Even with its shaky beginning, the novel briskly transitions into an efficient tale for survival, with just enough twists and turns to excite.
**Minor spoiler ahead**
In contrary to most thrillers, which tend to trip over their narrative in their last act, No Exit begins with its weakest section. Taylor Adams sets up plenty conditions in order to isolate the characters as well as their location (a highway rest stop), unfortunately many of them seem naively convenient (such as the absolute absence of traffic and device to charge a phone). Suspension of disbelief aside, the protagonist, college student Darby Thorne, initially comes across as very standoffish and judgmental, profiling people based solely on their appearance (she immediately labels Lars as THE suspect without any substantial proof), which leads to some questionable character decisions in order to get the plot rolling.
Fortunately once the cat-and-mouse game starts, there are enough fast actions and clever fake-outs to distract readers from over-analyzing their validity. Even with some extraneous threads never being fully utilized (the child's Addison's disease is basically a throwaway detail) or fleshed out (the initial kidnapping is possibly the worst planned crime ever), Taylor Adams is able to sustain a level of entertaining chaos, ramping up each character's inadequacy at being either a kidnapper, or a heroine. The constant course correction by both parties is what keeps No Exit addictively engrossing, and the novel also doesn't hold back when it come to violence, adding a layer of irreversible severity to the mix.
**Minor spoiler ends**
Overall, No Exit is a lot smarter than most thrillers, with just enough levity keeping it from descending into merciless torture porn. If you can get pass the unrealistic setup and an unlikable protagonist in the first couple chapters, you'll be rewarded with a wild ride.
Lock Every Door by Riley Sager
2.0
2 stars
Great premise hindered by a below-than-average execution.
With such premise I was looking forward to a psychological thriller in the vein of Rosemary's Baby, which the novel definitely takes inspiration from; but what we ended up is a skeletal frame of a plot without any of the delicious meat...
Lock Every Door is full of inconsequential padding; the telltale sign first appeared when it took 13 chapters to set off a plot point mentioned in its synopsis (the character Ingrid's disappearance), and the duo-timelines device sprinkled throughout the narrative ultimately provided very little payoff—those chapters can be completely skipped without missing any significant development.
Riley Sager's basic, unadorned writing style is another downgrading factor for me, which seems to work against the genre that is desperate for intricate mood-setting and atmosphere. It's like watching a movie filmed with office fluorescent light and IKEA furniture—yes, lines are delivered and plot understood, but in the least engrossing way possible.
The combination of a sluggish pacing and passionless writing drives my full attention to scrutinize Lock Every Door's plot, which is filled with obvious holes and logic gaps, beyond my typical thriller genre tolerance. It's as if the publisher rushed to push the book out, without giving it the final polish, because a lot of its clumsiness could've been cleaned up through a couple more rounds of editing.
Spoiler:
- If this whole black market scheme has been operating for decades, why are they so bad at getting rid of previous tenant / sitter objects in the apartment? (Magazine with Marjorie Milton's name, Ingrid's key in the dumbwaiter, inscribed copy of Heart of a Dreamer everywhere, Erica's cellphone in a grate, Megan's ring, etc.)
- Why would Marjorie Milton wear an ouroboros pin—when ultimately The Bartholomew was not a place of occult but simply an organ transplant center for her? That's like wearing a t-shirt from the dentist where you got your teeth cleaned.
- I find it hilarious that Jule carries her family photo with the cracked frame DURING ALL THIS TIME—could've easily just taken the photo with her instead.
.
Ultimately, Lock Every Door was not a fulfilling read; it has a promising setup, but everything else feels extremely sloppy and unfinished. Which got me concerned, as I already have the same author's Home Before Dark sitting next to me...
Great premise hindered by a below-than-average execution.
With such premise I was looking forward to a psychological thriller in the vein of Rosemary's Baby, which the novel definitely takes inspiration from; but what we ended up is a skeletal frame of a plot without any of the delicious meat...
Lock Every Door is full of inconsequential padding; the telltale sign first appeared when it took 13 chapters to set off a plot point mentioned in its synopsis (the character Ingrid's disappearance), and the duo-timelines device sprinkled throughout the narrative ultimately provided very little payoff—those chapters can be completely skipped without missing any significant development.
Riley Sager's basic, unadorned writing style is another downgrading factor for me, which seems to work against the genre that is desperate for intricate mood-setting and atmosphere. It's like watching a movie filmed with office fluorescent light and IKEA furniture—yes, lines are delivered and plot understood, but in the least engrossing way possible.
The combination of a sluggish pacing and passionless writing drives my full attention to scrutinize Lock Every Door's plot, which is filled with obvious holes and logic gaps, beyond my typical thriller genre tolerance. It's as if the publisher rushed to push the book out, without giving it the final polish, because a lot of its clumsiness could've been cleaned up through a couple more rounds of editing.
Spoiler:
Spoiler
- The whole setup of finding apartment sitters to ultimately salvage their organs is an intriguing concept, but extremely convoluted—there are so much implied risks, and so many alternative ways to elicit candidates with even lesser liability (why not just go to homeless shelters directly?)- If this whole black market scheme has been operating for decades, why are they so bad at getting rid of previous tenant / sitter objects in the apartment? (Magazine with Marjorie Milton's name, Ingrid's key in the dumbwaiter, inscribed copy of Heart of a Dreamer everywhere, Erica's cellphone in a grate, Megan's ring, etc.)
- Why would Marjorie Milton wear an ouroboros pin—when ultimately The Bartholomew was not a place of occult but simply an organ transplant center for her? That's like wearing a t-shirt from the dentist where you got your teeth cleaned.
- I find it hilarious that Jule carries her family photo with the cracked frame DURING ALL THIS TIME—could've easily just taken the photo with her instead.
.
Ultimately, Lock Every Door was not a fulfilling read; it has a promising setup, but everything else feels extremely sloppy and unfinished. Which got me concerned, as I already have the same author's Home Before Dark sitting next to me...
Ruby Falls by Deborah Goodrich Royce
3.0
3 stars
A dreamlike read with prose that paints vivid imagery, Ruby Falls has moments of brilliant storytelling, but ultimately underwhelming; trapping itself with conventional thriller tropes, instead of heading down a bolder, more original direction.
Comparing Ruby Falls to The Silent Patient by Alex Michaelides and Rebecca in its marketing copy is a little pompous, and ultimately not doing itself any favor. In my opinion, the 'final twist' is the novel's weakest link, and even though Rebecca is often referred to throughout (The protagonist is playing the lead in a new film adaptation), its presence is superficial at best, offering little substantial juxtaposition or correlation to Royce's story. (Same goes with naming each chapter after a movie, when there's no clear association to the happening in the plot.)
If we have to compare Ruby Falls to existing materials, David Lynch's Mulholland Drive and Charlotte Perkins Gilman's The Yellow Wallpaper comes to mind (Alice in Wonderland is another contender).
Ruby Falls is at its best when it embraces its hallucinatory quality, painting an alternate, rose-tinted Los Angeles, where the protagonist transverses between a house with kooky cat lady, an antique store in the middle of Hollywood, and the blurring boundary between her shuttered memory, Hollywood make-believe, and an unreliable present.
The plot ultimately leads to a reveal that should be no surprise to domestic thriller enthusiasts, however, such a defining resolution with concrete evidence put all the surrealist build-ups in jeopardy; instead of being satisfied with this book as a metaphoric fever dream of a troubling mind (where things are symbolic and not grounded to common sense), we are forced to re-analyze the preceding events through a new, logic-focused lens, and unfortunately many elements starting to fall apart under such scrutiny.
Ruby Falls should've been a literary fiction with a touch of magic realism through and through, instead of the sleight of hand act pivoting to a thriller in its final moment, because the only player that got played, is itself.
***This ARC was provided by the publisher via NetGalley in exchange for an honest review. Much appreciated!***
A dreamlike read with prose that paints vivid imagery, Ruby Falls has moments of brilliant storytelling, but ultimately underwhelming; trapping itself with conventional thriller tropes, instead of heading down a bolder, more original direction.
Comparing Ruby Falls to The Silent Patient by Alex Michaelides and Rebecca in its marketing copy is a little pompous, and ultimately not doing itself any favor. In my opinion, the 'final twist' is the novel's weakest link, and even though Rebecca is often referred to throughout (The protagonist is playing the lead in a new film adaptation), its presence is superficial at best, offering little substantial juxtaposition or correlation to Royce's story. (Same goes with naming each chapter after a movie, when there's no clear association to the happening in the plot.)
If we have to compare Ruby Falls to existing materials, David Lynch's Mulholland Drive and Charlotte Perkins Gilman's The Yellow Wallpaper comes to mind (Alice in Wonderland is another contender).
Ruby Falls is at its best when it embraces its hallucinatory quality, painting an alternate, rose-tinted Los Angeles, where the protagonist transverses between a house with kooky cat lady, an antique store in the middle of Hollywood, and the blurring boundary between her shuttered memory, Hollywood make-believe, and an unreliable present.
The plot ultimately leads to a reveal that should be no surprise to domestic thriller enthusiasts, however, such a defining resolution with concrete evidence put all the surrealist build-ups in jeopardy; instead of being satisfied with this book as a metaphoric fever dream of a troubling mind (where things are symbolic and not grounded to common sense), we are forced to re-analyze the preceding events through a new, logic-focused lens, and unfortunately many elements starting to fall apart under such scrutiny.
Ruby Falls should've been a literary fiction with a touch of magic realism through and through, instead of the sleight of hand act pivoting to a thriller in its final moment, because the only player that got played, is itself.
***This ARC was provided by the publisher via NetGalley in exchange for an honest review. Much appreciated!***
Earl's Well That Ends Well by Jane Ashford
3.0
3.5 stars
Can a novel still be categorized as romance when your romantic leads are levelheaded to a fault? Earl's Well That Ends Well, with its homonymous word play of a title, might has misrepresented itself as a potentially quirky, lively affair. While the book is skillfully crafted and never dull, the minuscule presence of courtship might disappoint readers seeking escapist romance fun.
The romantic pairing will instantly hook you: a well-reputed widowed earl in his 50s (still handsome and in good shape, as the book constantly reminds us), and a Spanish noblewoman (in her early 40s) with a traumatic past, perfectly content with solitude for life. Even though the mutual attraction is established early on, author Jane Ashford keeps them at arm's length: the earl too polite to encroach, the noblewoman too stubborn to disrupt her hard-earned peace. This standstill is maintained well into 70% of the story, when their relationship finally comes to the forefront and advances. When it rains, it pours, even though the sample-sized romance still manages to close out the narrative on a gratifying note, it remains an off-balanced storytelling, even for the most patient reader.
**Minor spoiler ahead**
To fill that romance-less 70%, Earl's Well That Ends Well paints an engrossing world packed with a surprisingly large cast of secondary characters, and a very plot-driven narrative. I was pleasantly surprised to realize the main narrative through line involves solving a serial kidnapping scheme. Being the fifth book in a series, I'm sure readers with previous knowledge will be happy to see characters returning for another round.
**Minor spoiler ends**
While I didn't get the brash banter filled, passion-exploding novel I was hoping for (I mean, the earl is clearly going through a midlife crisis, how can you not have fun starting with that?), I do appreciate Jane Ashford's more sensible, slowburn approach. Just beware in Earl's Well That Ends Well, it focuses more on things happening around the two leads, rather than things between them.
***This ARC was provided by the publisher via NetGalley in exchange for an honest review. Much appreciated!***
Can a novel still be categorized as romance when your romantic leads are levelheaded to a fault? Earl's Well That Ends Well, with its homonymous word play of a title, might has misrepresented itself as a potentially quirky, lively affair. While the book is skillfully crafted and never dull, the minuscule presence of courtship might disappoint readers seeking escapist romance fun.
The romantic pairing will instantly hook you: a well-reputed widowed earl in his 50s (still handsome and in good shape, as the book constantly reminds us), and a Spanish noblewoman (in her early 40s) with a traumatic past, perfectly content with solitude for life. Even though the mutual attraction is established early on, author Jane Ashford keeps them at arm's length: the earl too polite to encroach, the noblewoman too stubborn to disrupt her hard-earned peace. This standstill is maintained well into 70% of the story, when their relationship finally comes to the forefront and advances. When it rains, it pours, even though the sample-sized romance still manages to close out the narrative on a gratifying note, it remains an off-balanced storytelling, even for the most patient reader.
**Minor spoiler ahead**
To fill that romance-less 70%, Earl's Well That Ends Well paints an engrossing world packed with a surprisingly large cast of secondary characters, and a very plot-driven narrative. I was pleasantly surprised to realize the main narrative through line involves solving a serial kidnapping scheme. Being the fifth book in a series, I'm sure readers with previous knowledge will be happy to see characters returning for another round.
**Minor spoiler ends**
While I didn't get the brash banter filled, passion-exploding novel I was hoping for (I mean, the earl is clearly going through a midlife crisis, how can you not have fun starting with that?), I do appreciate Jane Ashford's more sensible, slowburn approach. Just beware in Earl's Well That Ends Well, it focuses more on things happening around the two leads, rather than things between them.
***This ARC was provided by the publisher via NetGalley in exchange for an honest review. Much appreciated!***
Do You Want to Start a Scandal by Tessa Dare
4.0
4 stars
Do You Want to Start a Scandal proves you can still trigger the joy of reading, even with an overly familiar formula — through a ferocious pacing, fleshed out characters, and abundance of spirited retorts.
Tessa Dare's snappy, light-hearted writing style is the MVP here, filling in the blank with vivid banters. It's not a plot-focused book (I'm sure no one is surprised by where the story is ultimately heading), but the commotion between the start and the end offer ample opportunity to bring the two protagonists to life. While I applaud the attempt at multiple narrative threads, they ultimately resolve with a wrap-up that's a little too juvenile even for the whimsy the book is going for. I also appreciate this book works as a stand-alone (even being a part of 2 series), unlike another romance series book I picked up recently (which baits you to pick up the next one).
Do You Want to Start a Scandal may have dragged a little near the end, and doesn't break new ground, but it's a very polished, adorable regency romance output — as someone who is still relatively new to the genre, I will definitely look up more Tessa Dare's work.
A note of caution: for me, the romance genre is like candy, delectable but teeth-rottingly sweet—I will need to pace myself between books to prevent from burning out by its tropes and formulaic structure.
Do You Want to Start a Scandal proves you can still trigger the joy of reading, even with an overly familiar formula — through a ferocious pacing, fleshed out characters, and abundance of spirited retorts.
Tessa Dare's snappy, light-hearted writing style is the MVP here, filling in the blank with vivid banters. It's not a plot-focused book (I'm sure no one is surprised by where the story is ultimately heading), but the commotion between the start and the end offer ample opportunity to bring the two protagonists to life. While I applaud the attempt at multiple narrative threads, they ultimately resolve with a wrap-up that's a little too juvenile even for the whimsy the book is going for. I also appreciate this book works as a stand-alone (even being a part of 2 series), unlike another romance series book I picked up recently (which baits you to pick up the next one).
Do You Want to Start a Scandal may have dragged a little near the end, and doesn't break new ground, but it's a very polished, adorable regency romance output — as someone who is still relatively new to the genre, I will definitely look up more Tessa Dare's work.
A note of caution: for me, the romance genre is like candy, delectable but teeth-rottingly sweet—I will need to pace myself between books to prevent from burning out by its tropes and formulaic structure.
The Formidable Earl by Sophie Barnes
2.0
2.5 stars
After receiving my 'Romance Lit 101' on the Regency romance subgenre through The Bromance Book Club, I decided to venture into my first full-length novel; which turned out to be The Formidable Earl by Sophie Barnes. So bear in mind this review is written from the perspective of a brand new romance reader.
The Formidable Earl turned out to be simply average; 'inoffensive' would be the choice word to describe it. I wasn't particularly engaged, but also wasn't offended by the characters or plot development; everything just washed over like water — cured my thirst of boredom but left no trace behind. The two protagonists, Simon Nugent and Ida Strong, were likable characters, but the journey they went through felt very by-the-numbers and lacked any sort of passion or suspense, which is a pretty big flaw considering the primary story objective is a revenge. Sophie Barnes has mapped out a very intentional pacing for The Formidable Earl, one that switches back and forth between romance and revenge at a regulated interval; which I argue actually depletes any sense on momentum. At a constant 30 mph throughout, this might be the most lifeless delivery I've ever read so far this year.
Also didn't realize going in this is part of a series (#6 of Diamonds in the Rough), which was made explicitly clear as the last chapter was setting up the couple-to-be for the next book. I would say if you are already reading the series, the familiarity with recurring characters will probably get you more out of The Formidable Earl, otherwise it is a pretty formulaic, vanilla story that will adequately fill up time if you have absolutely nothing to read.
Probably not a bad start for my Regency romance journey though, things can only go up from here!
***This ARC was provided by the publisher via NetGalley in exchange for an honest review. Much appreciated!***
After receiving my 'Romance Lit 101' on the Regency romance subgenre through The Bromance Book Club, I decided to venture into my first full-length novel; which turned out to be The Formidable Earl by Sophie Barnes. So bear in mind this review is written from the perspective of a brand new romance reader.
The Formidable Earl turned out to be simply average; 'inoffensive' would be the choice word to describe it. I wasn't particularly engaged, but also wasn't offended by the characters or plot development; everything just washed over like water — cured my thirst of boredom but left no trace behind. The two protagonists, Simon Nugent and Ida Strong, were likable characters, but the journey they went through felt very by-the-numbers and lacked any sort of passion or suspense, which is a pretty big flaw considering the primary story objective is a revenge. Sophie Barnes has mapped out a very intentional pacing for The Formidable Earl, one that switches back and forth between romance and revenge at a regulated interval; which I argue actually depletes any sense on momentum. At a constant 30 mph throughout, this might be the most lifeless delivery I've ever read so far this year.
Also didn't realize going in this is part of a series (#6 of Diamonds in the Rough), which was made explicitly clear as the last chapter was setting up the couple-to-be for the next book. I would say if you are already reading the series, the familiarity with recurring characters will probably get you more out of The Formidable Earl, otherwise it is a pretty formulaic, vanilla story that will adequately fill up time if you have absolutely nothing to read.
Probably not a bad start for my Regency romance journey though, things can only go up from here!
***This ARC was provided by the publisher via NetGalley in exchange for an honest review. Much appreciated!***
The Only Good Indians by Stephen Graham Jones
4.0
4.5 stars
A story of retribution that packs a punch, both for its emotional delivery and creep factor. As strange as this might sounds, Quentin Tarantino's Kill Bill came to mind during my reading of The Only Good Indians. Analyzing this more thoroughly, I think the comparison comes from the straight-forwardness of its narrative, as well as the treatment of violence; yes, it is grisly and gut-punching (one particular scene literally left me jaw-dropped), but still maintains a sense of purpose, never feeling gratuitous. In this case, the physical horror represents repressed guilt.
This story is seeped in Native American belief. I've noticed some readers consider 'the incident' weak and unsubstantial, doesn't warrant all the tragedies that follow thereafter. But it's worth keeping in mind the Indigenous peoples have a vastly different attitude towards nature, compare to most Anglo-western society. For a culture that is deeply spiritual, maintaining a close-knit relationship with Earth and all life above it, I find the cause and effect completely justified and engrossing.
I definitely had moments when I need to stop reading and Google (such as the Blackfeet sweat lounge ritual), or simply try to interpret by context; the ultra-authentic writing style will take time getting acclimated. I ultimately did grow quite fond of Stephen Graham Jones's approach, the text rings true to its character and environment, filled with tribal terminology and local vernacular, without feeling compromised or simplified to appeal the mainstream readers. This plus a stream-of-consciousness storytelling, The Only Good Indians is by all means not a bingeable book; it is a reading experience best enjoyed focused and prolonged, where you can chew on words and really familiarize the cultural context.
**Minor spoiler ahead**
It's as if the author was bound by contract to deliver a 300+ pages novel (the story is 305 pages in my hardcover), The Only Good Indians's third act is long-winded ans rather tedious, with just two events stretched thin across 50 pages: an extended game of 1-on-1 basketball, and a sluggish chase scene where the predator literally strolls towards its victim.
The story also veers into a trajectory I don't particularly like in my horror, where the supernatural has extended interaction (like conversation or physical activity) with the living. It's a tad too 'Casper the Friendly Ghost' for me, particularly jarring in comparison to the ominous, kept-in-the-shadow, and malicious persona previously established. Fortunately the narrative rights itself for its closing, offering a cyclical view on life, and wrapping the preceding horror with a glimmer of hope.
**Minor spoiler ends**
Overall, The Only Good Indians is a fascinating read, not only does it deliver as a horror experience, it is also told through a point of view drastically different from what's on the market (as in, White people). While challenging to get into, and can use some trimming in its third act—this is an easy recommendation.
A story of retribution that packs a punch, both for its emotional delivery and creep factor. As strange as this might sounds, Quentin Tarantino's Kill Bill came to mind during my reading of The Only Good Indians. Analyzing this more thoroughly, I think the comparison comes from the straight-forwardness of its narrative, as well as the treatment of violence; yes, it is grisly and gut-punching (one particular scene literally left me jaw-dropped), but still maintains a sense of purpose, never feeling gratuitous. In this case, the physical horror represents repressed guilt.
This story is seeped in Native American belief. I've noticed some readers consider 'the incident' weak and unsubstantial, doesn't warrant all the tragedies that follow thereafter. But it's worth keeping in mind the Indigenous peoples have a vastly different attitude towards nature, compare to most Anglo-western society. For a culture that is deeply spiritual, maintaining a close-knit relationship with Earth and all life above it, I find the cause and effect completely justified and engrossing.
I definitely had moments when I need to stop reading and Google (such as the Blackfeet sweat lounge ritual), or simply try to interpret by context; the ultra-authentic writing style will take time getting acclimated. I ultimately did grow quite fond of Stephen Graham Jones's approach, the text rings true to its character and environment, filled with tribal terminology and local vernacular, without feeling compromised or simplified to appeal the mainstream readers. This plus a stream-of-consciousness storytelling, The Only Good Indians is by all means not a bingeable book; it is a reading experience best enjoyed focused and prolonged, where you can chew on words and really familiarize the cultural context.
**Minor spoiler ahead**
It's as if the author was bound by contract to deliver a 300+ pages novel (the story is 305 pages in my hardcover), The Only Good Indians's third act is long-winded ans rather tedious, with just two events stretched thin across 50 pages: an extended game of 1-on-1 basketball, and a sluggish chase scene where the predator literally strolls towards its victim.
The story also veers into a trajectory I don't particularly like in my horror, where the supernatural has extended interaction (like conversation or physical activity) with the living. It's a tad too 'Casper the Friendly Ghost' for me, particularly jarring in comparison to the ominous, kept-in-the-shadow, and malicious persona previously established. Fortunately the narrative rights itself for its closing, offering a cyclical view on life, and wrapping the preceding horror with a glimmer of hope.
**Minor spoiler ends**
Overall, The Only Good Indians is a fascinating read, not only does it deliver as a horror experience, it is also told through a point of view drastically different from what's on the market (as in, White people). While challenging to get into, and can use some trimming in its third act—this is an easy recommendation.
The Taming of the Duke by Eloisa James
3.0
3.5 stars
(Review after commentary)
A Guy Reading Historical Romance | Ep01
➵ A Commentary Track
This is an experiment. Inspired Mystery Science Theater 3000, I'll be keeping track of my random reactions and tangential thoughts as I venture into this unfamiliar genre. There WILL be spoilers, so proceed with caution. Will be consisted of older titles published prior to 2010. Sponsored by my local thrift stores.
❈✢❈
00 Cover: Does the man-boby need help (un)dressing? The disembodied hands emerging from the shadow are a bit creepy; will there be horror element in this story? This looks like a rough sketch for a final illustration; did someone forget their deadline?
01 CH2: Introducing the male characters' physique through a house of mirror sequence is quite brilliant (and vain!)
02 So you're telling me, we have 2 brothers from different mothers, born only days apart, with identical features that can pass as twin... their father must've been busy spreading his (very strong) genes
03 CH5: A nightgown that is 'so pale that it resembles the inside of a baby's ear.' That sounds gross (see what I did there?)
04 Talk about an eyeful for first impression! (boob sighting #1)
05 CH9: A character is asking for a very dry toast, without butter, for breakfast. It's actually making me thirsty (taking a sip from my mug)
06 ...And now she's buttering it 3 pages later... what's the point of this detail?! Kept me hydrated though
07 CH10: Our heroine has a thigh fetish (+ dick sighting #1)
08 CH12: 'In the crook of his arm was a red-haired urchin with a toothless grin.' Did this just turn into a monster sci-fi novel? Had to quickly Google to make sure I absolutely know what an urchin is (and no, I still can't relate it to a cute, red-haired baby) *Edit: so, according to Merriam-Webster, 'urchin' DOES have the following definition: mischievous and often poor and raggedly clothed youngster
09 CH15: Currently we have a crisscross situation, where our 4 main characters (2M/2F) are secretly infatuated with one another, AND now they are now assigning roles to the play they are putting together. Never would I anticipate the need to take notes reading historical romance
10 One of the character has a foaling mare—so I ended up watching YouTube videos of horses giving birth... Mother Nature is incredible
11 The reformed alcoholic finally recovers... his sex drive
12 CH18: In all honesty though, I'm actually really enjoying this story
12 CH19: What's on the menu for our characters: stuffed calf's heart, fried liver, pigeon pie, mutton leg, green peas. I can tolerate all except the heart dish... but a quick Google search reveals it actually doesn't look that offensive
13 CH25: 'The theater is packed now, every seat filled with someone's bottom.' Do we really need that second part about butts?
14 CH27: Not only is our reformed alcoholic male lead sexually active again, he also manages to lose his gut and becomes fit and 'lean' in a few weeks. People must have great metabolism back then
15 CH29: I get it, he has a big dick, stop reminding me
❈✢❈
Unbalanced silly fun that wears its Shakespearean reference on its sleeves.
The Taming of the Duke is essentially a farce about false identity, and despise-to-love relationship. While it is never boring, the last quarter of the book feels rushed, jam-packed with major plot developments written away in few paragraphs; one would've wished Eloisa James had found a way to distribute the momentum more evenly. Even though the book is about the blossoming relationships between 4 people, it is evident one pairing gets the short end of the stick; their story is fragmented and barely featured in the spotlight, leaving the happily-after outcome hollow and unearned.
The book features a main character as an alcoholic on his path to sobriety, but don't mistake The Taming of the Duke for anything realistic or enlightening; it is just a decent dose of casual reading with witty prose and tenderly rendered character moments, and I'm content with what's provided here.
(Review after commentary)
A Guy Reading Historical Romance | Ep01
➵ A Commentary Track
This is an experiment. Inspired Mystery Science Theater 3000, I'll be keeping track of my random reactions and tangential thoughts as I venture into this unfamiliar genre. There WILL be spoilers, so proceed with caution. Will be consisted of older titles published prior to 2010. Sponsored by my local thrift stores.
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00 Cover: Does the man-boby need help (un)dressing? The disembodied hands emerging from the shadow are a bit creepy; will there be horror element in this story? This looks like a rough sketch for a final illustration; did someone forget their deadline?
01 CH2: Introducing the male characters' physique through a house of mirror sequence is quite brilliant (and vain!)
02 So you're telling me, we have 2 brothers from different mothers, born only days apart, with identical features that can pass as twin... their father must've been busy spreading his (very strong) genes
03 CH5: A nightgown that is 'so pale that it resembles the inside of a baby's ear.' That sounds gross (see what I did there?)
04 Talk about an eyeful for first impression! (boob sighting #1)
05 CH9: A character is asking for a very dry toast, without butter, for breakfast. It's actually making me thirsty (taking a sip from my mug)
06 ...And now she's buttering it 3 pages later... what's the point of this detail?! Kept me hydrated though
07 CH10: Our heroine has a thigh fetish (+ dick sighting #1)
08 CH12: 'In the crook of his arm was a red-haired urchin with a toothless grin.' Did this just turn into a monster sci-fi novel? Had to quickly Google to make sure I absolutely know what an urchin is (and no, I still can't relate it to a cute, red-haired baby) *Edit: so, according to Merriam-Webster, 'urchin' DOES have the following definition: mischievous and often poor and raggedly clothed youngster
09 CH15: Currently we have a crisscross situation, where our 4 main characters (2M/2F) are secretly infatuated with one another, AND now they are now assigning roles to the play they are putting together. Never would I anticipate the need to take notes reading historical romance
10 One of the character has a foaling mare—so I ended up watching YouTube videos of horses giving birth... Mother Nature is incredible
11 The reformed alcoholic finally recovers... his sex drive
12 CH18: In all honesty though, I'm actually really enjoying this story
12 CH19: What's on the menu for our characters: stuffed calf's heart, fried liver, pigeon pie, mutton leg, green peas. I can tolerate all except the heart dish... but a quick Google search reveals it actually doesn't look that offensive
13 CH25: 'The theater is packed now, every seat filled with someone's bottom.' Do we really need that second part about butts?
14 CH27: Not only is our reformed alcoholic male lead sexually active again, he also manages to lose his gut and becomes fit and 'lean' in a few weeks. People must have great metabolism back then
15 CH29: I get it, he has a big dick, stop reminding me
❈✢❈
Unbalanced silly fun that wears its Shakespearean reference on its sleeves.
The Taming of the Duke is essentially a farce about false identity, and despise-to-love relationship. While it is never boring, the last quarter of the book feels rushed, jam-packed with major plot developments written away in few paragraphs; one would've wished Eloisa James had found a way to distribute the momentum more evenly. Even though the book is about the blossoming relationships between 4 people, it is evident one pairing gets the short end of the stick; their story is fragmented and barely featured in the spotlight, leaving the happily-after outcome hollow and unearned.
The book features a main character as an alcoholic on his path to sobriety, but don't mistake The Taming of the Duke for anything realistic or enlightening; it is just a decent dose of casual reading with witty prose and tenderly rendered character moments, and I'm content with what's provided here.
Dream Sequence by Adam Foulds
4.0
4 stars
A slice-of-life narrative about two individuals who long for an idealized future, the next best thing, without ever truly live the present.
At a 3.02 average score, Dream Sequence is currently the lowest rated book I've read; however I ended up thoroughly enjoyed it. Yes, there is only the slightest resemblance of a 'plot', but the objective here is really about becoming intimate with the protagonists, and through their unique (aka flawed) moral and outlook, experience our world with new lens.
The book is evenly divided between its two protagonists, an up-and-coming British actor Henry Banks, and the recently divorced American female, Kristin. Due to Henry's occupation, his narrative is by far the more nuanced and layered one; his character traverses a diverse range of scenarios (audition, premiere, on set, etc.), and we the reader get to witness his emotional trajectory, from his impostor syndrome, envy, desperation, to his tepid attitude on relationship of all kind. As an aside, while irrelevant to the core story, it is evident Adam Foulds modeled Henry Banks after currently-active actor (Michael Fassbender came to mind), which I think further assists readers to mentally materialize this character.
In contrast, the character Kristin remains as an enigma throughout; while I understand the intention, instead of the dual-protagonist setup, the book would've been stronger devoting solely on Henry, with Kristin as a secondary character.
Dream Sequence is beautifully written, has one engrossing character, and a potent sense of modern melancholy. I can see myself revisiting this from time to time, perhaps not as another full read through, but like dreaming, indulge in snippets.
A slice-of-life narrative about two individuals who long for an idealized future, the next best thing, without ever truly live the present.
At a 3.02 average score, Dream Sequence is currently the lowest rated book I've read; however I ended up thoroughly enjoyed it. Yes, there is only the slightest resemblance of a 'plot', but the objective here is really about becoming intimate with the protagonists, and through their unique (aka flawed) moral and outlook, experience our world with new lens.
The book is evenly divided between its two protagonists, an up-and-coming British actor Henry Banks, and the recently divorced American female, Kristin. Due to Henry's occupation, his narrative is by far the more nuanced and layered one; his character traverses a diverse range of scenarios (audition, premiere, on set, etc.), and we the reader get to witness his emotional trajectory, from his impostor syndrome, envy, desperation, to his tepid attitude on relationship of all kind. As an aside, while irrelevant to the core story, it is evident Adam Foulds modeled Henry Banks after currently-active actor (Michael Fassbender came to mind), which I think further assists readers to mentally materialize this character.
In contrast, the character Kristin remains as an enigma throughout; while I understand the intention, instead of the dual-protagonist setup, the book would've been stronger devoting solely on Henry, with Kristin as a secondary character.
Dream Sequence is beautifully written, has one engrossing character, and a potent sense of modern melancholy. I can see myself revisiting this from time to time, perhaps not as another full read through, but like dreaming, indulge in snippets.