About Henry Huggins Spanish edition Henry Huggins feels that nothing very interesting ever happens to him. And hopefully we ;ll start learning Spanish together as a family this summer. Toddler Audio Books Options Good Questions Apartment TherapyI remember that I had books on tape complete with beeps to turn the page for long car trips but am sure there has to be some more advanced version. Encyclopedia Brown - series by Donald J. She currently lives in New York City. Good Vibrations deals, in a nontechnical manner, with the very interesting subject of the physics of music.
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Cathy Wink's is an author and has help countless couples enjoy their own sexuality. Good Vibrations is a bright, convivial, women-owned sex-toy store in San Francisco, where customers of both genders and all sexual orientations feel welcome. Book; Category; Todd Rundgren. Good Vibrations - Wikipedia, the free encyclopedia "Good Vibrations" is a song by American rock band the Beach Boys, released as a single in October This book aims to convince us to stop taking these drugs, and to show us how to do it safely. As much as he wanted and continues to want to pin the whole DSM-5 fiasco on bad management at the APA, he also at least to me, which he may well regret spoke openly and often about the problem that the APA was, at least.
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Because you[Amy] understand her since they're both from Kansas. There was no understanding required for their plan.
According to others: Amy is the one to kill Dorothy just because. Because there are certain tools and people and methods. They're both from Kansas. I think I like this better, more mysterious.
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Multiple characters change their appearances, Polyjuice Potion style. First character is Amy, pretending to be someone she isn't amongst people who have known the person she is pretending at for a long time. I think it's safe to assume Amy had been magically provided with the poor person's voicebox along with their entire appearance, because surely Amy wouldn't have been able to fake her voice for so long. Second character is And yet, here's how X is recognized: Their[gender pluralized] voice was all X. Third character A sly, nervous grin. What the actual fuck is a sly, nervous grin?
I can't grin slyly and nervously simultaneously, and believe you me, I did try. Hell, I went out to smile at the stray dogs lazing outside my gates. And I have a little-graver-than-slight phobia of canines. I didn't know what was Good or Wicked anymore. All I knew was what was right. And ignoring an innocent kidnapped and tortured is so right. Glad we're done with that, now I can concentrate on expounding on the very few positives I have. Dorothy was a fantastic protagonist:kick-ass not only because she can literally kick-ass, but because she has the personality and voice of a kick-asser.
She is bitter, and doesn't have the noblest reasons for wanting things always, albeit she's a good person at heart. She is played or maybe she isn't, she never knows; this, as expected, confuses and frustrates her. Doubt and questions creep in; is her noble cause really hers? Despite failing to set the tone, each chapter ended on these awesome punch lines; and there were wonderful quotes in between that helped in describing the characters, their passions and so much more. Something about that much sweetness didn't feel right.
And then I thought: Bring it on. I didn't want to believe her, but I knew all too well that you can't always get what you want. Thus my mixed bag of feelings can be shortened down to two indisputable particulars: The land of Oz didn't enchant me. Monkeys are awesome. It's middle-grade, but it will twist your emotions so much more, and the little hint of wayyy-into-future romance is more heart-warming than the one here. Ultimate rating: 2. John Green was showing his privilege.
This time he's deciding what is and isn't sexist. I rant accordingly. It lacks the intricate prose of the former, its detailed background and the memorable characters along with the creative world and concept of the latter. Yet it has intriguing affairs of its own. While on her way back to her farm, carrying eggs and dillydallying because it's her last day and soon enough she'll be on her way towards singing operas with her mother in cities far and beyond excuse me for a moment. I can do it, I can remember her name, one goddamn name, memory! She's then transported into tunnels, where she crawls and screams and fights and runs, all to end up bloodied and terrified at the feet of the troll king, who intends for her to bond with his son, Prince Tristan, and break the curse that has entrapped the troll kingdom ere long.
Shit happens fast enough as their union doesn't break the curse. Entail the typical YA fantasy romance where they talk of not wanting to do it, she's terrified and he's disgusted, he's rude and a troll, she's human and feeble, feelers they do grow and although they can each read the other's emotions because of the union, misconceptions arise; they kiss, make up, fight, commit to detest-ability in moments of jealousy and the rest you can figure out.
There are things unexplored beyond the curse. The troll kingdom and its hierarchy; there's story beyond their union. Revolutions, slavery, resentment, mad brother with a side dish of Troll politics. These things are different. I don't know about you, but I don't think I've read a YA fantasy novel with revolutions, per se. There was Eona , and a few other but I don't think they fill the slot. However, it seems that the slot is still empty; Stolen Songbird didn't fill it. Because first and foremost, it's a romance novel. A romance that takes time and grows because the characters need to grow and get acquainted with us.
The love part takes up almost the entirety of the novel, and the revolution, we barely get a hint of. What she's feeling, what she's done, what he's done to her, what she could mean for his plans, and wait a second, he's conversing with his father about something else! That accounts greatly for the lack of tense atmosphere, planning, words and deeds.
Don't get me wrong, she does all that he does, but since her chapters are greater in number, there's a lot of space to fill. The job is accomplished by escapades, side characters, discovering about the revolutions and witches and curses, meeting the slaves. That, in itself, wouldn't be a bad thing. Yet their personalities can have lists composed of everything we'd like to see; that's all they are are:lists. All the good things, and none of the bad. All the good things individually and nothing, no quirk or hint of true-ness, emanates from them.
For me, they're forgettable. I was invested to a degree in their story but now, I couldn't give two shits about the ending nor their heartbreak nor what might ensue. Their voices hooked me for the time being, but there was no captivation involved; and now, almost two days later, I find them boring.
The troll world doesn't have a linear history, nor present. One could call it complex, with the disfigured nobility and the commons and the slaves bereft of magic. Power rules and power matters. Gender doesn't determine shit, blood does. Because blood carries troll power. Get this, gender doesn't fucking matter. She-trolls go to school and can inherit property; they can own their lives and rule their homes. You'd think-I thought- that such a world would be almost free of misogyny. Yet at every turn, I encountered such sexist notions:.
There were more. Did you know, in all these centuries, Trollus was rules only by kings? Don't tell there was never a Montigny the royal family daughter powerful enough to defeat her predecessor. Just fuck.
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And once more:. Get this: troll males can hump and bump human females; it's frowned upon but there are no restrictions. She-trolls can be as powerful as He-trolls, depending on their blood. And that addition: whether it is against her will or not - that's fucking offensive, in a world like theirs. Implies that not only do they not trust the female trolls to be unable to protect themselves against humans, their judgement is skewed.
I don't think it's chivalrous, it's stupid and fuck. For once, I was so excited to read a YA fantasy where girls were on equal footing with boys; a world whose traditions weren't stooped in our age-old discrimination. This is a good post exemplifying my feelings. Not only was the inclusion of misogyny inconsistent with the world building, it was also fucking excessive and unavailing. Without those choice lines, the book would've been the same; they don't affect the story in any fucking way.
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A picture, a name of a female ruler in the library wouldn't alter the story. This is my question: Was the inclusion solely for the purpose of custom? Because that's how it is in YA book? And I'm not even a fan of Nicki Minaj. But she's so right Another thing I'd like to know is why does the kingdom of Trollus have a curfew.
The side characters are all well-developed, especially Marcus. I love that he tried to view spoiler when shit happened. There was the usual another girl thing, the subversive type where the author tries to show that the other girl isn't a bitch, and has feelings of her own. This trend started because authors tried to write more feminist novels, to show that girls don't need to fight because they love the same guy.
But my sensors are so overwrought: this thing's been done so many times. I wish it weren't there at all. But it was, and far be it from me to tell what an author should or not do. Yet I still wish. I wish that if the authors do include it, I wish for once the girl weren't so fucking beautiful and mesmerizing and curvaceous on the outside; for once, can't a guy share a platonic and intimate relationship with girl who loves him but isn't a super model, AND she does the job of making the MC jealous?
And then can we have the props follow? The feelings and all? Can the MC not ever be jealous of a girl with plain features? Says my finicky side. Actually, there was something similar in [book:Persuasion], and obviously, there are so many incidents in real life. Even the 'other girl' has an internal, hereditary problem, yet Tristan is perfect.
He doesn't even have pointy teeth. Seems to me, he should be the most disfigured of the lot. I was going to rate the book three stars, but writing this review has made my feelings more coherent, thus the lack of half a star. Anywho, besides all that, the scenes with sluags in especial were credible, reminiscent of The Descent: Part 2 , which is to say, it was very atmospheric and disgusting with the pool of shit and all.
It was a gripping novel that had me hooked whenever I was available for hooking. The character introductions plus developing relationships. All romanticising and characterising, no revolutionizing. Some of the things just weren't to my taste. Review copy provided by publishers. Yesterday, when I was feeling mild after an unexpected evening nap, and today, after getting access to my computer after almost a two-day hiatus. I was feeling ecstatic.
Go figure. First things first, let's decide on the rating because I love giving golden, little stars to books. In terms of writing, characters, plot, blah di dah all mushed together and judged together, I'd like to give Plus One three intact stars. On the other hand, when I consider my feels, or lack thereof, and enjoyment, or lack thereof again, I can come up with nothing better than 2. It's in sequence. Plus One incited in me reactions from a very small range.
There were times during which being in my vicinity would have transported you to a dimension where dragons breathe not fire, but fire-colored liquid OJ , through not their mouth, but their nose. I am a ferocious beast in pink! DO you see what comes after what? I swear, had it not been for the book, I'd have fallen for Ms Fama right there and then. More of my reactions included: boredom, because while lots of things happened, they really didn't.
She was just talking with her Poppu, like she just returned from his room. The prairie was around two days ago. This is a poor kid she's just met, who's walking with them in uncomfortable silence, going "Um But that's my pet peeve, don't you be bothered and all! Plus One has a very interesting premise, a world that was unfolded in multiple chapters at a varying pace.
Days and Nights are not, as one might guess, races; they're classes of people bifurcated based on their assignment in either day or night. At first, I was really impressed with the background and attitudes and traits of people-Rays and Smudges; Rays walked and talked openly while Smudges learned to sneak and skulk around early on.
The difference in their perceptions is something I'd have liked to see more of, but sadly the book lacked in that department. I also thought that their lives would be more hurried seeing that each class had around twelve hours assigned to them, but they almost seemed languid. There were things that I questioned about the working of the world, the simplest things because I am goddamn genius not , and I'm glad to admit that they really were no problems, and I was simply pretending at being precocious.
The theme playing at the book's core is love. Love for family starts the roller-coaster not , and ends with true love. True love ain't for me butI believe in tru wuv. Sol Le Coeur decides to kidnap her new-born niece by deliberately mutilating her hand, so her grandfather, Poppu, gets to hold her before his last breath. Various misdeeds, mistaken identity, good people, chances et cetra ensue, and a story is written.
Sol is a badass MC who will be loved, admired, aspired, sung ballads in taverns about by one and many; she doesn't always kick ass, she has her moments of vulnerability and stupidity, and if I weren't me, I would say she's a marvellous and unique character with lots of juice to be squeezed out. However, by some probability and a few too many rounds of moonshine with dices in hand, ended up with me being me. And being me, I say that Sol didn't leave any kind of impression on me as a person, nor could I connect with her in any way.
This lack of connection contributed the most towards my mild feelings about Plus One. The romantic interest, D'Arcy, I think, could have been a great character. But he didn't give me any swoons and I couldn't even begin to try and look at him beyond his niceness.
In the beginning, he had great potential to be a mulch-layered character, and he continued to be so, until a little ways forward from the mid of the story. That is when I felt it all going down the drain- the potential realized, and the unrealized. However, at the end of the second day, I refute my aforesaid statement because he really was a fleshed out character, and made more of an impact on me than Sol did.
No swoons, though. No goddamn swoons. Another character I'd like to discuss is Gigi. From what little we see of her, she comes off as a bitch, broken and used. I liked her and I felt for her. She is being treated like shit from both sides, yet she has her attitude and yet she helps them. At least there was one character whose story I'd like to read, and see where she goes. This is a minor spoiler, so skip if you want. Gigi is Sol's brother, Ciel's ex. He broke her heart. He's married and has a child. YET he forces her to negotiate with him, when other people were up for it, and she absolutely doesn't want to.
He has his reasons, but I thought this was a downright assholish thing to do. The story isn't really very political; it involves more skipping about, hiding and having fun, thinking unwanted thoughts etc. It isn't very revolutionary either. There are some revelations made, and there might a revolution growing in the background, involved with characters completely unrelated with Sol, but that has very little to do with the story, until the very end.
Plus One doesn't set out to make any statement; differences, injustices don't consume many words because foremost, it's a story about love. And escaping. For when bats steal your OJ. Not my best review, but it's all I can manage. Drawing dragons wears me out, as does trying to imagine myself as dragons I'm nothing if not authentic. Thank you Macmillan Children's Publishing Group! I'm trying and trying and trying to figure out how come I was so fucking fascinated with Cinder, and how did I even get through Scarlet?
These characters are so lackluster, the setting has no meaning, there is no atmosphere, and politics? Fuck politics, we'll have stupid decisions and idiotic emperors and angst instead. But I love Cyborgs and I loved Cinder, as a character and she wasn't so bad in this one as well. But hear me out: Each bloody character falls into either of the two groups: Bad or Good. Misunderstood, misheard, failed system, manipulated! Even Thorne and Wolf are just. This is where the book Cinder beat the next two installments because the step-mother wasn't really bad from every perspective.
And the bad characters. Can we have any other development besides their fucking evilosity? No no no!!!!!!! The worst is I had so many expectations, and now I don't give a rat's ass. There were so many inconsistencies and things I couldn't wrap my head around. Like, Thorne says to Cress that they better hurry or they'd be eaten alive by vultures. Excuse me, I'm thinking mutant vultures but why wouldn't you say so? Thorne and Cress make ropes of Cress's shorn off locks. Terribly inconvenient is what I think. Could be I'm narrow-minded or Cinder was automatically translating.
The first two books had more than their fair amount of faults and mistakes and, in all propriety, I should've rated them 3. Not in Cress's case. So yeah, no can do. I don't want to be the black sheep because I used to be in love with the series, the spin on fairytales and cyborg princesses, but at the moment, I have buttload of ARC's, exams tomorrow and other upcoming books. For now, I'm abandoning it.
I'll probably pick it up and finish it, maybe even read Winter when it comes out, but for now, goodbye book. Because a it was so fun, fun, fun and b I don't come across many cyborg princesses. Everybody and their bastard niece they're gonna kill loves this book, so take this review with a grain of salt. As I lay thinking about at night, Me Since You made infinitely sad. Depression can be really scary.
And worse is, seeing your parents break down; seeing your father cry and your mother hopeless. The past winter was really tough for me and my family- depression like this, for differing reasons, at varying levels with the the weather which couldn't be counted on since it was raining the whole goddamn time. That was why the first half of the book got me so, call me heartless but the second half- the grieving and wake of loss didn't get to me as much as depression did. Depression sucks. The blurb for the book says it's divided into two parts: Before Rowan skips school, After Rowan skips school.
It is entirely incorrect. Me Since You is indeed a discided story, but in a different contest. The first half deals with depression, and the ensuing hopelessness, rue and impatience. When it seems like the rains of sorrow are on the horizon, might encroach any moment but all everyone else- including Rowan and her mom- want is for her father to fucking get up and get on.
Because it's unbearable, watching your pillar waste away one huge chunk by another; because it seems contagious, if they don't remove it from the roots at once, it might catch with the whole of them; because people in naivete can be so goddamn piqued and resentful when nothing seems to work; nobody wants to feel useless. I thought this part was really poignant and unfeigned; it's the reason behind all the four stars I wanna give to Me Since You.
Outside of the terrible atmosphere at home, Rowan is spurned and shunned by most everyone she knew; everyone she knew has an opinion of her father because he's a cop and because they're ignorant and judgmental and everyone thinks they can be the superhero. When they have no one, when they can't believe that it's simply a shitty world where a loving, young father jumps off a bridge with his infant son to save from the aforementioned shitty world, they have trouble accepting that they're the reason that drove the man into committing to eternal sleep; so they point the finger, look for a scapegoat, engage in words that cut and actions that lead to questioning the virtuosity of a man- the police officer at scene- who has devoted his life to serving and protecting with honor and valor, with no thoughts as to the impact on other people; so they propagate the shittiness that started it all, and they're completely fucking unable to see that.
How can they fucking not see that they're only adding to the misery her father already breathes in. I hate the 'they' people; always have, the people who judge, the people who peep, the people who gossip in damaging ways. The 'they' people my parents warn me about: what will they think? Go fuck the they people. But there's still hope, right? Rowan believes so. She plans and tries very hard to be happy; sometimes she manages and other times she improvises and has the best time of her life. The second half is really about moving on yourself; being angry at others for moving on, being unable to accept.
Watching for headlights in the fog, where it's a fucking ghost town. And people still have got things to say, after her father's very, very dead. My favorite aspect this time round was the relationship between Rowan and her mom; while she wasn't ignored in the first half, this is where we really get to know her. Know her as a widow, as someone whose dreams of forever are snatched away, as she goes through the motions perfunctorily, and later on, when she doesn't.
Rowan's own grief was believable but the fact, this potion was about healing and moving on, and before all that, suffering. Even in Rowan's voice, been there, read that. Seems callous, but really, this step of the story has been done to Which is another concept done to Each unhappy family might be unhappy in its own way , but this pain- this loss has a feel that is universal.
Yet there were things that got to me- Rowans' anger, her mother's. Lack of goodbyes and all that. Grieving for this family was a slow process, and numbness was slow to peel away but abrupt too. The writing was plaintive and very beautiful- except the one time it got sorta corny:. I really liked Rowan's voice- especially in the first half, which, I think, is the right time to get to know her. How she fumbles, blushes, panics at stupid things- her thought processes were familiar, not in the way that I've read it before, instead I think I mighta sorta think like that.
I remember this one scene when Eli- another character, her age, romantic interest- comes into her place of work, and all the thoughts that ensue. It was quite funny. Then there was the best friend: I said I hate judgmental people, I don't particularly hate bad friends or people who are mean, because everyone has a story. But fucking dammit! She takes the cake for worst friend ever, and I have no clue why Rowan would be with her- mayhap it's the childhood bonding, she can' let go, whatever.
Friends are supposed to support you, not tell that they don't want to talk about it and then probably, I can't remember go gossip about it; or be so self-absorbed, so fucking oblivious she can't see when party she's dragged her to talks shit about Rowan or her father, or pretends not to and hates Rowan for not even trying. AND later on, tells Rowan to speed-grieve. I don't usually want to strangle characters- if they're so bad, they're SO fucking not worth me trying to wish 'em outta the book in order to strangle them. BUT this girl- this so-called, self righteous friend- can I have a license to kill, please?
SPOILER Another thing that bothered me was he discovery of goodbye notes; too convenient and it seemed the lingering grief was dropped with the swish of hand, snapping of fingers. Me no believe nor like. In conclusion, I'm conflicted about the rating, depending on my mood but I think you guys might like Me Since You , too. The model seems too composed. Thank you Gallery, Threshold, Pocket Books! And I wish the book had done the same, stuck in a childhood memory of a summer, right before everything went straight to hell; and fifteen years later, we are told those stories, their repercussions and many others and more, lost threads and friendships come full circle.
It's the second part of a story that began for each person in this multi-POV story in different times of their lives. Old people, young people, ageless people. The story of the past was a more emotionally gripping story, more magical while this adult peep into their lives was about healing; and in a way, the book I want could never compare to the one I read, because any story would be incomplete without closure, and Lost Lake provides closure to us, the readers. One of the things I really liked was that despite the multiple old people narrating their parts, their was nary a hint or inkling that life had slowed down for them, that they had it all figured out long ago.
That it's never too late to find love, or happiness. Never too late to find real friends and settle down for a glass of wine, and that letting go of grief is as painful as the pain itself, maybe more so, and that's okay, that's perfectly fine so long as you fill up the vacancy in time enough. And sometimes, you don't need to let go of your grief, you couldn't and that's fine as long as it doesn't bloat and occupy every corner of space of your being. Another thing I absolutely loved was that Ms Allen dared out to speak in astute terms all those things that make up for nostalgia and melancholy.
Nevertheless, this wasn't a book about preservation; for some it was a new beginning in the place where their stories once tried to take off, and for others, it's about moving on. The characters are all unique and different; even the most stable and happy person has their moments of breakdown. You might think she has it all figured out, she might, everyone else might but it's obvious by how fragile a thread most things in her life are held.
It was a slow and peaceful type of novel, exactly as it was expected to be; there's no fault with it per se, and all I really want to say with my 3-star rating is that I liked it. My first Sarah Addison Allen! Thanks to St Martin's Press for proving a review copy. I don't know why but I do, so there. I am a picky, spoiled eater. Methinks my relationship with chow-support is like the consternating one with pretty clothes or men you pick.
But then I guess that is a desirable quality that parents drum into their young creepsters. But I can really be a bitch too. A very quiet one. I liked the polite but cutting humor of the narrative in general. It was reminiscent of my history teacher except his contains polite but cutting insults.
I swear that man can just raise his eyebrows and make you feel like scum of the earth. However, the writing gets a tad formal here and there, which almost breaks the flow the of the story. The characters were charming and the luscious descriptions of food, oh-ma! Psst…bored with Sherlock travesty?
Related Wishing Stars: Space Opera Fairytales
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