The scariest thing of all is to imagine King writing a happy children’s book. This isn’t it: It’s nicely dark, never predictable and altogether entertaining.
What follows is a time-shifting story of Houdini’s life and death that can’t seem to distinguish incredible fantasy from prosaic truth...to be fair, it is often hard to separate the two extremes...The Confabulist, for all its methodical sense of misdirection, doesn’t amaze.
In this latest crisis, waves of wild magic are flowing from Rachel’s ley-line, causing charms to misfire, often with devastating results...A great ride in and of itself, rather than simply a buildup to the finale, which is sure to be whiz-bang.
Cutter’s appeal to modern-day disquiet over the ethical lapses of the military-industrial complex will strike many as pro forma rather than based in any authentic outrage over abuses real or imagined.
Ione deftly moves through the complicated, imaginative plot with clarity and flair. Sexy, creative, darkly fanciful and chock full of action, devilry and intense emotion.
The sometimes lyrical writing and the fast pacing are a surprising but welcome combination. Koontz's chapters skip from Addison's point of view to Gwyneth's, adding backstory along the way.
The dialogue in this book becomes a little stilted now and then, but it's also quite clear overall that since she's put her Jesus novels behind her and taken up this new pagan series, Anne Rice herself seems to have undergone quite a transformation.
"Solo" feels a bit diluted relative to the character's enduring mystique, yet that may be exactly what Boyd is after: given both man and Superman, he's chosen to focus his attentions on the former, a welcome change from Fleming's approach.
It's one of the weirdest cameos Shakespeare has ever made, in a book that may just be the weirdest one Winterson will ever write.
I could hardly find the courage to turn the page. Almost 40 years later, I've changed, the world has changed, the planet has changed — and Stephen King is still scaring the hell out of me.
...too many subplots and characters, not to mention the increasingly impenetrable Norse arcana, draw focus away from the more coherent and compelling Salem plotline. Some readers may struggle to pay attention.
Li Lan’s odyssey keeps her on the brink of earthly demise and keeps the reader riveted to the page—even though it’s “only a ghost story”!
Reading this made me want to go back and reread the previous books because there were certain things that I had just forgotten. I think there’s enough here for the first time reader to get into the world, but this is definitely a must for Kate Daniels fans.
All in all, I would have liked this book to be about Anna and Jack. Instead I got a road novel about Myron and Carl and their various unpleasant habits...I strongly recommend that you spend your money on something else.
Beukes has done tremendous research about the long span of Chicago time in which her story occurs, and carefully constructed the eccentric and brilliant plot.
Fans of Victorian and/or quirky mysteries will find much to enjoy and will likely be willing to forgive the book's substantial flaws.
The novel doesn’t rush to its final gory confrontation; instead, with a poetic intimacy in his metaphors and detailed back stories for his key characters, Percy’s narrative shifts to a cabin...and there they face monsters on all sides — and so do we.
...none of the familiarity...gets in the way of NOS4A2’s profoundly satisfying narrative. At his best, King has always been about grounding fantasy and horror in a level of detail that makes it feel real. Hill accomplishes the same thing here.
Here is an open circuit on ideas, which range from religion, to racial questions, to the atom bomb, rocket travel (of course), literature, escape to the past, dreams...
The Mad Hatter's youthful, disheveled appearance makes him resemble a modern hipster, and the pop-up trial scene features a flying pack of cards. A clever and inventive interpretation.