Title: Sister of Blood and Spirit
Author: Kady Cross
Genre: YA, Fantasy, Paranormal, Romance
Lark and Wren are twins. White-haired Lark was born living. Red-haired Wren was born dead. Nonetheless, the two continue to communicate. Being known as the girl who talks to her dead sister has a way of making Lark’s life miserable. After being labeled the school freak and attempting suicide, Lark hopes to re-enter high school without attracting unwanted attention. Unfortunately, she is soon confronted by a group of students who ask for her help. Among them are Kevin, the medium Wren called out to when Lark lay dying; Mason, the boy who held Lark as she bled out and begged her not to die; and Ben, a handsome boy who seems weirdly cool with the supernatural.
It seems Lark’s new acquaintances have trespassed onto an ancient hospital, where an angry ghost attacked them and left spiritual wounds on their body--wounds invisible to everyone but Lark. Lark realizes the angry ghost has marked them as his own and will continue to suck their spirits dry unless someone puts a stop to it. Lark prefers that person not be her. But when Wren guilts her into helping, Lark will put everything on the line to save a group of people who may become her friends.
I picked up this book at the library because the ghostly themes reminded me of a book I’m currently writing. I liked the concept of supernatural sisters. I was interested to see how the author addressed the afterlife. I wanted to like Sisters of Blood and Spirit, I really did. But I didn’t. Every element felt under baked, and the more I read, the more bored I became.
Although she is an abandoned orphan in the Dusklands at the outer edge of the Amber Empire, Sylvie is born with a “legacy”—a gift of magic. She can spin elaborate illusions, fantasies of her own creation. Knowing that only those with noble blood can wield magic, Sylvie treks to the Amber City to claim her rightful spot in Empress Severine’s court. She hopes to find a place to belong. Instead, she’s thrust into a dangerous game of intrigue and politics.
Ragged and poor, no one takes Sylvie seriously, least of all the Empress. But Severine is intrigued by Sylvie’s power. She offers her courtiers a wager: if Sylvie can polish her legacy by Carrousel, her allies will gain favor and Sylvie will receive position in the court. A handsome nobleman named Lord Sunder with the unnerving legacy of causing pain agrees to sponsor Sylvie, but wagers against her. With no allies, no upbringing, and no idea what she’s gotten herself into Sylvie—newly renamed Mirage—will have to use all her powers to outwit her enemies and beat them at their own game.
On the one hand, Amber and Dusk is not a particularly ground-breaking novel. All the major tropes of the YA/ Fantasy/ Romance/ Dystopian genre are here in full force. Determined heroine with more power than she realizes? Check. Mysterious past that becomes important in the third act? Check. Love triangle? Check. Decadent and cruel empire with a rebellion growing in the wings? Check. If you know the genre, you’ll recognize many of the same elements at work here.
Warning: Spoilers for Wreck It Ralph 2 and Signs
There’s a moment toward the end of Wreck It Ralph 2: Ralph Breaks the Internet, when an insecurity virus picks up Ralph’s insecurities over Vanellope potentially leaving him to live in the Internet game Slaughter Race. The virus creates a horde of mindless, needy Ralph doppelgangers, who chase Vanellope and the real Ralph. As they are racing away, Ralph looks at the army of monsters and says something to the effect of, “Huh, from this angle I can really see how destructive my insecurities can be.” The delivery suggests it’s a joke, a wink at the audience.
This moment broke me.
And I couldn’t figure out why, for the longest time. All I knew was that I felt an irrational sense of rage, growing stronger and stronger. Then, this morning, while pondering it in the shower (because this is what apparently occupies my mind first thing in the morning), it occurred to me that this line marked the moment when my suspension of disbelief broke.
So what’s the big deal with suspension of disbelief?
Velvet Buzzsaw (out on Netflix) is what you get when you mash a satire of the art world with a straight-up horror movie. In it, a treasure trove of art made by a mysterious dead man is discovered by an ambitious gallery receptionist named Josephina (Zawe Ashton). When art critic Morf Vandewalt (Jake Gyllenhaal) deems the work to be “the next big thing,” everyone scrambles to cash in. Unfortunately, the art is cursed and soon the paintings begin killing off anyone who gets their hands on it.
The movie is weird, but I liked it. Perhaps, because I like art. I’m not someone who studies art in depth, but I do go to museums and galleries and take an amateurish pleasure in all the weird paintings, sculptures, and displays, some I get, some I don’t, some that move me, some that don’t. What is art? What is the artist trying to express? I don’t know, but I like it. Velvet Buzzsaw is filled with art that harkens to that off-color sensibility, from a hobo superhero robot to an audio experience of whale sounds to the ghoulish cursed paintings themselves.
The movie creatively tries to mash genres, which I appreciate, even if I found the horror aspect of Velvet Buzzsaw a little lackluster. There’s blood and gore, but the deaths weren’t particularly scary or suspenseful or shocking--aside from the very last death, which I found gruesome and a little surprising.
Fortunately, the satire elements are stronger. The movie breaks down how art is bought and sold, speculated on and commodified. Art critic, Morf, determines whether art has value or not, casually tearing down any art that doesn’t meet his standards. Gallery owner, Rhodora Haze (Rene Russo), uses underhanded tactics to secure art and keep it scarce to up the value. Art advisor Gretchen (Toni Collette) buys pieces for her millionaire client and browbeats museums into displaying it for “tax purposes.” The process is incredibly cynical. The art may have started as pieces of genuine emotion and fascination, but they end as luxury items, whose value is determined largely by perception.
I had a headache.
Oh, I often have headaches, especially sinus headaches; they seem to strike with the changing of the seasons. But this one was far worse. It struck the left side of my head, like a metal spike protruding from my eye, going through my teeth, and ending down at the edge of my throat. It was bad, and it did not go away. Throughout the start of July, I struggled with this.
My little sister lives with schizophrenia, social anxiety, and depression; has come close to killing herself at times; has been through divorce; has lost a child through miscarriage; and has been through an exhausting journey of self-discovery, which she wrote about in her book, The In-Between. As she spoke to me about dealing with the pain in her life, I told her about my headache.
“Yes,” she said, with a laugh. “That’s what it’s like.”
Title: The In-Between
Author: Jaime Lang
(Note: Jaime is my little sister. She did not ask me to review her work, but I wanted to share it anyway. She has made some revisions since I first read the book, which is not reflected in the review.)
Aramyst was supposed to lead an Exceptional-Normal life: to have a nice job, a nice family, and succeed in the American Dream. Then came the rumblings of schizophrenia, depression, and social anxiety, along with the burgeoning realization she was gay (or transgender?). Burdened with this double stigma, Aramyst struggles through the typical markers of young adulthood—friendships, first loves, and fitting in—with a loosening grip on reality and a “demon captain” urging her to suicide. It is only through making peace with herself that Aramyst is able to escape from “The In-Between,” a realm between real and unreal, life and death.
This book isn’t really about being gay or having schizophrenia, so much as it is about the struggle to be honest with yourself. Unable to discern real from unreal, Aramyst learns to mistrust herself—that she is wrong and that everyone else is right. Coupled with an environment that sends the message that being gay is immoral, Aramyst comes to the conclusion that she is evil. She learns to hate and tries to destroy herself—ripping herself apart from the inside out.
Although her journey is dramatic, the telling is simple, almost child-like at times. I was surprised by how much I could relate to this book. Who hasn’t had some inner, negative voice telling them all the ways they’re stupid and how they’ve messed up their lives? Who hasn’t wanted to destroy the undesirable parts of themselves, pretend they don’t exist, will them out of existence? I felt compelled by the author’s honest voice and it wanted to keep reading, even through the painful stuff.
Author: Stephanie Garbar
Genre: YA Fantasy Romance
After seven years of dreaming of escaping to the magic and splendor of Caraval, Scarlett Dragna’s wish has finally come true—at precisely the wrong time. Her invitation to the exclusive five-day fair arrives right as she is about to be married to a count she’s never met. Marriage is the only way Scarlett can think of to keep herself and her impetuous sister Donatella safe from their father’s wrath. Donatella, however, has other plans. When her sister seizes the opportunity to visit Caraval, Scarlett has no choice but to follow her into a world where illusion and reality intertwine, where dreams can be purchased at the cost of dark secrets, and where to win the ultimate prize, Scarlett may have to pay the ultimate cost.
I bought the book because it had a strong concept that had a lot of potential. Not only does Scarlett get to visit this carnival of magic, but soon her sister is kidnapped and Scarlett is forced to play a game with the Caraval master to get her back. Why is Scarlett singled out? What sort of game will she be forced to play? How will she overcome the obstacles to emerge the winner?
I wrote a complaint about Beautiful Creatures and how it failed to appeal to my “inner teenage girl,” and one of my criticisms was that it didn’t have any “hot men” in it. But this complaint sort of made me uncomfortable, because: A. It seems shallow and B. Who’s to say Beautiful Creatures didn’t have a hot male lead? It’s not as if there is one type of “hot.” What appeals to one person does not appeal to the next.
Continuing the trend of bad paranormal romances, I also watched The Covenant on Netflix, which was an equally terrible story, but, as I was telling my friend Rita, if it got nothing else right, at least it knew to cast “hot” guys. I ended up feeling more affection for this bad movie, because at least it knew its audience and tried to cater to them.
But this got me thinking. If you’re reading or watching something in the YA fantasy romance genre, do you feel you’re owed a hot male lead to fangirl over? After all, a lot of the appeal of fantasy and romance and books and movies in general is to have something you desire but aren’t likely to get in real life, be it an adventure, superpowers, or a “hot” romantic prospect. If an adventure book doesn’t provide you with a good adventure, doesn’t it fail to deliver on its promise? If a romance doesn’t provide you with a hot lead, does it, too, fail to deliver the goods?
I have a confession. I liked Twilight.
It was not a perfect book or movie, but what it did really, really well was appeal to my inner teenage girl—this creature that still resides deep within me, buried underneath all these intellectual thoughts and theories of stories, that just likes what she likes. The writer part may gnash my teeth at the poorly paced romance, but the teenage girl side loves the thought of a beautiful guy stopping a car with his bare hands to save me.
When the studios got their hands on Beautiful Creatures, they all but announced that they were hoping for the “next Twilight.” A $9 million opening weekend and $19 million domestic total made it clear they didn’t succeed. Thanks to Netflix, I finally got the chance to watch the movie and after the credits scrolled I was dumbstruck with confusion. “Who was this movie made for?” I asked myself out loud.