Reviews and Comments

I'd like to note that there's nothing inherently wrong with this classic. Tolkien paved the way for high fantasy and has inspired so many phenomenal works of fiction, from novels to films to tabletop RPGs. But the narrative style of The Lord of the Rings is dry and was difficult to engage with after the hobbits left the Shire. I respect Tolkien and am certain my stories would be vastly different without his influence, but I'd much rather watch the condensed and visually striking films than slog through another thirty hours of text. I understand the draw and loyalty of Tolkien's biggest fans, he simply isn't for me. After struggling through the text for weeks, I finally called it at the 25% mark.

There's nothing revolutionary here. The major takeaway is: Find what's important to you and remove the rest. DNF at 25%

If you're a perpetually busy person seeking meaning and clarity in your everyday life, this one's for you. The book tackles the negatives of ever-increasing productivity, staring down your own mortality, taking the time to enjoy life, embracing mediocrity in hobbies, and finding comfort in who you are rather than striving to be the person you believe you ought to be.

The Problem Drinker, while intoxicating in its opening, loses its shimmer about halfway through. The novelty of a problem drinker dealing with his emotions through literature and alcohol reeled me in but outstayed its welcome in quick measure. The gonzo aesthetic and literary leaning didn't quite land, and the one-page chapters often grazed brilliance, falling just shy of poignance. The romanticization of alcoholism also left a sour taste, and maybe that's on me for not "getting" the appeal or desire to fill the alcoholic writer role.

As a writer, I appreciated Kouri's perspective on endless rejections and self doubt. But it was hard to read those sections separated from the subtext. Kouri is privileged (his mother has ties in film and the stage, he went to Sarah Lawrence, and he can afford to drink to excess in classy bars). He's friends with celebrities from many walks of life (his best friend's dad is Kevin Bacon, he parties with Chuck Tingle, and chills with actors like Kyle Gallner). His constant name dropping felt like virtue signalling, telling the reader (and the universe) that he also belongs in the world of artistic success because everyone around him has "made it". Needless to say the tone didn't win me over.

I give Kouri props for putting this memoir into the world, but this one wasn't for me.

By now, I should know better. While Catriona Ward has great ideas, she's never once landed for me. I'll admit to getting less than halfway through the first chapter. The kids are in a bad situation, but Riley's insistence that they leave NOW isn't brought on by an inciting incident. Unless the supposed inciting incident is a Peter Pan-esque figure coming to their window to deliver a map to Nowhere (which isn't enough of a break in status quo when I've hardly had time to sit with the characters beforehand). Not once did I feel mounting pressure. Neither did the opening pages and characters intrigue me. This is a classic case of "not for me". I'm not the target audience for Ward's work.

While I love Auri as a side character, I couldn't power through a novella where all she does is move objects around and name new sections of the Underthing. DNF at 20%.

Accumulation won't be to everyone's taste. It's more tense than scary and leans heavily on domestic drama.

The novel follows Tenn, Ward, and their two kids (Anders and Aisling) after they move into Tenn's dream house. The house's foundation is cracking, a creepy doll moves of its own accord, shadows gather just outside Tenn's line of sight, and soon enough she finds herself in a mundane time loop. The story centers on Tenn's struggles with the anxieties and drudgery of child rearing, home maintenance, and countless appointments while Ward uses work as an excuse to leave her to deal with everything. As their marriage deteriorates, so does the house.

This novel might be scary to some; if you're a mother and wife, you'll likely find it relatable and a tad suspenseful. While there are literal ghosts and paranormal experiences that accumulate, the story is much more focused on the lives of this family and how tension, grievances, and distance can accumulate within the confines of a home if left unchecked.

I recommend this to fans of The September House.

Thank you to Putnam and NetGalley for the ARC.

Stephen Graham Jones delivers with Night of the Mannequins. The narrator, Sawyer Grimes, weaves a twisty tale of horror, delusion, and madness. While the story is simple in its prose and progression, it gripped me from the opening paragraph. The voice is raw and full of angst. It didn't feel like I was reading a SGJ novel; instead, Sawyer's teenage narrative sucked me into the setting and dragged me along like an inanimate mannequin—no resistance whatsoever.

I recommend this to anyone seeking a quick read that subverts genre tropes and follows an unlikable (and unreliable) protagonist.

Thank you to Tor and NetGalley for the reprint ARC.

Atomic Habits is all about creating positive habits one small step at a time. If you're struggling to stay motivated, want to quit a bad habit, or reach your full potential by making targeted progress, you should give this a go.

The Rainseekers is a series of vignettes strung together by a shell narrative. A group of forty-six individuals wanders into the vast Mars landscape in search of rain; should they find it, they'll be the first humans to experience rain on the red planet. The narrator, a retired influencer, has joined the group to document their journey and capture the stories of her fellow travelers.

While the novella is more about people than the trek into parts untouched, there is little in the way of character development or significant interpersonal relationships. The vignettes, while interesting, detract from the ambitious journey.

Kressel has a strong authorial voice that brings the vignettes to life. Meaning is plumbed from each story, leaning into the theme of individual importance. What's lacking is a sense of closeness to the characters. The danger of the trek is understated to the point of lacking any tension at all. Even with a death and failing equipment, the story is devoid of suspense because the narrator insists on speaking to the reader directly about what the existence of the novella means: the crew make it because she published the article she set out to write for Ares Magazine, the one the reader has been consuming from the beginning.

I recommend this to those who enjoy a sci-fi veneer to their "day in the life" vignettes. If you're seeking a sci-fi adventure on Mars, you'll likely be disappointed.

*Thank you to Tordotcom and NetGalley for the ARC.

Mavis is an unlikable character that twists reality to fit her understanding (or her mother's and Stephany's understanding) of marriage and wifely duty. The "horror" scenes I read before putting this down were devoid of emotion or real tension; they just happened. It didn't help that the opening scene is a car accident and I didn't know Mavis enough to care about what happened to her. The narrative spends far too much time detailing the banal (Mavis's marriage ceremony, her mother-in-law's bracelets, and her constant feeling of unworthiness) while the more intriguing events are lacking detail, suspense, and emotional weight (her dreams about Cyrus, the mysterious digger in her back garden, and the hints being dropped about what she did BEFORE the car accident). I DNF'd at 28% because I couldn't slog through anymore.

*Thank you to Tor and NetGalley for the ARC.

King Sorrow is Stephen King with dragons. Fans of King (Joe Hill's father) will consider this a compliment. Those more critical of the master of horror might find that my comments of King Sorrow mirror their experience with It.

King Sorrow reeled me in with strong character building and a slow introduction to supernatural elements. Any scene with Arthur or Llewellyn was great, and I initially loved the college-aged Losers Club. But what began as a powerful introduction moved swiftly into a slumping middle. While the pacing of Books Two and Three limped along, my dislike for Allie, Van, and Donna only made it worse.

When I was about to throw in the towel, I met Arthur and Colin in Tintagel and the surrounding Cornwall area. Stu Finger and his cave were whimsical, intriguing, and colorful in a way that both excited and infuriated me. If Hill can write like this, I thought, why isn't the whole novel written with such care, poignancy, and concision?

Hill's character development was solid while occasionally repetitive. King Sorrow and the horrible Nightswanders felt like single characteristics personified. All but one death fell flat. Substantial hints were dropped before finding their way into a tense scene. While these criticisms could have faded into the background, it was impossible not to notice them when much of the novel dragged. Joe Hill is a good writer hindered by his popularity. Like Stephen King, a good editor could have tightened the prose, removed unnecessary sections, and imbued the story with more tension.

If you like Stephen King and Joe Hill's other works, I'm sure you'll enjoy King Sorrow. If you're seeking a long trek with urgency, evocative world building, well-constructed character arcs, and three-dimensional villains, I suggest looking elsewhere.

The Soul Delusion, from the start, is not for soul believers. It is for the already soulless, or those who find themselves questioning their possession of a soul. If you're religious or spiritual, this book will likely ruffle your feathers. As an atheist and apsychist (a non-believer in souls), I initially found the tone charming. It quickly grew tiring.

What you're getting with this book is a lot of repetition packaged as academic writing, which it inarguably is. If you read from start to finish, you're likely to grow bored of the gimmick from one chapter to the next. The bibliography is half comments, not proper sources, which devalue the author's arguments. If you're seeking reliable sources and ways in which to dive deeper into the material the author provides, you'll be disappointed.

While there's a lot here to tickle your curiosity, I believe each chapter would do better as its own academic paper. The first half of the book could have easily been condensed into two chapters. The chapter on dualism (while fascinating) is overlong to the point of making itself redundant. The rest, which focuses on other beliefs such as miracles and NDEs, might have been more fascinating if it hadn't come after everything else.

The Soul Delusion would be most fascinating if you're uncertain about souls. As someone who considers themselves hopeful but ultimately apsychist (like myself), you won't be gaining much from this read—unless you're hoping to use the contents in heated arguments amongst friends.

*Thank you to Bloomsbury Academic and NetGalley for the ARC.