I'm always reading something, usually multiple books at a time.
Like most people, I have seen the Stanley Kubrick-directed movie adaptation of The Shining. It's been so many years since I have seen the film, that I don't recall it in great detail, but of course I remember the iconic lines and images most people remember: Danny croaking "REDRUM"; Jack Nicholson's Jack Torrance shouting "HEEEEEEEERE'S JOHNNY"; Shelley Duvall's Wendy discovering that Jack has typed pages and pages filled with the repeated phrase "ALL WORK AND NO PLAY MAKE JACK A DULL BOY."
I only just got around to the novel (audio narrated by Dying Young actor Campbell Scott) because I saw the trailers for the Doctor Sleep movie. The trailer made me want to check out the book, and since it's a sequel (I didn't even know!) to The Shining, it was obviously time for me to consume The Shining.
Jack Torrance is a writer who has recently lost his teaching job at a prep school in Denver, Colorado, after an unfortunate incident arising from losing his temper with a troublesome student. Jack's temper is an ongoing threat/foe, lurking within him and threatening to be triggered by any number of potential circumstances. Jack is an alcoholic struggling to keep his promise to stay dry, while carrying shame over the things he has done while inebriated. The two worst moments were a drunk-driving accident involving a bicycle and the uncertainty over whether the bike had been accompanied by a child (please let it just be the bicycle) and the time two years before when he broke Danny's arm while turning him around to spank him. Danny, age three at the time, had spilled beer onto Jack's manuscript.
Jack is given what seems like a lifeline: the opportunity to serve as winter caretaker of a grand hotel in the mountains of Colorado: The Overlook Hotel. Jack tells himself this will be his chance to stay dry while making a fresh start with his family and his writing. Without the possibility of accessing booze, Jack expects he will be able to focus on and finally complete the play he has been working on. The play could potentially increase Jack's profile, and maybe he can get his job at the prep school back.
But the Overlook is no ordinary hotel. The Overlook has.... History. Other caretakers have lost their sanity there, and done terrible things. To their families. Danny has had troubling premonitions about the Overlook. The hotel will bring something dark and destructive out of his daddy, suggest the premonitions. The place "makes monsters of men." Dick Hallorann, the hotel's cook, takes Danny aside after giving the family a tour of the pantry and kitchen. He recognizes in Danny a power that he shares, "the shining." When you "shine," you have certain psychic abilities. Since Dick and Danny both "shine," they are able to have a conversation entirely in their heads. Danny not only has telepathic powers, but he also can see the past and the future. This makes the hotel particularly frightening and dangerous for Danny. He can see things that have happened in the hotel's past, as well as things that are likely to happen in the future. People have been dying in the hotel for decades.
There is something in the hotel that wants to get into Jack Torrance, to play to his emotional weaknesses and his egotistical ambitions, to manipulate him into attacking his wife Wendy and Danny. If the hotel has its way, the Torrance family will never leave.
Stephen King has famously criticized Kubrick's interpretation of his story. I can understand where he is coming from. Here is an article on this topic:
Stephen King's Hatred For Stanley Kubrick's The Shining, Explained
[Spoilers for both the book and the movie]
I have already begun listening to the audio version of Doctor Sleep.
Bri Jackson is the 16-year-old daughter of the late "Lawless," a rising star in the hip-hop world, killed when Bri was only five years old. Bri aspires to be a rapper, not so much following in her father's footsteps as finding her own voice and forging her own path. She has a shot at starting on that path when she is chosen to be in rap battle at "The Ring." She quickly demonstrates that she has a talent for freestyle rapping and immediately begins to receive attention.
At her school, a high school for the arts, Bri is targeted during routine security screening, and the incident quickly escalates and leads to an unfair suspension. Bri pours her frustration and anger into lyrics for her first rap song, "On the Come Up," which her Aunt Pooh arranges for her to record. Once she has the courage to upload and share her song, it quickly gains popularity.
When the song is used for a spontaneous protest against the security guards at school, and her lyrics are interpreted in ways Bri never meant, she soon becomes uneasy about the potential power of words. Meanwhile, she feels intense pressure to establish a career, because her mother is out of work and struggling to keep the lights and heat on. The pressure includes a possible record deal, but does that require playing a role and rapping words that aren't her own?
I highly recommend this book. Readers who have read The Hate You Give will recognize certain references to events in that book, though On the Come Up is not a sequel. Like Starr Carter in the earlier book, Bri lives in the Garden Heights neighborhood. But she does not know Starr or any of the other characters that Starr associates with.
It's difficult to write about this book without spoilers. I feel as though the blurb even has too many spoilers, and I'm glad I didn't read it before completing the book. (I started to read the first sentence of the blurb soon after starting, but then backed up, as it was telling me more than I wanted to know.)
The book features a sinister place in (of course!) Maine, The Institute. The residents of The Institute are children with psychic abilities--telekinesis or telepathy (sometimes both). They are kidnapped from their homes and subjected to tests and procedures. If they are not cooperative, they are punished with physical abuse. The children begin in "front half," and before too long, they are graduated to the mysterious "back half." What they are told is that after their "service" in back half is concluded, they will have their memory wiped and be sent back to their families to live happily ever after. It does not take the children long to be skeptical about this.
What is going on in back half? Who is in charge of The Institute? If anyone found out what happens in that place, who would believe it?
I don't want to give away more than that, but I'll make a few spoiler-free comments about the structure. The book opens with one character, and then after following him for a while, switches to another, who ends up being the book's central character. When I realized this, I wondered how the first guy would fit into the narrative. Don't worry--he shows up later, and then the beginning makes sense!
This book has some serious kid power. It's also got some seriously evil adults who hurt kids, which is disturbing. But Stephen King delivers a satisfying arc and conclusion.
Oh, and if you are thinking about Carrie at the mention of the telekinesis, I'm with you! I think Carrie could have dismantled the entire place, and the book would have ended five minutes after she got there. And while I am on other SK titles--there is a fun reference to twin girls in the institute reminding a character of an old horror movie. Must be The Shining!
I read/listened to each of these books individually and did write-ups on each one, with the intention of writing a review covering the entire series. This is that review.
My individual write-ups can be accessed at the following links:
Note: While I avoided spoilers for each book, I did refer to events of earlier books once I got past the first.
The remainder of this review will be placed behind spoiler tags. Spoilers for all four books follow.
|After having been disappointed in Specials, I was wary of Extras, especially since Westerfeld drops readers into an entirely different setting (a city in Japan) with a new protagonist (15-year-old "ugly" Aya Fuse). For roughly the first third or so, I found myself really disliking Aya, who seems to value fame and social rank above all else. Set about three years after the end of Specials, Extras presents a city in which social ranking and merit points serve as a type of currency, so fame = profit. Everyone in the city has a personal "feed," and most seem to have hovercams they use to record "stories" that many of them "kick" to get attention. It's kind of like Instagram on steroids.
I will get into more detail when I write my full review of the entire series, but here I will just mention a few things. In the world of Extras, Tally Youngblood is the MOST FAMOUS PERSON IN THE WORLD. And yes, she does show up. Along with Shay, Fausto, David, and even Andrew (the "holy man" Tally meets in Pretties). If you were disappointed with the non-closure of Specials, you might find it worthwhile to catch up with these characters in the final installment. Just have a bit of patience with Aya. She does grow a clue by the end.
I think I first became aware of Elizabeth Holmes and Theranos when, for reasons I don't recall, I did a YouTube search on "sociopath." This led me to a video featuring John Carreyrou talking about Holmes. And down the rabbit hole I went.
After watching numerous videos and reading articles about Holmes, I wanted to read Bad Blood, so I put myself on the waiting list for the audiobook from my library's website.
This crazy true story is stranger than fiction. Elizabeth Holmes famously dropped out of Stanford University during sophomore year (because it's in the Silicon Valley tech CEO playbook) and founded a company called Theranos (therapy + diagnosis).
Her vision was to produce a device that could run hundreds of diagnostic blood tests, all from a single drop of blood taken from a finger stick. With her vision of the device's potential, she convinced many high-profile investors to support the company. But behind the scenes, the devices did not actually work. Rather than address the problems and ensure that test results would be reliable, Holmes and Theranos leadership covered up the malfunctions and perpetuated a fraud. Employees who raised concerns were silenced and eventually either quit or were fired. And despite the known issues, Theranos partnered with Walgreens and Safeway to provide testing (though the Safeway deal eventually fell through).
Eventually, a concerned ex-employee contacted John Carreyrou, investigative journalist for The Wall Street Journal. Carreyrou began the process of investigating Theranos, and things got very weird. As in surveillance and legal intimidation of Carreyrou and his suspected sources. Despite the efforts of Holmes, her associates, and her attorney David Boies, Carreyrou was not deterred. He ultimately wrote multiple articles. The book also recounts what happened in the aftermath of the articles, including the ultimate demise of Theranos, the fraud cases against Holmes, and the class action suit by patients harmed by incorrect test results.
After reading Carreyrou's account, I conclude that Holmes probably (probably!) is a sociopath.
2.5 stars on Booklikes; rounded down to 2 stars on Goodreads.
I will be writing one big review for the entire series once I've finished Extras, which I started just this morning (January 3, 2020). Although I've shelved the audio versions for all the books, I've actually been going back and forth between audio and text. I actually ended up reading MOST of Specials in print. I noticed that the edition I read identifies Specials as "The final volume in the highly acclaimed UGLIES trilogy," while the cover of Extras has "The thrilling fourth book in the UGLIES series." So clearly, after publishing Specials, Westerfeld decided he was not done, after all.
My ratings for the first two books were 3.5 and 3, respectively. So this book has been relatively.... Disappointing. Tally becomes downright loathsome, and although we understand why she does, it doesn't make being in her head any more pleasant.
Icy is the new bubbly.
If you've read Pretties, you got used to seeing or hearing the word "bubbly" almost constantly. For Specials, it's all about being "icy." "It's like being bubbly, but much better," says Tally.
Remember at the end of Pretties, Shay and her weird little clique are revealed to be cutters, trying to keep themselves "bubbly" by cutting? Well, not only has no grown-up intervened to get these misguided teenagers to stop it, this clique is elevated in Specials, with their self-harm tacitly encouraged. Although the practice is eventually called out (somewhat), I kept thinking this was irresponsible.
I won't spoil the end, but it left me dissatisfied. And wishing another character had been the protagonist.
So, I will be writing a review of the entire series, once I have completed all four books. I just started reading Specials, which is book #3 of four.
I intend to avoid spoilers for Pretties in this write-up, but please stop here if you have not read Uglies and wish to avoid spoilers for that book.
****************************************LOOK AWAY TO AVOID UGLIES SPOILERS!****
At the end of Uglies, Tally has volunteered to allow herself to be caught, be brought back to the city, and to be "made pretty," with the intention of letting Maddy test her cure of "pretty-mindedness," healing the brain lesions that are administered along with the plastic surgery that transforms uglies into pretties.
Pretties picks up on Tally's story when she is a "new pretty," adjusting to her new life of attending parties and striving to be voted into the "Crims," the most prestigious clique in New Pretty Town (why don't they call it "Pretty City"?).
In keeping with the thoughts I shared on Uglies, I want to touch on YA Dystopian tropes. As I mentioned in my Uglies write-up, there was a case of insta-love in that book, and that trope shows up in Pretties, too. So that inevitably leads to something many YA Dystopian readers (and YA readers in general) have come to dread: a love triangle. However, it shows up very late in the book, and as I reflect on the way it's addressed, it occurs to me that it's lampshaded and even subverted. I ultimately appreciated that, though arguably, the trope could have been avoided altogether. Related to that, there are moments in the book where Tally has moments of clarity that are brought about by kissing. KISSING? That strikes me as somewhat problematic.
This book has propelled me into immediately starting the next book--so that speaks in favor of Westerfeld's ability. I expect to tear through the next two books and be posting again soon.
[3.5 stars on Booklikes; rounded down to *** on Goodreads.]
3.5 stars on Booklikes. This will round down to three stars on Goodreads.
I was on the fence as to whether to read this book/series. I think my reasoning went something like this: "Everyone gets plastic surgery at age 16, to make them 'pretty'? That more implausible than most of the implausible scenarios in YA dystopians. I think I'll pass!"
But this is the January 2020 selection for the Forever YA Book Club I belong to, so I decided to give it a try. And It's intrigued me enough that I'm a bit over 1/4 of the way through the second book (Pretties) and planning to tear through the next two books, Specials and Extras.
I am thinking that once I've completed the series, I will write a big review covering all the books. But meanwhile, I want to put down some thoughts about Uglies as it relates to YA dystopian tropes.
As mentioned above, in the world of Uglies, everyone receives plastic surgery upon turning sixteen. From age 12 to their 16th birthday, they live in dormitories in Uglyville. "New pretties" reside in New Pretty Town, spending their days and nights partying and otherwise entertaining themselves.
As you have no doubt noticed, if you have read many YA dystopians, there is usually a major change all of the characters undergo, more often than not at age 16.
Everything changes when you are 16.
The main character typically goes through the age-16 transition (but sometimes resists and/or avoids it). Around this time, the character learns THE TRUTH. There is a dark secret being hidden from most citizens, about the way their society actually operates. Usually, the 16-year old becomes involved in a resistance movement, and more often than not, becomes a leader (or sometimes THE leader).
In the case of Uglies, Tally Youngblood begins the book missing her best friend Peris. Because he is three months older than Tally, he has had his "pretty" operation when she still has another three months to go. She gets into some trouble sneaking into New Pretty Town to spy on Peris, meanwhile meeting Shay, who has the exact same birthday as Tally and is also missing friends who have turned 16.
Having looked forward to the operation her entire life, Tally is shocked to learn that not all Uglies want to be turned pretty. There are rumors about Uglies who run away to live in "the wild." There are rumors about a place called "The Smoke," where people live without the luxuries and technology of the cities.
I don't want to include spoilers here, but I will note that this book has a touch of the dreaded "insta-love" many readers criticize in YA dystopian novels. I had a hunch a character was on his way to becoming a love interest for Tally, but it still seemed very fast for him to suddenly think that Tally was incredibly smart and special. (Our 16-year-old YA dystopian protagonists are just about always special in some way, no?) The other thing, Tally being so smart and special felt a bit like an informed trait. I wasn't seeing as much special and smart in her actions, vs. what she was being told about herself.
Something that intrigues me about the world in this series is the history the characters are taught about the "Rusties." Rusties are their predecessors. Before the current society formed, there was a world much like the one we have now. People did foolish things like burn fossil fuels and wage wars. They lived in large, industrial cities, and at some point, there was a huge disaster that they tried in vain to escape. (I am somewhat reminded of Pompeii, but the hints point to a human-made disaster.) The "pretty" operation was intended to create an egalitarian society. If everyone has the kinds of facial features that humans are biologically programmed to appreciate the most, nobody will be favored or disfavored for their looks. But of course, there must be more to the highly structured society. Who is controlling the masses, and to what end?
To be continued, in my write-up of Pretties.
I listened to all three of these books in audio form, but I also had the Kindle version of the box set. I went back and forth between the two.
The three books are not a traditional trilogy, as the focal characters shift somewhat from book to book. The first book focuses mainly on Rachel meeting Nick's crazy-rich family when they traveled to Singapore from NYC, for the wedding of Colin Khoo and Araminta Lee. The second focuses Rachel getting to know family members she did not know she had (I am trying to avoid spoilers!), and the third is mainly focused on Nick's ailing grandmother, and the family descending upon her estate in anticipation of her demise. Each book has B and C stories.
The audio versions switched to a different narrator for the second book and kept her for the third. I've complained a bit about her here. In addition to calling earrings "yearrings" and pronouncing French words badly, she does not do any of the accents she is supposed to do. Nick, for example, is supposed to have a posh British accent. Rachel is supposed to have an American accent. Everyone has the same mildly Chinese accent. And regarding the badly pronounced French: authors, if you are going to write that a character speaks in perfectly accented French, please ensure that your narrator does, too.
This isn't really a review. It's a comment about the narrator, Lydia Look. There are certain things about her narration that I enjoy, but one thing that drives me crazy is that she pronounces "ear" "year"--and in this audio narration, there were multiple references to YEARRINGS. YEARRINGS?!?!?!?
[Also, she CANNOT pronounce French words.]
I missed Lynn Chen, who narrated the first book, Crazy Rich Asians.
Non-fiction that reads somewhat like a spy novel. Ronan Farrow was investigating claims of sexual assault, sexual harassment, and intimidation against Harvey Weinstein, of Miramax Pictures. At the time, Farrow worked for NBC. The deeper he got into his investigation, the more he encountered obstacles from NBC. Somehow there was always a need for more fact-checking. The investigation process was to be "paused," and interviews delayed.
Eventually, Farrow left NBC and broke the story in The New Yorker. Harvey Weinstein's power and connectedness had previously stopped the claims against him from coming out years before, and his machine attempted to stop The New Yorker from publishing the article. During his investigation, Farrow often had the impression he was being watched and/or followed, and it was difficult to know what to believe. Ultimately, he learned that his impressions had been correct, and surveillance was just one of Weinstein's tactics.
In addition to describing the process of reporting on the Weinstein story, Catch and Kill describes the revelations about Matt Lauer's sexual harassment and assault of NBC subordinates, along with NBC's systemic enabling and protection of Lauer. Also included is the practice the title of the book refers to. "Catch and kill" refers to news outlets obtaining rights to a story, only to prevent it from ever being released to the public. The main example described in the book is when The National Enquirer used the "catch and kill" tactic to bury news stories about Donald Trump.
The book finally ties together what all of these things have to do with one another (read or listen to find out!).
I grabbed this when it came up for the Big Library Read, but then I didn't manage to get to it before the Read was over.
Campbell is the new girl in her southern, predominantly black high school, and she is working the concession stand at a football game, when a racially motivated fight breaks out in the growing line to the stand. Lena jumps into the stand to take cover. There are gunshots, police arrive, and that is just the start of a night where things keep getting worse.
As the blurb reports, Lena and Campbell must rely on one another to survive and progress through the night, each demonstrating to the other that her assumptions had been misguided.
This book in some ways reminded me of The Hate U Give, though it has a much more compressed timeline. In this book, the Caucasian girl Campbell, having been transplanted from the home she shared with her mother in Pennsylvania to her her father's house, is the outsider/fish out of water. African-American Lena is the wildly popular fashionista Campbell can't help but envy. I appreciated the way this set-up diverted from more usual book premises.
I tore through this book. Although I liked the first book (solid three stars = GOOD in my system), this book had me riveted. Warcross sets the stage, and Wildcard digs into the most interesting bits.
I mentioned at the end of my review for Warcross that the big reveal near the end of the book did not take me by surprise, but that did not diminish my enjoyment--and it still left many questions to be answered (there is a major mystery at the center of this book).
Marie Lu has tweeted that the two books are a duology--so there is no third book to watch for. I would recommend that interested readers think of the two parts as one big book--make sure you have them both before you get started, so you can jump right into Wildcard after you finish Warcross. Gaming, virtual reality, and thorny questions about free will vs. control lie within.
There is a bit of the familiar YA trope of a teenage girl being thrust into a role where the fate of the world lies in balance, depending upon her actions--but that wasn't a deal-breaker for me.
Oops, I did it again. Started a trilogy without realizing I was starting a trilogy. This book was sitting so innocently in my library's e-collection as an available audiobook. Since I've enjoyed Marie Lu's writing, and found the blurb intriguing, I decided to give it a go. There was no hint that this was book one of a series. I did consider it a possibility, and of course, as I got to the late segments of the audio with so much left to resolve, I suspected it was likely.
I enjoyed that the main character, Emika, is a badass hacker girl with some mad skills. The world Lu builds interested me, with its neural link and the primacy of the video game Warcross. I was somewhat reminded of Ready Player One, but without the whole "going to school in the game world" angle.
I will say that there is a major twist near the end--and without giving it away, I will only note that I thought of as possible. I'd semi-dismissed it as improbable, but when it "came true," I felt unsurprised. I don't mean this in a dismissive way. Many of the developments I filed in my brain as "interesting, though not surprising."
I have already begun listening to book two, Wildcard. Hm, I wrote above that Warcross is the first book in a trilogy, but Wikipedia reports that it's a duology. I hope that's true. It would be nice to have the story's mysteries wrapped up in the second book.
This one wasn't for me. It had been the October pick for my library's Forever YA book club, and I ended up skipping our October meeting because every time I'd try to start the book, I'd nope out, and couldn't even get all the way through the prologue. But when I checked out the hardcover edition, I'd also placed a hold on the downloadable audio version, and it auto-checked out for me. I thought, "What the heck," and I put it on my mp3 player.
I did a lot of eye-rolling. Head-shaking. When Jude is seven years old, she and her sisters witness the murder of her parents and are abducted into The Land of Faerie by their murderer, who also happens to be the biological father of her half-faerie older sister (Jude has a twin). This all happens in the prologue, so not spoilage.
We jump ten years for the main part of the book. Despite having watched him murder her parents. Jude has come to love her Faerie Stepfather (ish) Madoc, who is a general to the high court in Faerie. Jude and her twin take lessons with "the gentry," and their faerie classmates constantly bully them for being human and mortal. (And somehow adults are never around to stop the physical abuse.)
Jude quickly becomes an unsympathetic character, as her main drives become obtaining power and position in the royal court. And we must constantly hear about how superior the beautiful faerie "folk" are, what with their non-human eye colors, pointy, furry ears, horns, magical powers, and immortality. Except that they can be murdered. So it's kind of ridiculous when they mock Jude for being mortal. Also they "can't lie," but still find ways to be deceptive. We also get treated to the trope of the mean, abusive guy acting that way towards a girl because he's secretly into her. We need to retire that.
This is already longer than I intended. I will say that the final 20% of the plot at least had me curious about where the narrative was going, but ultimately I was "meh" at the end, and have no intention of reading the rest of the series. I just can't care about these petty "folk" and the humans who aspire to be like them.