Sunday, August 1, 2021

Cyber's Change by Jamie Davis

Rating: WARTY!

This is a sci-fi novel set in 2055 in, of course, the USA, because why else would anyone ever consider reading it?! It was over the top and had some issues, and while I had initially intended to give this a positive rating, the more I wrote of this review, the more I realized how sadly lacking the story was, and despite my having read it all and enjoyed parts of it, I really cannot in good faith rate this positively. Maybe I'd considered doing that because I'm just getting too sentimental. Or maybe I've read so many really bad books that even a middling novel sounds like it's worthy? Or maybe I just like LGBTQIA stories, even if they're less than stellar? I dunno! But to be fair to other reviews, I cannot honestly rate this positively given all the problems it exhibited.

On the good side, this story is made more believable by the inane excesses of intolerance generated over the last four years and the dire consequences those years have scarred the USA with. It shows that there are almost as many assholes in this country as there are decent people and it's a toss-up who will actually make the biggest impression on life here. Much like the nation, in the story, the main two characters are diametrically opposed at least ostensibly in this novel. One of them, Cass, was raised in a cult known as the Sapiens Movement, which believes that any cybernetic enhancement of humans, even for medical reasons, and regardless of how little or much it is invasive, makes a person less than human and not worthy of equal treatment.

Rather than go to a sapiens-approved college, Cass elects to go to a regular school, explaining to her family that if she's to help them in the movement, she must understand what they're up against. For reasons which are left unexplored, much less explained, her parents go along with this. Cass hasn't been honest with her roomie about her extreme beliefs and when she learns of Shelby's enhancements, she's dishonest with her parents about those, too. Cass is also a lesbian, and this is a problem in the sense that, if her parents are so dead set against anything unnatural, how is it they're so accepting of her being queer? Why do they not consider that unnatural? There's no consideration, let alone explanation, offered for this apparent contradiction in their beliefs.

Cass has been video-conferencing with her roommate to be, who she hasn't met in person. When they do meet, Cass discovers that Shelby, on a whim, has had one of her perfectly good arms removed and replaced by a mechanical one which has enhanced features (essentially it's a cybernetic Swiss army knife with a storage compartment). There never was any really compelling reason offered for her to make this choice, and no accounting for the fact that this major surgery was not done in a hospital, but in a cut-rate dive where unqualified or disqualified people do these surgeries and there's no government regulation!

This would be a major point in the favor of the Sapiens's position, yet never once is it used, nor is Cass appalled by how slapdash and dangerous this work is, not to say illegal! Shelby also has brain implants that allow her to access the internet without a terminal. The Internet - for reasons unexplained - is renamed the 'mantle' here. I doubt that will ever happen! It didn't feel organic and felt much more like the author had changed it solely for the purpose to trying to sound cool. Rather than cool, to me a mantle sounds vaguely threatening, like something an octopus traps its prey under before eating it!

The 'romance' between the two main characters was skirted around rather than plunged into. As important as it was, it deserved better than this. The author skips several weeks of their interactions, and after that unexplored period, we're just told they're an item - so all the magic and charm of their falling for each other is lost and this negatively and severely impacts the believability of their relationship. It makes it feel like it happened overnight although technically it did not.

I got the impression, rightly or wrongly, that the author is squeamish (or something) when it comes to depicting lesbian interaction. Why he would be, I don't know, but he offers virtually zero physical contact between the two of them at any point in the story; there's barely any hugging, touching, or kissing, let alone actual sex. Instead, he leaves us to infer it from a line here and a word there. This was less than satisfactory and made their relationship seem truly inauthentic, which in turn spoiled all of their subsequent actions.

On a trip to the Caribbean, Cass has a serious jet ski accident that almost kills her. Here's where another problem arises. Shelby supposedly has strong feelings for Cass, and knows perfectly well how anti-enhancement she is, yet she dishonestly lies to the medical staff about how tight their relationship is, and speaks for Cass as though they're married - or at least engaged. They're not! But Shelby overrides any considerations Cass might have had and while the latter is unconscious, Shelby supports and urges the doctors to save her life with enhancements. This is part of a push this novel exhibited from the start: that Cass's feelings and position are wrong and Shelby is right. No consideration, not even token, is given to Cass's position.

Cass is over eighteen and technically an adult, but she can't speak for herself after her injury, and never once does Shelby contact Cass's parents to let them know her daughter was at death's door. This felt like truly shifty behavior on Shelby's part , but the worst aspect of this is that Cass is pretty much completely accepting of it when she recovers consciousness. Despite her horror of enhancement and her upbringing, she doesn't fly off the handle at Shelby. There is no rift in their relationship! Again it felt completely unnatural. It's almost like Cass is "Oh, now I'm cyber! How awful! But okay, moving right along...." Honestly, it's that bad. Again, it's like the author had this agenda to push and nothing would trip it up. A fight between the roomies over this would have added so much more to the story, but the author evidently never considered it.

One of the biggest problems with this story is that we're in the future. Even now, a generation before this story begins, we're out there in terms of interconnectedness. Everyone has a platform and everyone is taking video and streaming it. How much more is that going to be the case in the future? Yet time and time again in this story, the author forgets how connected his world is. Of Shelby's ultra-cyber-ized brother Eric, I read, "He doesn't know you the way I do and he doesn't understand what I've learned since we've been together." Yet this is her brother who she's constantly sending messages back and forth to, directly from her own brain. It's inconceivable that she wouldn't have given him information about Cass, even if only in snippets in all those weeks they were sharing a room. Eric even mentions that he's heard a lot about Cass when they finally meet, yet Shelby apparently thinks he knows nothing? It made no sense.

Eric tells his sister: "I'll send you the final details on the time and place we're meeting in the morning Saturday as soon as we iron out our permits." Yet they're constantly in touch in the cyber-sphere. This lack of knowledge made no sense. During a protest, Shelby again isn't communicating so we're led to believe: "We have to get up to the front and help my brother. He doesn't know we're surrounded." How could he not know when everyone is connected? She can't text him? Can't send him an image? Can't send him a video? No-one else can? Once again, the author forgets his premise.

Even in 2021, scores upon scores of people shop online and get meals and groceries delivered more routinely than ever, yet I read, "She rode the elevator down to the ground floor and headed out to the street. It was time to get some shopping in." This was to buy food. Apparently a generation from now there's no more delivery? The author hasn't thought it through. With regard to test-taking we learned, "the professor can turn off access locally. The classrooms utilize a sort of virtual Faraday cage to shut down my implant's access during tests and quizzes. That ensures I actually learn the material." Yet they can't shut down local storage. Shelby could have entire textbooks stored in her implant and cheat up the wazoo, yet the author apparently never considers this.

Naturally 'dad of Cass' discovers his daughter's implants despite her efforts to lie to him and despite the fact that never once does she consider trying to ease her dad into her new way of life. Never once does she try to present an opposing view to his. Never once does she offer the argument that, "dad, if you don't want his stuff, that's fine! No-one' forcing you, but neither do you have the right to force others to live their lives like you want them to!"

There were so many ways that Cass could have eased the passage and been the very bridge she claims she wants to be if she'd had even half a spine, but she repeatedly fails. Predictably this results in dad finding out accidentally because he comes back to her dorm room after they think he's left and their door is open. The question is though - since he'd left the building, how did he manage to get into a secure building when he has no pass? This is quietly glossed over.

Psycho father flies off the handle and swears Cass is done with this school, but inexplicably, he doesn't try to drag her out of there! Instead he's talking about her finishing out the semester, so later, Cass tells Shelby, "No, you go and talk to Eric. That's important too." Why does she need to 'go and talk to Eric' about this when she can video-conference him right out of her brain? Again, the author hasn't thought his own world through.

Talking of which - in passing - there are no robots or drones mentioned at all in this world despite the fact that we have them ubiquitously even now. No robots helping the police quell a mob? No news drones filming from above? Again the sparsity of technology and the lack of foresight in this world was sad.

When Eric is injured during a protest rally, he's told, "Eric, we have to do something about what they did to you. We have to tell someone and take them to court or something." And we're apparently expected to believe that with all these cyber-enhanced people, and all the news media, and all the private citizens who have cell phones, not a single one of them recorded or live-streamed any of this?

This is a constant theme in the novel - of how utterly-connected the enhanced people are, but how appallingly sparse is the video coverage, even of activity like this. It made zero sense and constantly betrayed the author's prime position. And on top of this, we're expected to believe every police officer hates the enhanced, despite the fact that there would doubtlessly be enhanced officers and officers with enhanced children or spouses. Given the crime-fighting advantages a connected officer would have, there would more than likely have been an enhanced squad of police, just like there's a bomb squad and a SWAT team. Again, the author hasn't thought his world through, and it suffers for it.

It was for all of these serious writing problems and plot holes that I cannot consider this a worthy read.

Fire and Shadow by TG Ayer

Rating: WARTY!

This is book one in the " Hand of Kali" series, and I am not a series person for multiple reasons - mainly because series tend to be so badly done and so tedious. In this case, I think the title was badly chosen. Do you have any idea how many frigging novels are out there which employ this title exactly or in part? About fifty too many. It's ridiculous.

The author ought to have re-thought that, especially since a title like that carries a certain dissuasive pretention about it, but that issue aside, this novel promised to be different in that it was an author of Asian ancestry writing about the rich Hndu mythology of India. The problem was that the story was set in the USA because you know there's no way in hell any story not set in the USA can be remotely interesting, right? That and the fact that the bulk of the insular US readership is incredibly limited and provincial, and won't read stuff not set in the USA - at least that's what Big Publishing™ wants us to believe. Yawn.

All writers have to bow to that irritating fact of life unfortunately. That aside though, there were some really bad writing issues with this novel that essentially turned out to be a clone of Buffy the Vampire Slayer, except that this was Maya the Demon Slayer. The first of these issues is: why was it set in the USA? This doesn't feature native American mythology, but Indian mythology! Okay, fine, you bow to pressure and set it on safe turf, but you then it's really incumbent upon you to offer some sort of explanation as to why these Hindu gods and demons have transplanted themselves to the US, and this author offers nothing - at least not in the portion of this that I read, which was about 25%.

So it's your trope cookie-cutter story of the ingénue raised in ignorance of her powers, who despite her disbelief is a super-strong wielder of whatever power it is she has. In this case hers is the power to immolate demons - apparently without leaving a significant trace - as we shall get to shortly. Maya Rao is an outcast in her rich kids high-school of course, and she has a clichéd creepy kid who is always around, keeping an eye on her. His name is Nik and he's also an empowered guy who happens to be hot and know more about Maya than she does about herself, but nether he nor Maya's parents, who also know about her powers, have the kindness or decency to bother educating Maya, not even indirectly, not even remotely.

In order to prevent her juvenile scorching of things, her parents bound her powers magically, and she conveniently forgot about all those burned toys and the scorched furniture. Now she doesn't believe in a single thing about Hindu mythology despite going to church every week. Yawn. I guess even the god she serves doesn't give a shit about poor Maya! Barf. But she gets an invitation to the rich kids party, and like an idiot she goes and gets a drugged drink, and rich jock Bryon (barf!) leads her to a boathouse bathroom here he beats her up, but this beating together with the alcohol and the drug allow her to unleash her power and she burns Byron to death with such intense heat that all that's left is ashes and a scorch mark or two.

That amount of heat (and nowhere does the author say it was magical heat as opposed to regular everyday burning) would have to be hot enough to melt at least some bathroom fixtures, but apparently virtually no evidence is left, because when Nik - who's been stalking Maya at the party without once having the consideration to warn her that there are humans possessed by demons present - shows up and enables her getaway from the party, there are zero consequences for Maya's actions.

I'm talking zero consequences. Never (at least not in the portion I read), do police show up at Maya's house asking her about Byron - with whom she was last seen! There's no outcry, no news reports of a missing rich white kid. Maya was so badly-beaten that she had a punctured lung, yet despite her being hospitalized, nowhere does the hospital file a report about a minor being admitted after having been beaten so badly. That together with Byron's disappearance ought to have triggered some alarms, but Maya's charmed life goes on totally uninterrupted as she trains to fight and evaporate more demons.

This is a serious writing problem - when an author is dedicatedly following her tunnel vision without paying any attention at all to the possibility that the real world might just intrude on the story here and there. When I quit reading though, was when I read this: "A small part of her saw how sexy he happened to look even when he smudged soot on his cheek as he dusted himself off." Seriously?

In learning how to use fire, Maya almost kills him (he's fortunately protected by his own god) and instead of her being horrified and disturbed by what she did, all she can do is think how sexy he looks in his scorched clothes?! Again the author is so obsessed with her neat little love package that she completely forgets that this story is purportedly taking place in the real world and that there are real world consequences, feelings, and issues to address. It was ridiculous and this story, having threatened this several times, finally became undeniably too stupid to continue reading.

The book could have used a literate editor, too. I read things like: "Maya tread water in the sea of her ignorance." Ignorance is right, because the past tense of 'tread' is 'trod'. "She didn't even believe Rakshasa's existed in the first place" The plural of Rakshasa is Rakshasas, not the possessive case! I also read,

"You have the same eyes, you know?" "Same as whom?" Maya asked

Nobody, especially not a high school kid, says 'whom'! It's a big writing mistake. The author is so focused on how it technically 'ought' to be written that she forgets she's (supposedly) writing about real people saying real things in a real world. 'Whom' stands out like a sore thumb.

Even some of the descriptive writing was too impenetrable to make sense. In describing a traditional fighting weapon known as a madu, the author wrote: "Really a pair of shield, with twin antelope horns melded together to form a natural double-ended piercing weapon." That's a really bad description!

This weapon is essentially a buckler (from the French buclier). A buckler is a small round shield, which can be up to half a meter in diameter and which can be used offensively as well as defensively. In this case it also has two antelope horns, each protruding horizontally at opposite sides of the buckler, pointy ends out, fixed to the shield. Why Maya would train with this antiquated device rather than learn to shoot a gun is another writing problem - again this choice of weapon isn't even discussed.

So this story was larded with cliché and trope, had nothing new to offer since it was essentially a Buffy clone with demons substituted for vampires and so on, but otherwise exactly the same story, and badly-written to boot. So what's new? Nothing! So why read it? The plotting was poor, the quality of the writing awful, and I sure as hell am not about to read a series like this!

The Golden Apples of the Sun by Ray Bradbury

Rating: WARTY!

This is a series of short stories, most of which have very little to do with the sci-fi the author is best known for. I read it a long time ago and had a vaguely fond memory of it, but my renewed acquaintance from listening to the audio version very recently left me really disappointed. I don't know if it's because I've changed significantly (I probably have) or if I just liked one or two stories from my original reading, and kept a favorable impression of those few while forgetting all the other very forgettable ones. That latter, I think, is the most likely explanation, but my current take is that I did not like this overall, and cannot commend it.

Part of the problem was the reader, MacLeod Andrews, which is about as Scots a name as you can get for someone born in Kentucky. I had the erroneous impression from his voice that he was a lot older than he seems to be, but what bothered me is that his voice is overly dramatic, and he's not up to doing female voices at all. Why they even chose a male reader given that so many stories in this collection center around a female character, I cannot for the life of me figure, but there it is. I didn't like his reading. Even had that been perfect though, there were still far too many dislikes in the stories for this to get a favorable rating from me.

The stories are these:

  • The Fog Horn This was too much and Bradbury evidently has no idea of evolution, the age of the Earth or of species resilience! Even casting all that aside the story was a bit flat and made little sense.
  • The Pedestrian About a guy who walks at night alone since everyone else is home glued to the TV. He's arrested because the dumb cops can't figure out what a writer can possibly write about. They don't seem to get that the TV shows require writers. Dumb.
  • The April Witch About Cecy, a witch who can possess humans and influence their choices, and who tries to get a girl named Ann to become involved with a guy, Tom, who the witch actually likes for herself. It felt like Cecy was a bit of a trouble-maker trying to fulfil her own wishes instead of seeking to help Ann or Tom.
  • The Wilderness was a whiny, rambling, boring story about a couple embarking on a flight to Mars.
  • The Fruit at the Bottom of the Bowl was a story I liked, about a criminal so obsessed with cleaning every last possible trace of his presence from a murder scene that he's still there cleaning when the police arrive the next morning.
  • Invisible Boy I do not remember this story at all!
  • The Flying Machine about a paranoid Chinese emperor who is determined not to upset the apple cart when a citizen creates wings he can fly with, and who orders the man and all witnesses to be executed.
  • The Murderer I liked this one and can even identify with it since it's more à propos now than ever. A man is so sick of his life being taken over and controlled by machines that he starts sabotaging - in effect, murdering - the machines and is arrested.
  • The Golden Kite, the Silver Wind about a war between two Asian villages in the philosophy of city wall building. Not great but not awful.
  • I See You Never about illegal immigration. Not very good.
  • Embroidery about a woman who unpicks her entire embroidered work because of one small error. Tedious.
  • The Big Black and White Game A story of a black team playing baseball with a white team in the annual village game. The way Bradbury fawns and salivates over the black players is downright racist.
  • A Sound of Thunder A decent and enjoyable, if dated, story about one panicked dinosaur hunter making a tiny but significant change in the distant past and how it reflected itself into his present when he returns. Nothing like the eponymous movie that was made from this same story.
  • The Great Wide World Over There I do not remember this story!
  • Powerhouse I think this was about a woman who I couldn't tell if she was old or dying or what because it was so badly told, but who rides to a power generating facility with her husband and inside she gets regenerated by the power. It was ridiculous and made no sense.
  • En la Noche don't recall this one at all!
  • Sun and Shadow This was a tedious story about a dick named Ricardo who objects to a photographer taking pictures of fashion models not only outside his house, but anywhere in his village. Dumb. I don't know what it is with Bradbury and Mexicans or Bradbury and Chinese, but Ricardo needed a swift kick in the nuts.
  • The Meadow Don't recall this one, it may be one of several I skipped.
  • The Garbage Collector Don't recall.
  • The Great Fire Don't recall.
  • Hail and Farewell Don't recall.
  • The Golden Apples of the SunI know for a fact this is one of several I skipped.
  • R Is for Rocket Don't recall.
  • The End of the Beginning Don't recall.
  • The Rocket Man dishonestly builds a fake rocket and misleads his kids into thinking they went into space. DNF'd it.
  • The Rocket Man Silly story about a dick who abandons his family to fly rockets and hypocritically makes his son promise never to do it. Rip-off of Icarus. He earns a well-deserved fate when his rocket gets sucked into the sun.
  • The Long Rain Chinese water torture in which people land on Venus only to find it rains constantly and the rain drives them mad. Barf! Bradbury knew shit about Venus.
  • The Exiles tedious story about death.
  • Here There Be Tygers A planet with a personality likes to keep people happy, but all of these assholes save one, leave and lie about it. Yawn.
  • The Strawberry Window Skipped this one.
  • The Dragon idiotic story about two knights aiming to take on a dragon which turns out to be a steam engine, Dumb.
  • Frost and Fire Utterly dumb story about people who live for only eight days.
  • Uncle Einar So tired of these stories that I skipped this one
  • The Time Machine and this one.
  • The Sound of Summer Running and this.

This was a waste of my time and money. I don't commend it - I condemn it. It's tedious, and way out of date now.

Public Domain Ghost Stories by Various Authors

Rating: WARTY!

This was a set of public domain classic short stories on the theme of hauntings and the supernatural. I was not impressed. It started out decently enough with the very first story, but that went on too long and turned boring, and the next few didn't even start out interesting, so I DNF'd this one around story number seven. I forget exactly where. I had a curiously parallel experience with Edith Wharton's gothic short stories which I listened to around the same time as I read this.

The titles in this collection are these:

  1. The Fall Of The House Of Usher by Edgar Allen Poe
  2. The Old Nurse's Story by George MacDonald
  3. The Superstitious Man's Story by Thomas Hardy
  4. A Story Of Ravenna by Boccacio
  5. Teig O'Kane And The Corpse by Douglas Hyde
  6. The Haunted And The Haunters: Or The House And The Brain by Edward Bulwer-Lytton
  7. The Botathen Ghost by SR Hawker
  8. The Ghost Of Lord Clarenceux by Arnold Bennett
  9. Dr Duthoit's Vision by Arthur Machen
  10. The Seven Lights by John Mackay Wilson
  11. The Spectral Coach Of Blackadon (author unknown)
  12. Drake's Drum by William Hunt
  13. The Spectre Bridegroom by William Hunt
  14. The Pool In The Graveyard by Greville MacDonald
  15. The Lianhan Shee by Will Carleton
  16. The Haunted Cove by George Douglas
  17. Wandering Willie's Tale by Walter Scott
  18. Glamis Castle
  19. Powys Castle
  20. Croglin Grange
  21. The Ghost Of Major Sydenham
  22. The Miraculous Case Of Jesch Claes
  23. The Radiant Boy Of Corby Castle
  24. The Altheim Revenant
  25. Sertorius And His Hind
  26. Erichtho
  27. Patroklos
  28. Vision Of Cromwell
  29. Lord Strafford's Warning
  30. Kotter's Red Circle
  31. The Vision Of Charles XI Of Sweden
  32. Ben Jonson'S Prevision
  33. Queen Ulrica
  34. Denis Misanger
  35. The Pied Piper
  36. Jeanne D'Arc
  37. Anne Walker
  38. The Hand Of Glory
  39. The Bloody Footstep
  40. The Ghostly Warriors Of Worms
  41. The Wandering Jew In England
  42. Bendith Eu Mammau
  43. The Red Book Of Appin
  44. The Good O'Donoghue
  45. Sarah Polgrain
  46. Eleanor Cobham, Duchess Of Gloucester

The first seventeen are fictional ghost stories. Eighteen through thirty-seven are supposedly true stories, only a couple of which (Glamis Castle and Croglin grange) I was familiar with, and thirty-eight through to the last are supposedly omens and phantasms. Like I said, I grew bored quickly, but there is a wealth of out-of-copyright material and folklore here which could be put to good use by an inventive and enterprising writer, but other than that interest, I can't commend it.

Cursed by Casey Odell

Rating: WARTY!

This was, unfortunately, yet another cookie-cutter YA story - the special snowflake ingénue who is the great white savior and who, despite being an adult or near adult, acts like a twelve year old child throughout. There's also the love triangle which predictably erupts notwithstanding the appalling mental abuse both of these male figures inflict on the girl.

Oh, there was the occasional amusing oddity (or in this case, odell-ity!) in the text, such as "Warm heat caressed her back" - that would be as opposed to that nasty cold heat that everyone hates so much?! But even unintentional humorous writing gaffs like that couldn't save me from the tedium of seeing the same story being re-told that's been related a gazillion times before, and with the only real change being the character's names. The author has a BSc in film from Full Sail University and I can see how she earned the BS part anyway - for someone who specialized in college in writing, there's no evidence of it in this work.

The story is of Claire, of indeterminate but young age, raised by a single mom who owned a tavern in medieval times, which of course must explain why Claire, raised in a rough-and-ready bar, and doing some waitressing, is utterly lacking in street smarts and any kind of a tough hide. When Claire's village is attacked by vicious centaurs (for reasons I never learned in the 15% I could stand to read of this), her mom runs with her (holding her hand, like she's six) to the forest, but abandons her there, telling her that she'll be safe! This is the forbidden forest where kids are warned not to go. Huh? Mom for some reason has to go back, and so she leaves Claire to her own devices - namely a dagger which is special, but which idiot Claire promptly loses.

Here's where the biggest trend in this dumb story begins: nothing is ever explained! Every single thing is a mystery and not even the smallest crumb of information is ever offered to the reader. I may be wrong, but it seemed pretty obvious to me that Claire is the bastard child of some elf royalty which is why she's so special. She's rescued (repeatedly it turns out) by the elves, who contrary to rumor do not kill her on sight - although they probably would have done had she not been 'marked'. This is the kind of callous little shits that the elves are in this story, yet Claire seems to have no problem with their attitude.

She is, I believe, supposed to be some sort of royalty among the elves, but her mother chose to keep her in utter ignorance of this her entire life. Despite this, the elves treat her like dog-shit from the off, abusing her and imprisoning her, yet dressing her in revealing sexy outfits. Who actually dresses her is unclear because this is always done when she inevitably passes out. Clearly the elves are total perves. The thing is they behave exactly like humans. There is nothing alien or foreign about them at all. They even use American colloquialisms. Who knew? They actually made the centaurs look better - that's how bad they were.

After being kept incarcerated and in ignorance of what was going on, Claire is forced into undertaking a mission, accompanied by two elves, and evidently these elves have no transportation: not horses, not nothin'! The two who accompany her are apparently a prince and the captain of the king's guard. Why the fuck is the captain of the king's guard abandoning his post? Is there not one single soldier in the entire army capable of handling this job? How pathetic must the soldiery be if the captain is the one who has to go? Who knows? Why is an apparent prince going along, and why only these two with no accompanying soldiers or anything? It made zero sense, unless of course you're creating a YA love triangle. It was so transparent and pathetic that I couldn't stand to read another page of this tedious, unoriginal, and unimaginative trash. This novel is cursed all right.

The Last Necromancer by CJ Archer

Rating: WARTY!

If only it were the last necromancer, but alas! There will be more stories about necromancers, I fear.

Despite having misgivings about this, I started reading it because it was a new take on Frankenstein. While we unfortunately get vampire stories up the wazoo, and quite a few sad werewolf ones too, we don't see any of the other classic monsters (Frankenstein, the Mummy, etc.) retreaded very often. So I was curious about this one, especially since it has a girl living as a boy on streets of London.

Technically, Frankenstein is the Georgian period, not the Victorian in which this novel is set, but it wasn't that important to me. What is important is that I get a good, original (even if borrowed from a classic!) story that moves at a decent pace, and which entertains me, and I sensed quickly that I was not about to get any of that from this, as it turned into yet another trope-laden YA romance story.

It started out well-enough in that this girl Charlotte (who goes by the unoriginal and unimaginative 'Charlie' as a boy) has the ability to raise the dead, and she's kidnapped by this guy Lincoln Fitzroy. It was painfully obvious right from the start that he and Charlie would be an item, and it was so telegraphed and pathetic, and so, so inappropriate that I wanted to give up right then, but I read on a little way to see if the author could rescue it or had anything new to offer; once it became crystal clear she did not is when I DNF'd this.

Fitzroy is often a euphemism sort of a name for a king's bastard offspring, but I have no idea if that's the case here or if the author just blindly chose it as a 'cool name' (it really isn't). This guy, as I said, kidnaps Charlotte, and holds her prisoner without giving her any idea of why he's doing this. They butt heads repeatedly, and it became quickly tedious to read at that point.

It turns out that the reason she's kidnapped is that the people employing Fitzroy want Charlotte kept out of the hands of Frankenstein, who is having a problem animating his creation, and since Charlotte can reanimate a dead person's body by calling their spirit back into it - over which she then has complete control - she is of course of inestimable use to him. I don't doubt that happens further down the line in what is probably an inevitable trilogy. Correction: I later learned this is a ten book series! Are you fucking joking? Jesus! But I figured Frankenstein will indeed get his hands on Charlotte, and I have no interest in yet another tedious YA love triangle or a tedious ten-novel series, especially not one written this badly.

I so quickly tired of the imprisonment and the cruelty and the business of treating Charlotte like a child - although she did behave like one often. But there was meanness and cruelty involved in her imprisonment and the author seems not to care a whit about Stockholm syndrome, like this adversarial and punitive relationship is the perfect start to what will somehow magically blossom into passionate and undying love. Barf. Get a clue, Archer, please. You're missing the target by miles.

The last straw for me was when Fitzroy gave Charlotte her wish and freed her in a poor part of London dressed to the nines, and left her to her fate. He was of course following her so he could rescue this poor waif, but that wasn't the saddest part. The saddest part wasnt even that Fitzroy had purposefully hired a thug to threaten Charlotte so that he could "rescue" her and have her even further in his debt. The guy is a complete dick and a jerk.

No, the problem was a complete betrayal of Charlotte, and the most inauthentic part of the novel. Charlotte had been living on the streets for several years before she was captured by Fitzroy, but now she's portrayed as somehow being inexplicably and completely at a loss as to what to do, where to go, and how to keep herself safe. Inevitably she falls into the hands of this ruthless and brutal rapist that Fitzroy hired, thereby forcing Charlotte further into his control and dominance. Way to trash your main character's entire backstory, Archer! I'm done with this atrocious author.

Carmilla by Sheridan le Fanu

Rating: WORTHY!

Finally, a classic that I enjoyed! Published only one year before the author died, the 1872 novella Carmilla is an engrossing tale of one woman's hold on others through her vampire charms. It's narrated in first person by a female protagonist named Laura (and one who I initially thought was a male narrator!). Normally I do not like first person voice, but in this story it's not obnoxious or overwhelmingly ridiculous.

The story is of the Countess Karnstein, who has lived for a century or more, moving from place to place and changing her name - but always the new name being an anagram. We meet her as Carmilla, but in earlier times she has gone by Mircalla and Millarca. Naturally until the story is quite advanced, the actors in this drama have no idea of Carmilla's age or her vampire traits.

Wikipedia declares this to be a lesbian vampire story, but there isn't any overt lesbianism in it and I think in declaring it as such, the author of that article (who I'd be willing to bet is a male!) misses the fact that in Victorian times women were often in close relationships with impassioned statements of love and feeling, but without necessarily any lesbian inclinations or behaviors. Perhaps that's what le Fanu intended, or perhaps it wasn't. For me, I don't care either way; I just don't think the case has necessarily been made.

In many ways this story was a template for Bram Stoker's much better known Dracula which came a quarter century later, but vampire tales and legend precede both of these books by a good many years. There is the female victim, Laura, and clueless male companions and friends, but again I take odds with Wikipedia's assertion that this is a female empowerment novel since it isn't Laura who saves herself in the end. In fact, she plays a rather passive role in this story. Predictably (in hindsight!), it is an older male expert who shows up later and finally dispatches the vampire in her coffin.

This story begins with the oddball overture of a carriage racing along and overturning right outside where Laura and her father live, and the plea of the female who is riding in it that Laura's father take charge of her youthful (so it's understood!) and out-of-sorts daughter, to enable the woman to continue with her urgent journey.

Those were much more trusting times, and the nobility were much more reliable, and trustworthy in general, so none of that is particularly strange for the era. What is strange is that this traveling party is neither explained, nor is it ever seen or heard from again. There's no explanation offered as to who the travelers are or why they're in such a confounded hurry, or even what their relationship is to Carmilla, if any. So they disappear and we're left with Carmilla and her blossoming relationship with Laura.

The two become, as they might have said back then, bosom companions, despite Carmilla's somewhat odd traits: her lethargy, her sleeping very late into the day, her pallour, and her off-kilter habits. They declare love for each other, but nowhere do they exhibit any overt behavior or any behavior beyond what might be expected of any pair of young Victorian ingénues who are very fond of one another and excited to have such a suitable companion.

After a time through, Laura starts succumbing to some sort of a wasting illness, accompanied by bizarre dreams, and stories are spreading of deaths in the nearby communities. Despite this, it isn't until General Spielsdorf comes into the story that Laura and her father learn that the supposedly extinct Karnstein family has an extant descendent: a countess who does not die, but relocates herself periodically under a new name and preys on vulnerable, young local women. After a search, Carmilla's tomb is located on the derelict Karnstein estate, and she is summarily dispatched, leaving Laura with bittersweet memories.

I throughly enjoyed the story, perhaps being primed to favor it through having seen the 1970 Hammer Film production of Carmilla which was titled The Vampire Lovers and which played very much into the lesbian aspect. It starred Ingrid Pitt, a vamp herself, as Carmilla, along with the startlingly fresh and youthful Madeline Smith as Laura, and the inevitable Peter Cushing as Spielsdorf. It was the first of a trilogy, but I can't recall if I ever saw any of the sequels. I enjoyed that movie however, and it does follow the story quite well, so anyone who isn't interested in reading an old novella might like to see the film instead. I commend the book though as a worthy read.

Ice Blue by Emma Jameson

Rating: WARTY!

This was another audiobook, and it was read poorly by Matthew Lloyd Davis. Since one of the main characters was female and she seemed to be the dominant character, why a female reader wasn't chosen for this book escapes me. Davis doesn't do female voices well. Not that this particular choice would have made any difference to the really bad story itself, which isn't, fortunately, first person, but which is told alternatively from the PoV of the main characters. I have to say that's not a style I particularly enjoy!

Those characters are Anthony Hetheridge, aka Lord Hetheridge, the ninth Baron of Wellegrave, who is also Chief Superintendent for New Scotland Yard. Why he had to be all that escapes me. I guess the author was going for as much chalk-and-cheese as she could get, but all she got was cheesy because his partner is Detective Sergeant Kate Wakefield who is, as the Brits say, 'common as muck'. The book description ticked me off by using the word 'beautiful' before any other quality in the list of her traits. Lord Hetheridge gets: "never married, no children, no pets, no hobbies, and not even an interesting vice, will turn sixty in three weeks." She's larded with "beautiful, willful, and nearly half his age." Seriously? Those are her traits? Why not dispense with that description and just write "I hate women" as the book description?

Apparently the plan is to marry these two off (the author bludgeons the reader over the head with this often) and then write a series about them, but this American author knows squat about Britain. And let's completely forget about how inappropriate it is for a senior officer to have any sort of relations with one of his junior police officers. I'm not going to get into the age difference because I don't buy into that 'half his age' crap. If people love each other it's irrelevant. The question is, do they? I found it hard to believe that these two would, but then I didn't read very far before giving up in disgust.

The first problem in the narrative was that Kate has a senior officer expose himself to her and there are zero consequences for him. There isn't even an investigation, and no one, least of all Detective Kate, is remotely put-out by this. Neither is any other female on the force, apparently. Has this author learned nothing from #MeToo? That's when I quit reading this insensitive and nonsensical attempt at a story.

Blindsight by Peter Watts

Rating: WARTY!

This wasn't at all what I expected. Often that's a good thing, but in this case it made zero sense, and I have only myself to blame for making such a bad decision. I had read the description, so I have no excuse. I thought it might be amusing or engaging, but it was boring and silly.

The first problem is first person as usual. The story is told by a sociopath if not a psychopath, who is one of the misfit crew describing his experience of being sent as humanity's joint ambassadors to aliens who apparently don't want to meet us. Why send anyone instead of a drone or two is unexplained and apparently went unconsidered by the author in plotting this, as did the point of sending these people as opposed to trained experts.

What really got me though was the tone of the narrator - the sociopath - which is full of understanding of emotion and which simply could not be there in a sociopath, hence the story was completely unrealistic from the outset, regardless of the characters involved.

This is yet another problem (like it needs any more) with first person - a voice which really ought to come with an 'unrealistic' warning on the book cover. Had I known that this would be first person before I bought it, I would never have spent a penny on it. I gave up on it quickly because it simply wasn't doing it and seemed obsessed with trying to gross out the reader. I can't commend it based on the small portion of it to which I listened.

The Wharton Gothics by Edith Wharton

Rating: WARTY!

Every so often I give one of the classics a try and seem to have little success. I guess they're just not for me, but here goes another one!

Read nicely by Gabrielle de Cuir, I had a problem not with the reader, but with the stories. I started this in conjunction with an ebook of similarly ghostly short stories by a variety of authors and curiously I had the same experience with both of them - the first story started out fine, but the more I listened/read, the less I liked it, and subsequent stories bored me. They were slow to the point of lethargy, unappealing, and difficult to follow at times. Admittedly I listened to the Wharton stories while commuting to and from work, so there were distractions, but even in the quiet of the early morning when there's little to no traffic, I had a hard time finding anything interesting to listen to.

The eight stories are these, in case you want to look them up. Some or all of them may well be public domain by now, and available on the Gutenberg Project or some other similar online platform for free:

  • The Fulness of Life
  • The Lady's Maid's Bell
  • Afterward
  • The Letters
  • Mr Jones
  • A Journey
  • The Hermit and the Wild Woman
  • The Quicksand

I made it only about halfway through this before giving it up as a bad job. I can't commend it based on the experience I had despite Gabrielle de Cuir's sweet and mellow voice. This is my second experience of this author and my last. I did not like The Age of Innocence either so it's time to move on and give other authors a chance.

When Angels Fall by Sherryl D Hancock

Rating: WARTY!

This started out badly-written, and it got worse. I read this right close to the beginning:

"He's single," the woman said, as if confirming it for Devin. It took Devin a second to realize that the woman obviously thought she was trying to pump her for information on Jams. She laughed nervously, shaking her head. "Oh, no, I wasn't," she began
This is what happens when an author doesn't pay attention to what she's writing. Devin here isn't answering something the other woman said; she's answering something the author wrote as narration, so Devin's answer makes zero sense.

The story started by having the air force pilot (and the initials of the title spell 'WAF' - a World War Two abbreviation for Women's Air Force'), Skyler Boché, speaking perfectly normally and then after a couple of pages she's suddenly off and running in some sort of attempt at Cajun speech, and it's so unintelligible at times that I gave up on it. Yes, by all means a word or two here and there, but pigeon English? No! I might have read a bit more were it not for that, but I really didn't like her anyway for her smoking, and it soon became clear she was going to be the moody, petulant one, so no. Just no. And what's with that name? Skyler originally comes from the Dutch for Scholar, so although it is found in Louisiana, it's hardly a popular name, but Boché? That is French, but it's French for an insulting word for a German. Is this really what the author wanted to convey?

On top of all that, Devin is out there hassling this poor air force pilot who clearly wants time to herself yet Devin is buzzing around her like a fly, and she never gives up. She's annoying as hell. I just wanted to swat her. This book had way too much baggage going on, and that was in just the first few tedious pages.

Essential Anaïs Nin by Anaïs Nin

Rating: WARTY!

I misunderstood this one completely. I'd thought it was going to be a collection of her best work read by the author (whose full name is the immense Angela Anaïs Juana Antolina Rosa Edelmira Nin y Culmell) herself, but instead, it was a very short collection of some random speeches she'd made, usually talking about people I'd never heard of. It was a delight to hear her voice which I never had before, but the speeches were mostly boring to me because they lacked context and were presented with no introduction or background. There was some humor and one or two interesting insights, but for me this simply wasn't really worth the time or the money. Quite honestly I felt rather ripped-off. Fortunately I had this at a discount so it could have been worse! But I can't commend it unless you're truly a Nin-y!

The Falcon's Heart by Diana Green

Rating: WORTHY!

This was an enjoyable story, albeit with some issues. I decided to read it because it reminded me in some small ways of my own Femarine. This novel is set in a fantasy world of deserts and magic and it's set in some time past where none of our modern mechanical and electrical wonders are yet in existence, but the world building at times refers to things - such as clocks - that appear not to exist in any form in this world. There were things in such times, such as water clocks, candle clocks, and hour glasses, that could tell time, but none of these are mentioned either.

The magic also has issues with consistency in that it seems to morph to fit the author's current needs rather than exist as its own entity. For example, one of the two main characters, Saba, is supposedly an empath, but apart from a mention at the beginning of the story, this power appears never to be used and indeed deserts her when she could really use it. It felt odd, but not a story killer for me although it seemed like a glaring omission at times when she was trying to understand the feelings of her captor.

Her captor is the Falcon - a female bandit and leader of a group of desert-dwelling thieves, eking out their own existence in a land where a selfish and ambitious pasha - Saba's father - is determined to usurp ever more land and power to satisfy his greed. In order to try to free a friend through a trade, the Falcon kidnaps Saba and whisks her away deep into the desert mountains, but Saba's father seems uninterested in making any deal to recover her despite her value as an aliance-builder when he offers her in marriage. He finds himself reliant on a sorcerer to track her down - the very one who wishes to have Saba's hand in marriage.

During their time together, of course, Saba and the Falcon fall for each other and eventually end up together, so the story is quite predictable from the off. It has no real surprises or problems to overcome. It's a light, harmless, decent, if rather fluffy story that I enjoyed despite the minor issues, so on these terms, I commend it as a worthy read, although I still prefer my own Femarine! Call me biased!

Premonition by Leigh Walker

Rating: WARTY!

Another first volume in yet another pointless series. I made it only 25 screens into this when I read the following: "Josh seemed nice, but he was definitely weird. Still, he'd called me his friend, and friends were something I'd been in woefully short supply of at Hanover High...I started up the stairs. That's when I saw him."

Immediately it was clear that this was to be yet another stupid high-school love-triangle story that would be exactly like very other stupid high-school love-triangle story that's been done endlessly over and over again, ad nauseam. What, exactly, is the point of copying a story that's already tedious in the extreme? Barf. I mean what does it signify that this unimaginative author is merely rewriting the same basic story that scores of other YA authors have doen before? Yes, obviously, it means that she agrees with me that the other stories were shit, so she wants to do it better - at least I hope that was her intention, but this only begs the question as to how she went so badly wrong and fell so far short of the target by producing a cookie-cutter replica of every other story? How is it better when it's exactly the same?! I give up and I gave up: I quit right there and then.

I don't even know why I started this because the blurb should have warned me: "Riley thinks she’s heading off to boarding school — but to her surprise, she’s enrolled in an elite training program run by a top secret government agency." I'm guessing Riley's a dumbass. "Unsure of why she has been chosen," Yep, she's a dumbass all right. "...she’ll stop at nothing to uncover the truth" So Riley does nothing under the mistaken belief that if she stops at nothing, then the truth will be uncovered. That's definitely the first of a series! LOL!

Three Parts Dead by Max Gladstone

Rating: WARTY!

Read not well by Claudia Alick. I could not get with her reading style or voice at all, and it sure didn't help that the writing was atrocious: confused, jarring, choppy, and with events and the mechanics of this fictional world very poorly explained.

I was attracted by the PoC on the cover of the book since usually the folks in stories of this nature are white, but once again I proved to myself what an appalling mistake it is to pay any attention to a book cover. The woman inside the book could have been anyone - white, black, tall, short, long-haired, short haired, bald, fat, thin or anywhere in between any of those options for all the description we got. Her appearance is never mentioned - at least not in the portion of this that I could stand to listen to. I'm not one for detailed depictions of every single aspect of a fictional world, but a bit of hinting here and there is nice!

Ideally, it ought to be utterly irrelevant what the character looks like or what color he, she, or they are, unless of course it has some bearing on the story, but realistically, you would expect there to be some sort of mention at some point of her skin color, or hair or something, even if only in passing, but there was nothing - not in the portion I read. It was like she was a blank slate. Since the author is white I can only assume this is a cynical attempt to claim some relevancy in the current climate. Or maybe he wrote this story about a white character and the publisher just slapped a woman of color on the front since he doesn't mention who she is. Maybe the Chinese edition has a Chinese protagonist, and the Latin edition a Hispanic one. I dunno.

The story is that Tara, the main charcter, has graduated from her supernatural academy, but she left dishonorably somehow, so how that worked, I do not know. She's a complete newbie with no experience whatsoever, so why she's chosen to resurrect the deceased fire god of Alt Coulumb is a mystery. The deal here is that people worship gods, which gives the god power, and the god in turn uses that power to care for their worshippers. It's a bit incestuous and weird, but it's really not explained too well, and you have to wonder what's the point, really!

Tara and her supervisor discover that the god, Kos, has been murdered. For me this is where the very idea of the story gets boring because they have to take it to court! I was concerned about the story becoming mired like that, but I was willing to give this audiobook a chance until I began listening. It failed me fairly quickly, so I ditched it and moved onto something hopefully better. Life's far too short to force oneself to read a crappy novel to the end.

Atlas of a Lost World by Craig Childs

Rating: WORTHY!

Read decently by the author (I'm a big advocate of authors reading their own material for audio-books if they can), this book gave me mixed feelings at times. Overall, on balance though, I considered it a worthy read. The aim of it is to discuss how this planet changed over the course of the ice ages in North America, with a reference here and there to other parts of the world, and how this affected humans and their habits and migratory patterns. The way the author does it is to take trips and relate his experiences to things that may - or may not - have happened to ice age peoples who lived on the North American continent back then.

There's a lot of information dispensed here, but it's often mixed in with the author's own personal experiences and sometimes I think this muddies the waters. At one point he writes a mild admonishment that we should not imagine that people back then necessarily viewed the world in the same way we do today, and under different conditions. They had their own lives and drives, he advises, but then he goes right back to relating his experiences to theirs! It sounded a bit ambiguous.

The text is evocative and sometimes overly imaginative, but it never gets wildly out of control and it does tell an interesting story that really makes a reader (or in this case a listener) think about these things in new ways, which is what I liked about this. There's some technical information, but not an unwelcome amount, and I enjoyed that - learning about an era which is often not covered in the textbooks that like to ramble on about dinosaurs or early African hominids. It gave me some good perspectives about life back then, and on how hardy and creative these people were, and what they had to contend with. I commend this as a worthy listen.

Scholarship Girl by Kat Cotton

Rating: WARTY!

This turned out to be another dumbass high-school series starter. The plot had sounded interesting, but the trope and cliché was a death knell for this as far as I'm concerned. Yet again we have the girl with an old and trusted friend as one corner of the inevitable triangle, and the rich bad boy of the school, who she hates, as the other corner. Why do so few female authors have anything original to say in YA? I know there are some because I've read and enjoyed them, but why are there so few and why are so many female authors dedicated to reproducing cloned pap? Are the authors or blame or the readers? Or the publishers? Thinking people want to know!

So this girl is a scholarship student at an academy that has fantasy characters: elves, fae (the author is too chickenshit to call them fairies), demons, etc., as students. So it's the uninventive usual. Naturally she's forced into being a bodyguard to the rich, spoiled, cruel brat of a student that she supposedly hates, but will inevitably, predictably, unimaginatively fall for. Wait, what? Bodyguard? This is a rich student school and they can't hire regular competent, professionally-trained adults as bodyguards? They have to bribe the bullied and impoverished scholarship students to do it? WTF!

I quit reading right there because I was almost literally nauseated by how bad this was and what a shameless rip-off it was of every other YA high school story. Despite the fact that these students are magical beings, they were all portrayed as exactly like regular high school characters. There was literally no difference other than their species name!

It was so pathetic that hoenstly, I was cringing for the author while reading it. Do none of these authors turn on their brain before starting to write? Do they not think outside of the box? Do they never put themselves into another's shoes or hooves? I honestly do not know how anyone can be so wooden as to write like this. I really don't. Yeah, I did expect this, but as always, I hoped for better. I was genuinely sorry to be once again disappointed. This was an early DNF, and I'mm done with reading anything else by this author.

Restless by GS Jensen

Rating: WARTY!

This ultra-short intro to a series that I will now never read has the pretention to list a 'Dramatis personae' on one early page. Seriously? As if the author wanted to make it as unappealing as possible, she writes it in first person - worst person because it's so annoying and so very limiting. The author admits this because when she changes to another character's PoV, it's in third person. This character is named Caleb and the author is so obsessed with getting him into the story that it makes no sense to have him there and diminishes the female character in the doing. You know from the off that these two are going to get together so there are no surprises at all here. It's trope all the way down, and such a cliché that every main female character just has to have a man to validate her. I all-but worship authors who don't go down that overly-trampled path, but I refuse to travel this one with this author. It served only to make me restless to find another novel to read.

Seven Sisters by ML Bullock

Rating: WARTY!

Note that this is not a series but a serial. You get the first few chapters for free and then pay for the next instalments individually. If you're going to pull that trick on a reader you need to be up front about it from the start, and you need to have a compelling story with decent - but not cruel - cliffhangers to lead them into the next story - and you also need to lower your instalment price. For me it was never an option though because despite the (mostly) appealing plot, I couldn't even get into the first few chapters, and DNF'd this whole thing as a bad choice.

The first problem, as usual, was first person - or worst person voice. I've read a few decent 1PoV novels, and even written one myself, but I'm nowhere near being a fan of them, because they're usually whiny, self-centered, self-important, and annoying, and they severely limit the writing unless you apply the voice to the right kind of story. Otherwise it's one of the unforgivable sins.

The plot here is that main character Carrie Jo, while sleeping soundly in her bed, dreams about the places she's sleeping in - a sort of somnabulistic psychometry after a fashion. She can sense what's happened in the house where she sleeps, so she doesn't like to sleep in older houses, but she's offered money to uncover the secrets of the Seven Sisters - not a family, but a house of that name.

I was turned off by the book description saying, "The handsome and wealthy Ashland Stuart has hired her to uncover the history and the secrets of Seven Sisters," and I should have listened to my gut, because that sort of description almost 100% describes a novel that's going to be badly-written and feature a dumb-ass romance to boot. It rarely ends well, but other than that, the story sounded interesting; however, I started losing interest fast when the novel literally began with Carrie Jo abandoning her boyfriend without even saying good bye and taking off in her car. That made her cold and even callous in my book. I did not like her.

Worse than that, the story started rambling endlessly about the past as she drove, and it lost me, so I just quit. Had I written this I would have started it with Carrie Jo arriving at the house she was supposed to investigate, only briefly referencing things from the past if they were relevant. I also would have had her leaving her boyfriend because of a problem with him, rather than have her coldly abandon him. This would both make the reader sympathetic and make her seem worth listening to. As it was, she was just annoying and certainly not someone I'd want to get stuck with on a train or a bus ride!

Life is too short to waste on poorly-written and uninteresting novels about clichéd and boring characters, especially when there are so many authors out there begging to be heard, and who have well-written original stories with dazzling new characters, and who are willing to share their imaginative tales with us. It's an insult to them to force yourself to finish a novel that simply isn't doing it for you!

The Green Door by Heather Kindt

Rating: WARTY!

That tile is suspiciously close to the title of a very old, but famous porn movie starring Marilyn Chambers who was previously the face of a wholseome detergent. The novel itself is nowhere near as inventive as that movie was. Unfortunately, it's your typical YA love-triangle featuring a disaffected high-schooler slash impoverished under-achiever with at least one parent dead, who has a lifelong male friend that she has no interest in, and has a rich kid new acquaintance that she flips off, but becomes fascinated with. Yep, it's your usual unoriginal, braindead YA story that you've already read to death a score of times.

On the face of it, the actual plot sounded interesting. The idea is that there's this game which the main character is interested in, because it could net her a monetary prize which she and her widowered dad badly need. You have to solve one or more puzzles in this creepy old mansion to earn the cash, so she naturally picks her best friend to take up the challenge with.

Completely out of the blue, the high-school quarterback suddenly asks her to be his partner in this same game - which is when she flips him off. The problem is that this guy has shown zero interest in her until now, and suddenly he's calling her on her phone because he can't think of anyone better than her to solve puzzles with? It made zero sense. Where did he get her phone number? Why does he think someone he doesn't even know will make the best partner?! Why is he remotely interested in this whiny brat of a person who is technically an adult, but who behaves like a juvenile?

The story went downhill even from there. It appears to be written for an age group that's younger than the ages of the main characters - like middle grade instead of YA. The main character, Megan Covington isn't even a nice person. I didn't like her. She was cruel, and whiny and dishonest. At one point she tells us that her best friend Brekken is doing their geometry homework, which she will copy afterwards, but later she says he's always been a good friend to her by doing things "like keeping me from cheating throughout school and helping me study." So in short, she's both a cheat and a liar!

So the two of them go to this mansion where the quest is being held and like the imbeciles that they are, they tell no one where they're going. They're both over eighteen so they can sign the quest contract, but neither of them reads the small print and the frosty woman who takes them down to the basement offers them no details or warnings. Frosty lets them into the game area by opening a solid metal door with three bolts and a lock on the outside. None of this even remotely bothers the two shit-for-brains main characters. Beyond that door there is a glaring white corridor with colored doors along it (guess which one they pick!). The doors are these:

  • Blue with a nautical theme featuring a pearl - worth $5,000
  • Brown with underground carvings and featuring gemstone - worth $10,000
  • Green with a tree carving and featuring a seed - worth $10,000
  • Red featuring a ruby heart in a crown - worth $25,000
  • Orange with flames pictured on it that are actually hot - worth $30,000
  • White with a dove and feathers - worth $500,000
  • Black metal with carvings - worth one million

Without asking any more questions, they let themselves be locked in. They have to choose a door to begin, and unsurprisingly, given the novel's title, they settle on the green door. They slap on these bracelets that allow them to pass through the force-field at the door that prevents other things from escaping (none of which puts these two idiots off), and they find themselves in a forest where they're almost immediately attacked by large wolves, but they're rescued by other animals who proceed on two legs and speak vernacular English. At first this struck me as silly, but there's actually an explanation for it. They chase off the wolves, but they arrest the two high-schoolers since they're illegally in a non-human part of the forest. None of this even remotely boggles the mind of these two fuckwits.

Naturally in this same environment is the rich jock, with the unimaginative name of Carter, who completes the inevitable triangle. He tells them he came in there with a girl named Courtney and they were attacked by those same wolves. Courtney was killed. Instead of immediately leaving the quest to report this girl's death, these frigging morons decide to continue with the quest! Carter is supposed to be the unexpectedly nice guy. He talks Courtney into playing this dangerous and deadly game with him, and when his partner dies, the very last thing he thinks of doing, is taking responsibility and reporting her death to the authorities or to her parents. He's an asshole, period.

That's when I quit reading. It's too stupid to live and should be burned with fire. These people are idiots. They're irresponsible. They're boringly predictable, and there's no way in hell I was going to continue reading this dumbass novel let alone continue on the "The Red Door" or "The Black Door" or any other stupid volume in this series. I condemn it.

Silence for the Dead by Simone St James

Rating: WORTHY!

Read delightfully by Mary Jane Wells, this was a truly sweet story that broke several of my rules and still kept my interest.

Typically I do not like first person voice, but once in a while the author carries it. I've had two of these just recently - one an ebook, and this one - an audiobook. A second rule it broke was that I do not usually like slow-moving stories. This one was one such story but it kept my interest anyway, because the character was engaging and the reader's voice was quite captivating. The third rules was that this was an early twentieth century novel which I usually do not enjoy - WW1 and WW2 are not my thing. Again, this was set in 1919 in an asylum for 'shell-shock'; victims - people suffering from what we now recognize as Post Traumatic Stress Disorder (PTSD), but still it told an interesting story that had not been done before - not in my experience anyway - and it made a good job of it.

Kitty Weekes arrives at Portis House - a very remote house that was once in private hands but which is now given over - at least the parts of it that are not derelict - to the care of soldiers from "The Great War" who are not themselves. She hears from a third party about how desperate they are for nurses at this place and she outright lies that she's a nurse who has worked at a hospital in London, Due to staff shortages and disorganization, her story isn't checked and she's hired. She's also relieved because this is her last hope. Kitty is running from something and she is happy to be somewhere - even a place as dismal and disturbing as this - where she feels she can safely disappear.

She had an interesting relationship with the other staff - a handful of nurses and orderlies, and an rather antagonist relationship with matron, who discerns very early that she's not a nurse, but is desperate for the help she can offer, so the two have this sort of love-hate relationship that's really quite charming to read about.

The patients are a variety: some are fairly benign, others quite disturbing even to experienced nurses, and they all seem to be tormented by bad dreams - even the same bad dream. But there seems to be something else loose in Portis House, in the odd noises, the strange, chill breezes, the voices, and the inexplicable sightings of unfamiliar people.

There's also the anonymous patient 16 which only certain staff are allowed to interact with. Naturally Kitty bluffs her way into the room and is startled to find out she knows this guy - not because he's a friend or relative, but because he's a well-known personality and this is why his presence there is being kept secret. Over time she bonds with him and they both start investigating the unnatural aspects of Portis house, leading to a showdown one dark and stormy night - literally - when the rain is exceptionally heavy, patients are falling to the flu, and the bridge from the Portis House island to the mainland is in danger of becoming impassable.

I loved this story and the characters and I commend it strongly.

When You Had Power by Susan Kaye Quinn

Rating: WARTY!

I've had some success with this author, notably with the first daughter series, but I didn't like her Open Minds which was a lousy, trope, clichéd garbage can of a YA novel. Sadly, it turned out that this really wasn't really a novel, but a disappointingly short introduction to a series. I thought it was just about okay for what it was, but I felt cheated that I didn't get a real story out of it. I didn't get into any of the characters and I sure didn't want to get into an open-ended series about it.

The plot is set in a dystopian climate-challenged future where the power engineers are considered rather heroic in that they provide electricity to homes, the residents of which are being ravaged by rolling blackouts and regular disease outbreaks and therefore paranoid about letting strangers near them. Ironically, there's nothing in this theoretically introductory volume to explain how the world got that way. Yes, it's on the fast track to a future that could conceivably be like that, but we're already using RNA vaccines and talking of gene therapy cures for viral and bacterial diseases. Where did that go? Why did the efforts governments are starting to put into place fail to save the planet?

There seem to be unaccountable and unexplained lapses in technology. For example, homes are expected to make use of rechargeable batteries during power outages, but nowhere do we read of these same homes having any sort of solar or wind power independently of the grid. We already have that today, so what happened to it? There's no explanation to be found here. Worse, Lucia discovers that the batteries in her new home have been discharged to the point of being irreparably damaged, but apparently there was no sort of warning device built into the batteries to alert the owners of this problem! We already have warnings in our electric and hybrid vehicles, on our laptops, and even on our phones that the battery is mostly discharged so we know to recharge, so what happened to that warning on a critical home system? Again, no explanation.

We already have drones and robots, but they seem to feature poorly, too, so there are holes in the story that the author seems to have no interest in filling, which in turn makes her world-building poor and which kept jolting me out of suspension of disbelief. I didn't expect her to have detailed explanations for everything, nor would such a thing have made for good reading, but to have some sort of story that covered the obvious is expected, and she unapologetically fell short of this requirement.

The 'energy islands' seem to be in the ocean, and it's while doing a preliminary inspection of the underwater portion of her new island that Lucia discovers some weird damage. When she reports this up the chain of command, she's essentially accused of hallucinating, and the images she shot of the damage have curiously disappeared. When she returns to take more photos only a day later, there's suddenly no sign of the damage. It's all been repaired. That's a bit of a stretch

When investigating why power seems to be getting tapped from the generator, and looking for a potential target using all that power, she discovers that the area she wanted to investigate has been burned causing so much damage as to leave it unrecognizable and herself without evidence again. She tries to take more photos under the island, and she almost dies because of a sabotaged oxygen tank. The thing is that Lucia is a seasoned diver. Air has weight, especially when compressed, and you can tell the difference between an empty and a full tank, especially if it's aluminum. If her tank was seriously light on air, she would have known as soon as she picked it up regardless of what the tank gauge said, and for her to never check the gauge while she's diving is not a sign of a seasoned diver. It's the sign of a dumbass.

Clearly someone is hiding something, but even when Lucia gets photos that cannot be deleted since the next camera she uses is old tech and not hooked up to any network, she doesn't think for a minute of publishing this evidence out on the net, and thereby protecting herself and the family she has started lodging with, and this in turn makes her look like an idiot. The worst part of the story though is that there's no resolution to anything. We have no questions answered, and are expected to buy more volumes of the novel to get beyond this prologue. That doesn't work for me, not when it's so average. I don't even like prologues and normally skip them, so I can't commend this one at all, and I sure as hell don't want to read any mroe poorly-written pap like this.

The Concordia Deception by JJ Green

Rating: WARTY!

This novel held my interest long enough to finish it, but I skipped bits here and there and wasn't really very happy with it overall since it made little sense far too often to let it slide.

It's a sci-fi story about a colony ship that takes almost 200 years to reach another planet. They're sent there because Earth is so trashed and they don't think it can support any more humans. They fear humanity will die out, but given how much it had to have cost to build the ship, I don't get how people couldn't have improved conditions on Earth dramatically with all those resources, thereby avoiding the need to go elsewhere, but again, and foolishly as it happened(!), I let that slide.

The idea is that there are genetically generated farmers who have hardiness and skills for farming, as well as a smaller crew of scientists who support them. Again this made no sense: if their genetic engineering is so advanced on Earth, how come they had such trouble surviving there? Later in the story, it comes out that people on Earth have been largely wiped out by a new flu strain (this was written before Covid), yet they have advanced genetic engineers? They couldn't fix the flu? We're on the verge of doing that now, but these future people couldn't do it? Once again, it made no sense!

So these colonists are exploring this planet, but they seem to have no advanced technology: no satellites that can do a decent survey from space. No drones to survey the place at near ground level; no robots to help on the ground? Again, it made no sense. We have all of those things now. Why would they not have them in the future?

On top of this, there's a rebel movement which has people embedded in the colony who are trying to sabotage it. They're apparently up in arms against the unnatural aspects of this genetic engineering, but then why go on the ship? Why not just let 'em go, and say good riddance, and stay on Earth to enjoy their natural life? This was not a religious order, so there was none of that fanaticism; just the 'natural' PoV, and it wasn't enough to account for the behavior.

The book description is all about this Cariad character who is one of the scientists and who plays a relatively minor role in the colonization. The main character who gets no mention in the description is Ethan, who is a 'gen' - genetically developed 'farmer' - who is a respected leader in the farming community. The thing is that the farming community never actually does any farming! Farming is a full-time job, but though Ethan has his own farm, he never goes there. He's never shown working. In fact he gets so distracted that he neglects his farm to the point where it could well be failing - he doesn't know. He hasn't been there in a while.

The gens decide to quietly abandon the colony to start their own independent colony on the coast, where they occupy a series of caves and tunnels in the cliff face by the ocean. They have to explore these caves on foot with torches because they apparently never heard of drones. It made no sense. One of the gens is the saboteur, but that made no sense either because this person had no training in explosives and no clue as to where to put them since there had been no extensive survey of the caves to find the weak spots, yet the caves are effectively destroyed and many lives are risked!

This goes to my point, which I think I've demonstrated conclusively by now, that if the story isn't getting it done, you need to quit gamely plodding on to the end and ditch it for something that will entertain. It's not worth wasting your time on something that's failing you. I can't commend this as a worthy read because it was so badly-written.

When Sparks Fly by Kristen Zimmer

Rating: WORTHY!

Normally I’d avoid a novel with a title like this because it's too much pretention, and there were a couple of times reading this that I wondered about the wisdom of continuing, but there was enough to keep my interest and to keep it fresh, and it told a sweet story of two engaging people. It was first person, too, but that wasn't obnoxious. Some authors can carry it, some stories can too, but to find the sweet intersection between those two is not easy.

This author did it successfully, but my objections to first person still apply even here, because there were two other important characters in this novel who were interesting and truly attractive to a reader, yet we didn't get their PoV because it was all Britton all the time. I think the story lost something because of that. Either of these characters could have told their own story because all three perspectives were equally engaging, but three 1PoVs would have ruined it - which begs the question as to why it wasn't told in third. First gear is far too trudging!

So anyway, Britton Walsh is a foster kid who's had the worst of the system: cruelty, abuse, and misery. She's learned to have a hard shell, to not give, to keep herself to herself and her feelings tightly under wraps. Just turned eighteen, she's aiming to finish high school and get free of all of this to start her own life at last. She's spending these last few months in the care of Tom and Cate Cahill who happen to have a daughter only slightly younger than Britton, but whereas Britton is a soft butch lesbian, their daughter, Avery is, at first glance, your standard queen bee cheerleader. She's popular, fashionable, great-looking, and doing well in school.

The idiot book description, evidently always written by some jackass who never read the book, claims Britton is "beginning her senior year with new foster parents in a new city" but that's not true. She's lived in this area all her life. She just happens to be in a new high school. She has a hard time adjusting because she's never had caring parents like Tom and Cate. She was given up by her bio-parents at birth because she had a heart defect. That's long been fixed, but her parents had no interest in her. Tom and Cate do. This makes it all the more difficult that Britton has a crush on Avery. It’s doubly-bad because Avery is hetero as far as Britton knows, and other than being friendly, has no interest in Britton - who Avery knows is queer.

Britton seems to have found an outlet for her urges though, in the form of Spence - Valerie Spencer - who is an out lesbian attending the same school. She and Britton begin hanging out, but Avery warns her foster sister about her new love interest several times. Now Britton is strung between two groups - the misfit crowd who Spence hangs with, and the elite crowd Avery hangs with, trying to navigate new and sometimes rather hostile waters.

I had some minor issues over a couple of aspects of the story. Why the author insisted upon having both the main love interests be eighteen before anything more than kissing occurred is a mystery since the age of consent in Massachusetts is sixteen, not eighteen! Secondly, in light of this, Cate's 'house rules' toward the end were a bit bizarre given that both girls were eighteen at this point. But I was happy to let that slide. It’s no great big deal. Just odd is all.

That said, this story takes interesting and often unexpected paths to its satisfying conclusion and in the end, I really enjoyed it a lot.