Review: The Half-Drowned King (The Golden Wolf Saga #1)

5 stars. I cannot express how grateful I am for stories like this during times like these. The tale of Harald Fairhair's conquest of Viking-age Norway doesn't exactly have the most delightful, funny, feel-good vibes, but every time I slipped into these pages I felt relieved - a true escape. The Half-Drowned King is Harald's origin story told through the eyes of Ragnvald Eysteinsson, a young and skilled warrior attempting to navigate his coming-of-age, his birthright, his complicated family, his allegiances, and his desire for glory. After a harrowing betrayal and attempt on his life, Ragnvard finds himself caught between kings and fates as war descends on his harsh, beloved homeland. 

I quite admire this book because what happens in it is unusual. Sure, we have the usual suspects - revenge, duels, shield walls - but we also have flawed characters making imperfect decisions on wavering, unclear journeys. Solvi and Svanhild's relationship, for example, twists and turns in ways I can't stop thinking about. Ragnvold makes predictable mistakes and unpredictably learns from them; in fact, every major character has ugly qualities as well as heroic ones. None of it - within Hartsuyker's halting and unique prose - feels cliche, or typical, or traditional. It reads like a softer, fresher version of The Last Kingdom, though I reject comparisons to ASOIAF (hi, a book can have swords and more than one POV and not be Game of Thrones, thanks). 

I also really appreciated the way Hartsuyker has her characters look back at the sagas and stories and songs of their history similar to the way we look back at, for example, the sagas of Viking-age Norway. When one character tells another that her experiences sound like something from "one of the old songs," it's a self-aware nod to the nature of Hartsuyker's story. And while that nature for sure has an epic fairy tale flavor to it, this technique also essentially grounds and humanizes her heroes and kings (and queens) and underscores the fact that legends have their own legends; no "age" is untouched by the "age" before it. Legacy is a driving force for her characters. I quite love it when a book doubles down on the importance of stories. 

It's a complicated one, and reading it requires energy and effort. Figures poke at and orbit around each other in patchy, tricky ways. But it is rewarding, with its subtleties and deft plotting and its understanding of identity and honor. The politics, once they click into place, are not difficult to grasp. It is as oddly romantic as it is brutal, and I would hope to see the characters eased of their burdens in the future books. I've grown to love them, and I dread their fates. Still, I look forward to escaping into this dark and magical world for a bit longer. I think I will dream of icy waves and crackling fires and roasted meat tonight. 

The Half-Drowned King on: Amazon | Bookshop.org | Goodreads

Review: The Southern Book Club's Guide to Slaying Vampires

5 stars. I loved this. I'm so lucky I snagged it from the library, but I look forward to owning a copy one day so I can re-read my favorite bits. Absolutely epic.  

From the outside, Patricia Campbell has everything a woman could want - sensible husband, two kids, home in a nice neighborhood, a safe community. She's living the suburban dream. Unfortunately, life as a housewife and full-time mother leaves her feeling a bit hollowed out. She jumps at the chance to form a sort-of book club so she and other neighborhood moms can read all things dark and exciting: true crime, horror, and murderrrr books. 

Then a stranger shows up in the neighborhood, and things get weird. Patricia is violently attacked and children begin to disappear in the surrounding area. She's drawn to the stranger, but it soon becomes clear that he's not at all who he says he is - he's actually something much worse. Something that may or may not even be human. 

Like many (but not all) great books about vampires, The Southern Book Club's Guide to Slaying Vampires is not really about the monster. He exists rather in the shadows - in fact, he doesn't even show up until 10% in - as we watch Patricia Try To Have It All and Also Protect Her Children from a Suspicious Threat Even Though Nobody Believes Her.

(It's not actually that cliche - Patricia's a fantastically flawed heroine who messes up a ton with nothing but good, or at least understandable, intentions. Her friends are equally justified and essentially victims of a society designed to cripple women. So.)

Speaking of Nobody Believing Her, holy shit - I squirmed so much through the middle of the book, just prior to the flashforward. The term humiliation horror crossed my mind more than once as Patricia's character was completely squashed by the true monster of the book: her husband. All the husbands. All of them deserved so much worse than they got. I was hoping for a truly satisfying I Told You So moment, just to watch the tables turn. They deserved to be vampire food, all of them. Oh well. 

In many ways this book was exactly what I expected: a charming look at a group of strong and spirited Southern housewives versus a vampire in the 90s. In other ways, though, I was completely surprised. This book is so much more than a thrilling monster fight. It is a cultural study, a piece of anthropology, a tribute to imperfect efforts, a long overdue testament to the housewife, a deep and painful critique of the trash husbands of the not-so-distant past. It shouts loudly about the shittiness of marriage and parenting and adult friendships and the suburbs. It offers grotesque horror alongside hilarious moments. Slight uneven packing aside, there's snappy dialogue and true courage and a lovely wrap-up that left me grinning. Grady Hendrix nailed in. 

The Southern Book Club’s Guide to Slaying Vampires on: Amazon | Bookshop.org | Goodreads

Review: Howl's Moving Castle

5 stars. I am completely unclear as to how this managed to escape my attention earlier in life - but I’m actually quite glad I waited till adulthood to read it. It’s obviously an instant fairy tale classic, full of unconventional adventures, silly characters, fantastic settings, flawed magic, and deep wit, and I’ve fallen in love with the completely unique nature of the story. Especially thanks to recent events, J.K. Rowling can walk off a cliff as far as I’m concerned. This is the real deal. This is wonderfully whimsical and fun.

Howl’s Moving Castle is about a young, demure girl named Sophie who, through a series of unfortunate misunderstandings, is cursed by the Witch of the Waste to become an old woman. Embracing her new identity and leaving her old life behind, Sophie finds shelter in a moving castle inhabited by the wizard Howl, his apprentice Michael, and a feisty fire demon named Calcifer. Together this team of misfits fight battles small (the dust and spiders MUST go!) and large (the Witch of the Waste’s curse looms over them all) to reach a happy ending full of surprises. 

Things I loved: Calcifer - hands down, favorite character. I also loved the way things just happen, without rhyme or reason or explanation. There’s a sort of “just go with it” vibe that I found very refreshing. Also: the unexpected twists and turns that had even me guessing. The fact that the heroes and heroines of this story are flawed and imperfect and guaranteed to make many mistakes along the way. The way our ragtag group of friends bicker and banter as a way to show each other love and support. The sheer creativity of it all. Wales Rugby! Flowers! Hats! Drying Power!

Normally this is where I’d list the things I didn’t love, but for once, I have no complaints. Interestingly, the writing style takes some getting used to - it’s a bit … well, genius/unique? That’s the best I can come up with. I can’t wait to read it again, though, because I want to dig for hidden details and clues. I want to carve away the layers and get beyond the first blushes of love and dive deep into what makes this story tick. I know there’s buried treasure within these words. 

This is the type of book best enjoyed with a swish, savor, and swallow. I’d consider it foundational fantasy and a must-read for kids and adults alike. I want to jump into this world and never come back. I’m currently in a cabin with no Wi-Fi, or I’d be doing research on what is sure to be a very passionate fandom right now. I believe I saw the adaptation once many, many years ago and look forward to watching it again, even if it washes away my own interpretations. The soul of this story is what’s important.

Quick note: the edition I read included an interview with the author in the back, and she said that many, many, many young female readers have declared a desire to marry Howl. Um, what. No. Howl is a nightmare. Howl is my WORST nightmare. Howl has a heart of gold but he’s a DIVA KING! Just, no. He’s so extra. (Still, I’m pretty sure he and Sophie would have super hot make-up sex.)

Howl’s Moving Castle on: Amazon | Bookshop.org | Goodreads

Review: The Birds and Other Stories

5 stars. MIND BLOWN. I'm officially convinced that Daphne du Maurier is my soulmate, spirit animal, favorite authoress, celebrity crush, historical hottie, best friend, sister from another mister, lady of my heart. I am determined to read every word she's written. Her words speak to my soul. 

From a technical standpoint, this story collection demonstrates not only her ability to build tension and dread, but also to write from a wide variety of personalities. Her tone varies based on character / narrator - do you know how rare it is to find an author who can properly write distinct voices? I was super impressed particularly by the transition from "The Little Photographer" to "Kiss Me Again, Stranger." The tone went from a sort of languid lusciousness to clipped and short and it worked in every way. 

Here are my thoughts on each:

"The Birds" - reading this felt like careening down a long, steep dip on a roller coaster, picking up speed, going faster and faster except without any sort of visible destination at the bottom. My heart rate went up. SPECTACULAR ending.

"Monte Verita" - reminded me of an episode of The Twilight Zone, or an old sci-fi film from the 70s, you know, like the ones that MST3K makes fun of? Otherwise, it captures feelings to which I relate immensely - the pure sense of escape when you immerse yourself in nature, the desire to throw everything away and reject society, the dreadful pull of conventional life paths and pursuits. "Often I wish I had the courage to throw my work aside, turn my back on the civilized world and its dubious delights, and go seeking after truth with my two friends. Only convention deterred me, the sense that I was making a successful career for myself, which it would be folly to cut short. The pattern of my life was set. It was too late to change." Also as a whole this story is definitely a metaphor for something. Or, there's a lesson here. I just don't feel like picking at it. 

"The Apple Tree" - clever and funny and scary all at once. What's that you hear? Is it the beating of a hideous heart beneath the floorboards? Nope, just an apple tree to haunt you...

"The Little Photographer" - an absolutely wicked story with a trademark insufferable narrator. Full of lush imagery and delicately gutting quotes like: "A love affair should be a thing of silence, soft, unspoken. No raucous voice, no burst of sudden laughter, but the kind of stealthy curiosity that comes with fear, and when the fear has gone, a brazen confidence. Never the give-and-take between good friends, but passion between strangers..." I'll be thinking about this one for a long time.

"Kiss Me Again, Stranger" - fucking brutal. Just when I thought I'd figured it out, she pulled the rug in a way that left me feeling dumbfounded and disturbed.

"The Old Man" - well, wow. Just wow. Perfect ending to a bright and unusual collection. Extremely fun and profoundly well-written.

I think I'm so consistently shocked by du Maurier because it seems to me like her writing should feel dated or old-fashioned or unrelatable - but it is, for me, actually the complete opposite. Her writing feels fresh and new and personally relevant in a way where many modern authors fail to connect. I felt the same after reading Rebecca and I look forward to seeing where she takes me next. 

The Birds and Other Stories on: Amazon | Bookshop.org | Goodreads

Review: The Stand

5 stars. This review took me FORVER to write. I've been writing and re-writing and tinkering for days, which is unusual for me, and I'm afraid this is all still a bit of a mess. The Stand is obviously an impressive masterpiece, and I could leave it at that and call it a day. But as with all of Stephen King's work I do feel the itch to think a bit, to process a bit, to consider the layers of his brilliance as well as (well, here it comes) why this one wasn't a TOTAL home run for me. 

The Stand is about good versus evil. It's about the survivors of a flu-like plague that left the world decimated and destroyed. It's about a paranormal phenomena that follows the apocalypse, and how the survivors come together and try to re-build. It's about what threatens their efforts - a creature with ill-intent who thrives in this brave new world. It's about those who stand up to this threat and fight. It's about fate and free will and battles old as time. It's about love and hate and fear and courage and sacrifice and morality and identity and death and hope and all those other Big Things We Wrestle With As Advanced Thinkers On This Planet. 

I know, I know - why would you read about a virus-driven apocalypse during what feels like quite literally a virus-driven apocalypse? I'm not alone, I'm pretty sure a ton of people are turning to this book for comfort or escapism or some sort of masochistic instinct. For me, the reason was quite simple: it became available at the library. And I honestly wasn't "reminded" of real life as much as I expected. This is a fantastical story with supernatural elements, plus, Stephen King's stories never feel too "real" to me - except this one, when I got to the ending. It wasn't the plague that ending up feeling too real. It was the ending. Humans are so fucking doomed, dude. 

Here's what I absolutely loved:

- A collection of astonishingly well-written moments including: when Frannie tells her mother that she's pregnant (and the confrontation that follows - King's use of the parlor space hit me right in the gut), the introduction of Randall Flagg (the entire chapter is breathtaking), the sequence in the Lincoln Tunnel, that fucking ending!! Stuck the landing! With a boom! 

- The narrative criss-crossing. Sometimes I'm bothered by multiple POV's on such an epic scale, but King really nails it here. Sure, the pacing is a bit odd, and sometimes loose threads get tangled up in knots, but I don't feel as though he asks too much of the reader. Plus, everything comes together in the end. 

- Harold and Glen and Tom Cullen and Lloyd and Larry and the way King explores different types of masculinity. Harold especially is a fascinating character - I genuinely couldn't predict his arc until it was over (rather abruptly). King almost always nails the Big Bad, but he truly shines with the sidekick weasels. 

- The way the “heroes” "win” but return to life changed and damaged and unable to settle for good. It’s one of my favorite things about LOTR, which served as a major point of reference for this book, and I think it’s an important part of why I liked this as well.

Here's what bothered me:

- The writing sometimes FEELS old-fashioned. It was originally written in the 70s, so of course it does. And I've never been bothered by that before. But something about the exclamations ("golly!" "gee!" "wowie!") totally jarred me out of the immersion. 

- The length. I’m obsessed with the fact that everyone else seems to be obsessed with how long this book is! I’ve read arguments that say the length is why it works, and I’ve read arguments that say the length is why it doesn’t. Personally, I could’ve gone for some more editing. Especially in the middle, when things drag a bit and we’re extra focused on … like … the paperwork of rebuilding a society from scratch.

- King's portrayal of women. Mother Abigail shows a glimmer of the progressiveness King demonstrates in his other books, but Frannie cries often, as in, in almost every single one of her scenes (I started clocking halfway through and ... yep ... it's every single scene). While showing emotion like that may be realistic for a pregnant woman existing in an apocalyptic world, it drove me CRAZY. She also slips so easily into the compassionate/maternal role that it felt stereotypical and flat. And Nadine - beautiful, sexual... but just.... what was going on there? 

^^ This right here is partly why I've struggled so much with this review - I can barely articulate why I was annoyed. I just was. Maybe I expected King to shake off the sexism of the 70's when he wrote this, or the sexism in his thematic / tonal references (Westerns, Epics, etc.), maybe I expected more from him. Maybe I expected a greater spectrum of heroes, of personalities. For whatever reason I just found myself rolling my eyes quite a bit. 

Despite that weird quibble, this is obviously a masterpiece. There's something incredibly moving about the thought of doing what's right No Matter What. Even if what's right is difficult - I mean difficult right down through your bones. Even if what's right is likely impossible. But I think the standout theme for me is the fact that we all must reconcile with the consequences of our choices. We must own them and pay for them and live with them - or die by them. And that's about as epic as it gets, eh? 

The Stand on: Amazon | Bookshop.org | Goodreads

Review: The Mirror and the Light (Thomas Cromwell Trilogy #3)

5 stars. Although I enjoyed this the least out of all three, I can't give it anything less. It is an impressive conclusion to an impressive colossus of historical fiction that should be widely-read and widely-studied for years to come. Hilary Mantel has taken me on what feels like an actual ... ugh, so cheesy ... but an actual journey. The final few sentences are even more breathtaking and heartbreaking than I expected.

We return smoothly back through the door into England almost immediately after we left. Anne Boleyn has been executed and Henry VIII - more volatile every day - needs a new bride. Talented Thomas Cromwell has risen above his common blood to serve as a noble and maintain stability in the English realm, but despite successes and titles and financial security, his job is not an easy one. It is, in fact, a dangerous one. 

Mantel takes her time. She travels, she leans, she slips and slides, she spirals and circles the drain slowly, slowly, slowly. She spells out the story with her ever-challenging, ever-beautiful prose and serves as a steadfast, if not long-winded, guide. Thomas Cromwell's character is painted with sympathy and care - the question of accuracy isn't even on the table. It's just compelling.

I've written about this in my reviews of the first two books, but I love what she does with images. A star, a leopard, a memory, a jewel ... she breathes life into these things, placing them as signposts or symbols throughout the narrative. The level of detail (and the scope of the political intrigues) would be intimidating, if not for the clarity she offers. I never felt as though she asked too much, even with her nicknames and varying names/titles and flashbacks. That's just life: a confusing, very complicated, sad, every man for himself roller coaster ride with the slight, slippery promise of a satisfying conclusion.

I wish there was more.

The Mirror and the Light on: Amazon | Bookshop.org | Goodreads

Review: Bring Up the Bodies (Thomas Cromwell Trilogy #2)

"But remember this above all: defeat your instinct. Your love of glory must conquer your will to survive; or why fight at all? Why not be a smith, a brewer, a wool merchant? Why are you in the contest, if not to win, and if not to win, then to die?"

5 stars. Stunning. A beautiful, driven sequel to Wolf Hall, Bring Up the Bodies picks up where we left off: with England in need of an heir. Anne Boleyn has yet to provide, and Thomas Cromwell is there to juggle the rest. Adept as ever, he observes his king grow tired of his new bride and schemes for what's next. 

Compared to Wolf Hall, there's more movement - more forward momentum. The king's Great Matter took almost a decade, but Cromwell is more confident now, more ruthless, more capable. Things move quickly. And truly, the suspense is breathtaking; considering we all know the end to the story. The legal twists and turns are gorgeous and intense.

I felt the portrayal of Anne Boleyn was a bit flat in the first book, but here she is developed and concrete. A worthy adversary for Cromwell and I'm sad to see her go. This version does paint the Boleyns in an incredibly unflattering light, and I do wonder... I guess we'll never know. History, as always, is written by the winners.

I expected Henry VIII to come across as more childish in this book, past his prime and desperate for his legacy intact. For whatever it's worth, I think Henry believed in his good intentions - always. He was not self-aware enough to see the irony in accusing Anne of bewitching him into a marriage with curses and spells. Sigh. Monarchy. "Chosen by God." Causes problems. SMH.

The prose here is so weird and crazy and wonderful. I again felt like I was there, and came to regard the characters not only as real, but as people I actually know. I wouldn't say I rooted for them, necessarily, but seeing so intimately their intentions and motives and ambitions made me feel for them. I don't know how Mantel manages such unique writing with such diverse, distinguished characters. It's deeply impressive, I practically bask in the afterglow of her writing. 

Can't wait to find out what happens! He lives... right?!

Bring Up the Bodies on: Amazon | Bookshop.org | Goodreads

Review: Wolf Hall (Thomas Cromwell Trilogy #1)

5 stars. I feel eaten alive. Wolf Hall is the first in a trilogy about Thomas Cromwell: aide to the king of England during a time of great crisis. England needs an heir. The government needs stability. The Church needs power, and loyalty. The country needs allies, and money. And Henry VIII wants Anne Boleyn. 

Cromwell navigates through it all - the fall of his Cardinal, the squabbling nobles, a mercurial king, two queens - using his sharp mind and deep intellect. It is a spectacular work of historical fiction that's focused not on the sun, but the space around the sun - the objects and empty spaces orbiting and swirling around what appears to be the brightest thing in the sky. What it gives, what it takes, what it feeds and what it burns. 

I've never fallen in love with historical fiction the way I have with this. Every time I picked it up I felt like I was melting into the story, falling down a well, and as cheesy as it sounds, I felt like I was there. It's rich with detail - Mantel knows her shit - but she includes the fun stuff too; the scandalous jokes, the twists and turns, the melodrama, the innuendos, the sex. This is NOT The Other Boleyn Girl, though I respect Gregory's writing a lot too.

I've read a lot ABOUT this book, because it fascinated me so much and I wanted to skirt on the fringes of this world a bit longer. I noticed a couple of common themes and observations among readers, and I'd love a chance to address them and push back a bit. 

First, there seems to be a frequent observation that Mantel writes Thomas Cromwell as cold, calculating, without emotion, ruthless, conniving, manipulative, greedy, power-hungry, and otherwise just generally villainous. While I think it's true that Cromwell was an ambitious and greedy man with a ruthless streak, he used his intellect in ways that were ultimately astonishing. He was complicated, and Mantel writes him as such. I've seen readers question his motives, call him a psychopath, yell at him for "getting over" the loss of his family so quickly, and declare his demise as justified and well-deserved. 

It's an interesting interpretation - to cast him in such a bad light - but I would argue that those readers may have been misled by the dryness of Mantel's prose and her approach to the character. It's not that Cromwell had no emotions, she just didn't write about them, or at least not in the way we're used to.

(I should note that I'm not a fan of Cromwell, I don't sympathize with him and I love that Mantel made him grow to be so arrogant, especially toward the end.)

Second, many readers complain that the prose is boring, dense, challenging, difficult, and the pronoun usage is confusing. Yes - absolutely. The pronoun usage tripped me up a whole bunch. But I didn't mind the density or intensity of the writing, in fact, I rather enjoyed having to sing for my supper. To work so hard was rewarding for my brain. So that's a preference thing, or an English Lit major thing, I don't mind going back to re-read passages, but I wish readers wouldn't complain in such an accusatory way. I was blown away by what Mantel was able to do with certain images and motifs - comparing a face to a thumbnail, what people wear under their clothes, a dog pulling at its own collar...

The thing is, this book is so immersive, so compelling, so detailed and strong in its depiction of a fragile society balancing on the edge of a knife, it felt ... well, familiar. Context is everything. I know this story. We all know this story. And that helps, with the names and the faces and the messy nature of the story. But something about this version of it, or the timing of my reading experience ... I recognize echoes of what happened back then today. Not just the threat of illness or plague, but the sense that the walls are always just on the verge of caving in and we can't really trust anyone but ourselves. The moral struggles - the push and pull of desire and ambition and obligation. And more obviously, the soul-crushing terror of watching a leader fail and a country break. Transfer of power comes to mind...

It's like this: when I think of politics under Henry VIII, I think yeesh, messy. Thank god politics has ... *sits back* ... nope, nevermind, still messy. 

I wonder why we tend to look back on our ancestors and think we are superior - think of them as primitive, dumb, petty; their mistakes and motives and beliefs far removed from us. On the contrary, I think we are still primitive, dumb, petty. Our technology is advanced, we’ve conquered the planet, and we are able to answer so many questions with science, but we still squabble, we still kill each other uselessly, and we are, as always, just as we were then, ego-driven, shallow, motivated by power and greed and questionable beliefs, following distractible leaders surrounded by sycophants. 

When I read a book like this I wonder, should humanity survive the current crisis, what will be written about these times? Who will they write about? Will they look back with contempt and disdain at our misguided communities and think, thank god we’re better? Or will they, like myself, look back and think, we haven’t changed a bit?

"Beneath every history, another history."

Thomas Cromwell has entered the chat.

Wolf Hall on: Amazon | Bookshop.org | Goodreads

Review: Time to Smell the Roses (The Hermux Tantamoq Adventures #4)

5 stars. *sniffle* Man, I'm really going to miss these characters. Hermux, thanks for the adventures, the laughs, the memories and the snacks. (These books ALWAYS make me hungry - the food is cheesy and quaint and so delicious-sounding!) This one wraps up nicely, just like the first three, with a satisfying crack that reminds me of reading Nancy Drew and Sammy Keyes as a kid. 

Hermux, Terfle and Linka are at last ready to start their new lives together when a Mystery Appears! This one involves a murder, perfume, competitive business rivals, and a few deep family secrets. It's scandalous, twisted, tangled, and of course Tucka's right in the middle of it all. Expect a lot of clever rose puns, bee stings and new friends :)

I do enjoy that each of these books features a "theme" - art, history, the theater - although this was probably my least favorite. But I loved the story. There are breathtaking action sequences along with some really heartwarming moments. I'm so bummed the books haven't continued - I would've loved to hear what sort of doughnuts were served at the Tantamoq/Perflinger wedding. 

This is a random detail, but I really enjoy - beyond just her nature and narrative presence - how everyone else treats Hermux's pet. It's a sign that a character is "good" when he or she treats Terfle with respect, and a sign that a character is "bad," or villainous, when Terfle is ignored. There are many lessons embedded in these pages, and this to me is one of the most charming and important.

Sigh. I just love these cozy, nostalgic, amusing mysteries. 

Time to Smell the Roses on: Amazon | Bookshop.org | Goodreads

Review: No Time Like Show Time (The Hermux Tantamoq Adventures #3)

5 stars. Precious in the best way. I know that the Hermux Tantamoq Adventures were popular upon publication, I have no idea why they didn't stay popular beyond that. To me they are up there with Roald Dahl, Eva Ibbotson, the Redwall books... they're wonderfully clever and entertaining.

This, the third book in the series, takes Hermux and his charming pet Terfle to the theater. We meet old favorites, like Linka, new heroes, like Hermux's hilarious best friend Nip, and vicious villains with multiple identities and evil plans! It's all very charming - a solid mystery, characters you can root for, and even a little bit of romance...

I've been reading a lot lately about mythic folklore and children's literature, and talking animals, shockingly, comes up quite a lot. Beyond the analytical and psychological reasons, for me personally it's just very comforting to take a break from humans. The lessons in these books are just as clear without us. 

And lessons there are many - good ones, too! Michael Hoeye always injects classic good vs evil themes and his hero shows true bravery, honor, loyalty and courage. Hermux always does the right thing, and he is rewarded for it. And of course there's Tucka, who is literally the most Extra before Extra was a thing. Love her. 

I had the fourth book marked as read, but I don't actually think that's true - I have no memory of reading it and had to buy it used recently. I look forward to finishing (mourning) the series and - recognizing it's one of the least-known in children's literature right now? - my reviews will go totally unnoticed. But that's okay. That's not the point.

Team Pinchester for life. 

No Time Like Show Time on: Amazon | Bookshop.org | Goodreads