the_rabble's reviews
124 reviews

Masterclass in pining.

Everybody is pining in this book. The prose is good. The communication/emotional intelligence is bad. 

1st person, 1 POV, present tense. 

Cover art is not reflective of characters or vibe. Much darker and scrappy. MC is goth photographer/biker bartender.

Really good! Puts you through the wringer, but every beat is earned.

3rd person, multiple POVs, light spice, edgy historical fantasy centered on 1500s Spain. Heroine levels up her power and navigates some Madrid-centric palace intrigue.

Characters were realistically nuanced and had complicated backgrounds-- and one character is fully an immortal magical entity. There's significant consideration of classism, religious and ethnic persecution, migration, colonialism, and terror as a method of rule.

Action scenes were great. The prose slaps. Plot is slow up front-there's a lot of table setting- but the back half kinda hauls ass.

Magic system is a really fun language amalgam (audiobook is particularly a treat bc there's singing.) Very interesting frame of household magic running side-by-side with an aggressive Catholic authority.

Vibewise- it's not a light book. It's not angsty, either, but it is... kind of a dark grey. Broadly, there's no glossing over the violence faced by women, children, and the poor in 1500s Spain. 

[Last third of book]There is some

pretty realistic Inquisition-led torture.

That part's also a bit of a

lull.

Grieving soldier-himbo and his emotionally unstable manic pixie dreamboy husband go to a fantasyCapitol for some fantasyPolitics.

A little emotionally exhausting, but the main characters and worldbuilding are interesting enough to finish. Not on my list of immediate recs, but it was fine.

3 POVs, 1st person and 3rd person MCs, palace intrigue, low fantasy, mid spicy, mid kink, lots of trauma.

Bit of a winge-fest. When the action hits, it's alright, but there's a big One Tree Hill "stew in our valid but awkward suffering" vibe. Which I'll usually take, but these aren't short books and there's no relief POVs from the angst. And it's a lot of tell-not-show angst, which is especially tiring.

Meadows kicks ass on creating interesting characters- in addition to endearing characters like Vel, Cae, and Markle (love the signing and language thought in these books) there are some top notch menacing characters and a couple new faces.

Author's still working the kinks out of their prose style. And there's so much prose and internal monologue. The word or metaphor choice is occassionally pretty wild. e.g.

random french words, secular "ablutions," Overton Window = Balding Relativism, burning stable = a dragged to death horse

Kink: speaking of kink, there's a background fixation on D/s play (both scene and relationship.) It feels odd in relation to the first book and fucks with the pacing a little. But the author drops a couple interesting descriptions of subspace I liked. (Though the consent dynamic in one such relationship put my teeth on edge.) It's present enough, I wouldn't rec this book to people who weren't cool with explicit bdsm scenes.

Fashion and Food: fashion people will like the fashion details. There are a lot and I, a heathen, zoned out.

Sex: sex scenes were fine but rare.

And fantasyRefactoryPeriods may have been in play.

Queer Rep: seems pretty monosexual, but good. Lots of gay men and enbies. Also another place there's a lot of tell-not-show re: fantasyHomophobia. There are a few soapbox scenes that have varying degrees of fitting the moment.

Plot: the fact that things just happen to these 20something dudes in an arranged political marriage makes sense, but it's plot/sequence driven without being as exploratory as I'm used to with fantasy. Has light "well, I'm done now!" vibes. No notable themes or imagery to track (could have gone over my head.)

Narrators: The audiobook is the only reason I would recommend this book to a friend. It fucking rules. James Fouhey and Vikam Adam's acting and voice prowess- which notably and wonderfully included getting on the same page for each character voice- are probably the reason I listened to these books entirely instead of DNFing. I hope I find them on more projects together bc the voice matching and acting was so good.

This is my new favorite Emily Henry book.

1 POV, some spice, lots of pining. Roommates of circumstance turned extremely poignant "I don't deserve x" meets "I am deathly afraid of y" pairing.

Which can sound bleak but is defined by kind, sweet acts that leave you in love with the characters.

In addition to killer emotional intimacy that will make you identify with one or both main characters, there's also a strong "libraries kick ass" message.

Narrator: Julia Whelan creates or amplifies a few gut punch and heartflutter moments that elevate Henry's text beautifully.

2nd Gentleman Bastards book.

Multiple POV, centers on Locke and Jean Starts as a healing/recovery heist story after the events in Camorr, but becomes mostly a [minor early spoiler]

pirate

book. So get ready for a lot of

nautical

shenanigans. (My own expectations weren't managed- I kept waiting for fantasy casino shenanigans.)

Worldbuilding in this book is dope. New city-state(s), new rich weirdos to scam. I continue to love the pantheon in this world.

Locke and Jean's relationship has some particularly beautiful, funny, tumultuous, and frank moments.

The relatively realistic depiction of at least the time recovering from the events of Book 1, if not the impact of that level of trauma, is refreshing.

There's also a lot more women in this one and it slaps. 

Narrator - Michael Page remains a theatrically dramatic reader and seemed to add a stable of new voices and accents in this one. It was a good time. 

This book is amazing.

1 POV (Wallace Price,) afterlife fantasy, 3rd person, light mlm romance. (No spice- lots of hand flexes.)

You're going to hate the protagonist for the first chapter. It's on purpose, keep reading.

Then TJ Klune is going to use his writer-magic to make you laugh at then love Wallace without noticing it's happening. Then you're pretty happy with Wallace as your guide to exploring a cozy and disorientingly mystical world.

It's one of those books that delivers wonder and values of care and connection in an incredibly special way.

[On crying]

In the audiobook, I spent the last 2 hours in different states of tearing up.

The back third fucking delivers.

Narrator - Kirt Graves kicks ass. His choices- particularly for Hugo- are wonderful. The pacing and space across the book are standout levels of excellent.

Excellent book. 

Neurodiverse mlm love story set on a Not-The-Bachelor reality dating show between a demi-gay billionaire and gay producer. Medium spicy. 2 POVs in 3rd person present tense. 

The voice acting in this one is amazing. Emotionally appropriate delivery that will buckle your knees.

[Ending]

Doesn't hit full five stars for me bc there's some discussion of sexuality ("fluid") and therapy (lots of "healthy" word choice) that are a little heavy-handed - totally a style, not content, preference.

Pleasant, nothing world shattering.

2 POVs (after the first few chapters alternates pretty evenly.) You've Got Mail style correspondence mashed together with a "sibling's best friend" trope. 

Low-med spice. Fade to black or short sex scenes. Contemporary slang (def feels of its time- not a bad thing.)

Some rough edges and not a lot of character growth, but the characters do enough stuff you're curious to see resolved and have solid chemistry. This one's a little one-sided- Olivia's hang-ups and life are more under the microscope than Collin's, which can feel unbalanced.

Very cute, medium spice, slow burn work friends romance.

The laughs hit, the audiobook narrator slaps, and the emotional beats will melt you.

Interesting. One of the better in this series.

Good narration, good depiction of an anxiety disorder, sex scenes were great. There was some muddled theme stuff, but everything felt pretty tight on character choices coming from their history.

[Ending]

Moving to NYC indefinitely feels like such an odd ending. It's not really alluded to as an end goal or interest of Stevie's and doesn't fit the friendship themes the book plays with early on. Tho, the author does call her shot as having been stuck on Act 3 in the book, so maybe this was just a hard one to write.