Category: Challenges

Do Not Say We Have Nothing

Cover image for Do Not Say We Have Nothing by Madeleine Thienby Madeleine Thien

ISBN 9780345810427

“It was very modern and deeply Western to listen to music that no one else could hear. Private music led to private thoughts. Private thoughts led to private desires, to private fulfillments or private hungers, to a whole private universe away from parents, family and society.”

In the midst of China’s Cultural Revolution, Sparrow, Kai, and Zhuli enjoy a relatively sheltered existence at the Shanghai Conservatory of Music, where Sparrow is permitted to teach, and his niece Zhuli is permitted to study, despite the fact that Zhuli’s parents have been designated “class enemies.” But soon the forces growing against Westernization and bourgeois occupations like musicianship will overrun the Conservatory as well. In the present day, Marie travels from Vancouver to Hong Kong to try to uncover the details of her father’s mysterious suicide there two decades earlier, and to perhaps find out what has become of Ai-Ming, the Chinese student she and her mother took in during the aftermath of the Tiananmen Square student protests. The two timelines spiral together, uncovering family secrets, and decades of contested Chinese revolutionary history.

Although Madeline Thien’s novel follows two timelines, one bears significantly more weight than the other. The past reverberates into the present, and echoes there, but the present otherwise feels much less significant to Thien’s story than the past. Marie’s first person sections feel rougher and more abrupt, less fluid and polished, less immersive than the third person narrative of the past. She seems more important as a witness to history than as a protagonist in her own right. Her mother, Kai’s wife, has no name of her own, and no backstory. The heart of the tale rests with Sparrow, and Kai, and the results of their choices, their actions, and their failures to act. What will they do to survive the revolution, and what sacrifices will they make in its name?

The novel asks many questions, among them, how does one communicate authentically when everyone is regurgitating slogans and reciting platitudes to protect themselves and their families? In Canada, Marie’s mother cannot even read a letter she receives from China without a dictionary, because she does not know the simplified written Chinese mandated by the state. Do Not Say We Have Nothing offers many alternate forms of communication, from music, to mathematics, to encoded stories, and secret records not written by the victors. However, the Chinese speakers in my book club noted that Thien’s grasp of Chinese was rudimentary, and her use of it often incorrect. The alternate forms of communication become acts of resistance, such as the copying and distribution of illicit literature, or transcribing Western music into jianpu notation to make it more accessible to a Chinese audience. Music itself becomes a loaded form of expression, because it is open to interpretation. The same piece of music can be seen as a revolutionary anthem, or a ballad for those lost in the fighting. In this way, Thien’s fictional composer Sparrow echoes the real Russian composer Dmitri Shostakovich, who was repeatedly denounced and then redeemed during various waves of the Russian revolution. Several such pieces of music are referenced repeatedly, and Glenn Gould’s performances of Bach’s Goldberg Variations become the soundtrack of the story, which circles back on itself in the same way. History repeats, varies, but never fundamentally changes.

The question of how history is recorded and remembered is also fundamental to Do Not Say We Have Nothing. The Book of Records, passed down through generations and families from one steward to the next, both predates and reflects the reality that Marie is slowly uncovering as she delves into her father’s past. The protagonists of The Book of Records find themselves exiled and wandering in the desert, a fate that will eventually befall Zhuli’s parents, Swirl and Wen the Dreamer. Meanwhile, the heroine, May Fourth, takes her name from the early twentieth century movement in China that opposed Japanese encroachment into Chinese territory, a part of history almost forgotten by the characters, and largely unmentioned in the story, but which lives on in the copied and recopied page of the book.

Do Not Say We Have Nothing is slowly paced, and the level of interest was inconsistent between sections. I was also disappointed to learn that neither Thien nor her publisher took the time to ensure that her use of Chinese was correct. However the novel is an interesting portrait of how different characters react to the curtailment of free speech and creative expression under a repressive regime, and asks interesting questions about how we record and remember history.

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Fall 2017 Fiction Mini-Reviews

Hey there, stranger! Yes, I know, it’s been a while. After a busy summer of travel, at the beginning of September my husband and I started the process of buying our first home.  We took possession at the end of October, and moved in November 1. It was a big change that has pretty much consumed my life for the last several months! I didn’t read as much as usual, and my writing time was eaten up by packing, packing, and more packing. Then the packing become unpacking, and things are slowly starting to get back to normal. Here are a few mini-reviews of some of what I read while I was away.

Exit, Pursued by a Bear

Cover image for Exit, Pursued by a Bear by E. K. Johnston by E.K. Johnston

ISBN  9781101994580

This YA novel is a loose modern retelling of Shakespeare’s The Winter’s Tale. Hermione Winters and her best friend Polly are newly elected co-captains of the Palermo Heights cheer leading team, heading into their senior year, and their final summer cheer camp at Camp Manitouwabing. But all of their plans for the summer are thrown off course when Herimione is drugged, raped, and left in the lake. The book is an interesting and deliberate divergence from the commonly experienced reality of many rape victims, in that Hermione enjoys a supportive family, and is helped by police and counselors. However, she faces controversy in the community, and the wrath of her ex-boyfriend, Leo, who blames her for what happened. Although the identity of Hermione’s assailant is unknown, this is not really a who-dunnit. Rather, it is an emotional chronicle of the consequences of rape, further magnified by the fact that anytime Hermione encounters a boy who was at camp, she must face the idea that he could be her rapist. The biggest standout of this book is the strong female friendship depicted between Hermione and Polly, who echoes Shakespeare’s Paulina.

Love and Other Consolation Prizes

Cover image for Love and Other Consolation Prizes by Jamie Ford by Jamie Ford

ISBN 9780525492580

This is Ford’s third historical novel, this time set in Seattle during the 1909 Alaska Yukon Pacific Exposition. Ford opens on the better remembered 1962 fair, and uses it to echo and reflect the main action of 1909. The plot was inspired by a fascinating newspaper clipping from the AYP Expo, advertising the fact that an orphan boy was one of the raffle prizes at the fair. The fate of the real boy is unknown, but in his novel, Ford imagines what might have become of a young half-Chinese boy named Ernest, whose winning ticket is sold to the madam of an infamous brothel. Raised in a Catholic orphanage, Ernest comes to the red light district as the temperance movement is surging in the city, and finds himself caught between the Japanese house girl, Fahn, and Madam Flora’s stubborn daughter, Maisie. As usual with Jamie Ford, I was most fascinated by the carefully incorporated local history. This seems to be his passion, and I often wonder what would happen if he tried his hand at non-fiction. (Disclaimer: I received access to an Advance Reader’s Copy of this book through the library where I work.)

The Turner House

Cover image for The Turner House by Angela Fluornoyby Angela Fluornoy

ISBN 9780544705166

Fluornoy’s debut novel is a complex family tale that follows how the thirteen Turner siblings must grapple with what to do with the house on Yarrow Street where they grew up after their mother is too old to live alone any longer. Fluornoy focuses on the oldest sibling, Charles, aka Cha-Cha, and the youngest, Lela, separated by more than twenty-three years in age, and eleven siblings. Cha-Cha is in therapy after having claimed to have seen a ghost, and Lela is struggling mightily to hide a gambling addiction. Flashbacks illuminate the history of their parents, Francis and Viola Turner, who came North to Detroit for the promise of a better life than the one the South offered its black citizens. Thematically, the book deals broadly with place, both the importance of the Turner family home, and the history that resides there, and also the city of Detroit. Fluornoy also addresses the legacy of addiction within and between generations of a family, and how families understand mental health and addiction more generally. The plot is slow moving, but the highlight is the complex family dynamic amongst the many siblings.

Homegoing

Cover image for Homegoing by Yaa Gyasi by Yaa Gyasi

ISBN 97811019947142

“You are not your mother’s first daughter. There was one before you. And in my village we have a saying about separated sisters. They are like a woman and her reflection, doomed to stay on opposite sides of the pond.”

Effia and Esi are half-sisters who have never met. First divided by their mother’s secrets, they will soon be divided by an ocean when Esi is sold into slavery and shipped across the Atlantic. Effia remains in Ghana, sold in marriage by her step-mother to the British governor of the Cape Coast Castle, where slaves are held in cramped dungeons before being loaded onto ships bound for America. In present day America, Marjorie wrestles with her identity as a Ghanaian immigrant to the United States, while Marcus struggles to complete his PhD knowing that many young black men of his generation are dead or in jail, and that only chance has kept him from the same fate. In a sweeping family saga, Yaa Gyasi follows the sisters’ bloodlines over hundreds of years, one child from each generation, tracing the impact of colonialism and slavery across the centuries, between Ghana and America.

Homegoing opens in what is now Ghana in the mid-1700s, and concludes in America in the present day. Extremely ambitious in scope, it employs an unusual structure that alternates between the two bloodlines, with a new narrator for each generation, meaning that Homegoing has a total of fourteen point of view characters. This requires the reader to settle into a new perspective every twenty or thirty minutes. However, two factors keep this structure working. First is seeking the connection back to the previous story, to find out what has become of the mother or father since we left them behind. And next is looking ahead for the new character’s romantic interest, a necessity in order for the family tree structure of the novel to function, making every chapter a love story in its own way. The chapters are not quite short stories, though each has a distinct narrative arc. But the full function of the novel comes in the layering and juxtaposition of each subsequent piece, until they are all taken together.

I was personally most drawn into the chapters set in Africa, perhaps because the story was less familiar. The American side of the story traces the family from plantations to convict leasing to Jim Crow to the Civil Rights era, and through the modern day, history that I have at least a decent grasp on. I knew much less about tribal conflict between the Asante and Fante, and how the British exploited it to fuel the slave trade. Another fascinating chapter, featuring Effia’s great-granddaughter, Abena, recounts the introduction of cocoa farming in Ghana. It remains one of Ghana’s chief agricultural exports to this day. However, the chapter that gave me the biggest emotional punch in the gut was about Kojo—Esi’s grandson—and his wife, Anna, who are living free in Baltimore when the Fugitive Slave Act is introduced in 1850.

Homegoing is a multigenerational epic that walks the fine line between hope, anger, and despair as the tales of Esi and Effia’s descendants unspool. Each chapter is a slice of life set against the background of a particular historical era, be it the Great Migration or the War of the Golden Stool. The full effect of the novel is such that in the end, the reader knows more about Marcus and Marjorie’s families than they do, the fall out of slavery and colonialism depriving them of their history and culture. The book is a potent reminder that the history is always there, just beneath the surface, and that the story has always been waiting to be told, though the voice of the victors has long drowned it out.

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You might also like The Illegal by Lawrence Hill

The Lost History of Stars

Cover image for The Lost History of Starsby Dave Boling

ISBN 978-1-61620-417-4

“Living on the veldt taught nothing about the real value of space, creating the illusion that it was limitless. The great open distances of our land, which had once felt like a warm invitation, now stretched out on the other side of the camp’s fence like a cruel taunt.”

Fourteen-year-old Lettie and her Dutch Afrikaner family have a farm deep in the South African veldt when the Boer War comes to their doorstep. The British Army has instituted a scorched earth policy to root out the guerilla fighters who have resisted British attempts to lay claim to the Dutch South African republics, and the valuable natural resources that have been discovered there. With her father, grandfather, and brother still out on commando, Lettie, her mother, and her younger siblings are rounded up and marched to a concentration camp, while their farm is looted and burned. Inside the barbed wire of the camp, Lettie continues trying to fight the war with her own small acts of defiance, while also finding a way to survive the horrifying conditions with her hope for the future intact.

The Lost History of Stars is a story about a forgotten tragedy. Dave Boling was tracing his family roots, when he discovered that his grandfather was a soldier in the Boer War (1899-1902). However as he learned more about the conflict, the idea of telling a story about his family history was quickly abandoned in favour of bringing the story of what happened to the Boer women and children back into the historical memory. Although there may not have been genocidal intent, the British concentration camps in South Africa were the forerunners of the Nazi concentration camps that now define that term in our collective consciousness. More than twenty-thousand Boer women and children died of disease and malnutrition in the camps, in addition to the many uncounted black Africans, who were interned separately.

Speaking about his novel in public appearances, Dave Boling has revealed that The Lost History of Stars went through many drafts before emerging in its current form. The first was a sprawling narrative of war in the line of his first novel, Guernica. The next focused in on Lettie, her mother Susannah, her aunt Hannah, and Bina, the native woman who worked for them. All four characters remain in the final draft, but Lettie is the only point of view character. The decision to make Lettie the sole narrator, while focusing the scope of the story, also removes most of Bina’s point of view, as native Africans were held in separate camps. Bina’s main role in the final version of the story is as a source of wisdom for Lettie, but we learn little about her own ordeal.

One of my worries going into this story was that it would feature an ill-conceived romance between Lettie and Tommy Maples, one of the British soldiers assigned to guard the camp. Fortunately, the relationship between Lettie and Maples is not overly romanticized. She has complicated feelings about him that evolve and change over the course of the book, but Boling does not depict it as anything other than an unequal relationship. Maples is not generally a villainous figure, and he can even sometimes be sympathetic, but it is clear that he and Lettie can never really be friends given the circumstances under which they meet, and a romance could not come to any good end.

Lettie is a heart-felt narrator, who depicts both realistic trauma, and the ability to hold onto hope in trying circumstances. Her voice forms the heart of the The Lost History of Stars. In addition to shedding light on a forgotten tragedy, the central conflict, based on far-flung wars for natural resources, has a continued contemporary relevance.

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Mischling by Affinity Konar

Six of Crows

Cover image for Six of Crows by Leigh Bardugoby Leigh Bardugo

ISBN 978-1-62779-212-7

“Geels looked at Kaz as if he was finally seeing him for the first time. The boy he’d been talking to had been cocky, reckless, easily amused, but not frightening—not really. Now the monster was here, dead-eyed and unafraid. Kaz Brekker was gone, and Dirtyhands had come to see the rough work done.”

Kerch is a land that worships gold and industry, and in this the slum rats of the Barrel are no different from the more supposedly more upstanding merchers of Ketterdam. Kaz Brekker has spent years building up the Dregs gang from nothing, creating the Crow Club, and laying a territorial claim to Fifth Harbour. With such a ruthless reputation, it is no surprise that a mercher might approach him with an unusual job, one that cannot be entrusted to just anyone. A Shu scientist has been captured by the Fjerdans, and is being held in the impregnable Ice Court. He holds the knowledge of a new drug, jurda parem, which can take Grisha power from miraculous to unimaginable, with terrible consequences, both for the Grisha, and for the world market. Kaz assembles a crew of his best pickpockets and thieves to travel to Fjerda during the Hringkalla festival, and attempt the impossible—breach the Ice Court, and extract Bo Yul-Bayur, before anyone else gets to him.

Kaz’s crew consists of six players, including himself. Inej, a Suli girl whose indenture to the Menagerie brothel was bought out by the Dregs thanks to her skills as an acrobat. Nina, a Grisha Heartrender stranded in Ketterdam by the Ravkan Civil War. Matthias, a disgraced Fjerdan druskelle—witch hunter—serving time in a Kerch prison thanks to Nina. Jesper, a Zemeni gunman with a dangerous fondness for gambling. And Wylan, a runaway mercher’s son with a talent for blowing things up.  Together, they might just have the right combination of talent and desperation to get the job done. All of the characters are teens, though they mainly read as much older, even accounting for their rough lives. However, this doesn’t particularly detract from the story.

Six of Crows is an extremely well-paced story, balanced between the past and the present, as well as action and character development. The present focuses on the heist, and how the group will extract Bo Yul-Bayur from Fjerda’s Ice Court. But Bardugo also carefully measures out backstory, slowly revealing how the boy Kaz Reitveld became the Barrel lieutenant Kaz “Dirtyhands” Brekker. Character development is married to plot development, as Nina and Matthias’ history plays a critical role, and leads to an unlikely alliance. We find out why Matthias was in Hellgate Prison, and how he got there. Before the crew can even head to Fjerda, they must break Matthias out of Hellgate, and convince him to betray his country and help them with the heist. Which might be somewhat difficult since he vowed to kill Nina Zenik if he ever escaped.

Six of Crows also represents an excellent continued development of the Grishaverse. Bardugo uses and expands the world she already built in her Grisha Trilogy, but this adventure takes an entirely different direction; it is a heist story in contrast to Alina’s epic. While most of the characters in the original trilogy were Grisha, here the cast represents a wider range of more diverse folk. Nina is decidedly not skinny, Kaz walks with a limp and uses a cane, Jesper and Wylan are queer, and Inej and Jesper are people of colour. They come from different countries and upbringings, and have very different dreams for what they will do with their share of the 30 million kruge haul.

Six of Crows also contains ample romance. Nina and Matthias have a fiery chemistry belied by their mortal enemy status. Inej secretly hopes that Kaz might one day return her feelings, while also doubting whether forming a relationship with him would be a good idea, or if he is even capable of such a thing. The cutest flirtation belongs to Jesper and Wylan, who only finally come around to directly acknowledging their interest in the heat of the heist, when plans have gone off the rails, and everyone is improvising. Wylan is the only one of the main six who is not a point of view character, and we do not get flashbacks for him or Jesper, but I hope their story will be further developed in Crooked Kingdom, which I cannot wait to read.

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One Day We’ll All Be Dead and None of This Will Matter

Cover image for One Day We'll All Be Dead and None of This Will Matter by Scaachi Koulby Scaachi Koul

ISBN 978-1-250-12102-8

Mom talks about moving to Canada as though my father had requested she start wearing fun hats. Why not try it? she thought, instead of This fucking lunatic wants me to go to a country made of ice and casual racism.”

The daughter of Kashmiri Indian immigrants, Scaachi Koul was born in Canada, and grew up in Calgary, Alberta before moving to Toronto for university. There she became a writer and editor for BuzzFeed Canada, and started dating a white man more than a decade her senior who she kept secret from her parents for many years. She sparked on a storm on Twitter in 2016 when she put out a call for more diverse submissions. Her debut collection of essays addressing growing up at the intersection of two cultures, fighting for a place in either one, while constantly defending choices her parents do not understand or approve of. Koul approaches this subject with a biting humour that belies the seriousness of the subject matter.

Koul vividly sketches a portrait of her family, including her parents, much older brother, and young niece. Her father in particular is a vivid character, the kind of person who will decide a year later that he isn’t done being mad about something you did that he didn’t approve of, and abruptly stop talking to you for months at time. The intergenerational conflict is at once unique to her situation, and recognizable to parents and children everywhere. Her niece, nicknamed Raisin, also plays a prominent role, as Koul often reflects on her experiences through the lens of what she hopes or fears Raisin will face growing up as a young half-Indian woman.

Koul shares her complicated relationship with race in general, and skin colour in particular, a relationship that shifts depending whether she is in Canada or India. In Canada she is brown, yet just light enough to be ethnically vague, and constantly questioned about her identity. Racists casually toss the n-word at her, because “racism doesn’t have to be accurate, it just has to be acute.” In India, her family is pleased with, and occasionally jealous of, her pallor. There, her relatives casually touch her skin, as if hoping the colour will rub off. Koul worries over the value her family places on this lightness, and particularly what this emphasis on whiteness will mean for her half-white niece. This push-pull is constantly at play as Koul tries to parse out her place between the two worlds.

The pieces in this collection range in tone, but even the essays that are pure humour have an undertow of cultural commentary. As she recounts getting stuck in a skirt in the fitting room of a clothing store where she used to work—and having to be cut out of it—Koul manages to perfectly capture the tendency to pin our hopes on the perfect wardrobe. Even as she is getting stuck, she thinks this is “The item, the big item that changes the way I dress and thereby changes the way I am as a person. It’s not just a skirt; it’s the entry fee for a better existence. I would exude a new confidence, it would smooth out the wrinkles in my body, it would hide all the ways I have disappointed and failed people in the past.” Body image is never far beneath the surface of these reflections, with race and gender only serving to further complicate matters. And this piece fits into the collection right alongside more serous pieces, such as the dissection surveillance as an aspect of rape culture, showcasing Koul’s diverse range and deft hand with a variety of subject matter.

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Always and Forever, Lara Jean (To All the Boys I’ve Loved Before #3)

Cover image for Always and Forever Lara Jean by Jenny Han by Jenny Han

ISBN 978-1-4814-3048-7

“We’re all just counting down, passing time. Everyone knows where they’re going, and the right now already feels like it’s in the rearview. Suddenly life feels fast and slow at the same time. It’s like being in two places at once.”

It’s senior year, and Lara Jean Song Covey is anxiously awaiting her college acceptance letters, and looking forward to participating in traditions like the senior class trip, prom, and Beach Week. Her boyfriend Peter has already accepted a scholarship to play lacrosse for the University of Virginia, but Lara Jean is worried her grades aren’t good enough to into UVA. She’s keeping busy helping plan her father’s wedding to their next door neighbour, Ms. Rothschild, but sooner or later, the letters will come, and Lara Jean will have to make some big choices about her future.

As in previous installments, the Covey family dynamic is one of the standout aspects of Always and Forever, Lara Jean. Kitty and Lara Jean have both adjusted to the presence of their father’s new girlfriend in their lives. But Margot has missed that adjustment, and so when she comes home to visit, Trina’s presence in their house suddenly feels tense in a way it never did before. For Kitty and Lara Jean, everything has changed slowly, but from Margot’s outside perspective, her family is changing at the speed of light. Each in their own way, the Song girls have to face what this means for their mother’s memory, and their family going forward.

Back at the beginning of the series, the action began with Margot breaking up with her long-term boyfriend, Josh, before heading off to college in Scotland. Before she died, their mother advised Margot, “don’t be the girl who goes to college with a boyfriend.” Now Lara Jean finds herself in Margot’s shoes, facing down her last year of high school, and her dead mother’s advice. Will she follow in Margot’s footsteps, or carve her own path?  Big decisions about her future lie ahead, and Jenny Han has placed this dilemma at the heart of the plot.

Unlike the previous two installments in the series, Always and Forever, Lara Jean has no embarrassing plot catalyst, which was a relief to me as someone who suffers from vicarious embarrassment. In To All the Boys I’ve Loved Before, Lara Jean was forced to face up to her past crushes—including her sister’s ex-boyfriend—when a box of her old love letters got mailed out. In P.S. I Still Love You, her tentative new relationship with Peter was tested when a video of them making out in a hot tub on a school trip was posted to an anonymous Instagram account. Always and Forever, Lara Jean doesn’t rely on any such device, and the book does not suffer for it. Jenny Han really captures the essence of senior year, and strikes the perfect balance in her conclusion to this series.

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You might also like The Sun is Also a Star by Nicola Yoon

Waking Gods (Themis Files #2)

Cover image for Waking Gods by Sylvain Neuvelby Sylvain Neuvel

ISBN 978-1-101-88672-4

“I’m grateful for Themis, to be in her company every day. I feel drawn to her. She isn’t of this world either. She doesn’t belong here any more than I do. We’re both out of place and out of time, and the more I learn about her, the closer I feel to understanding what really happened to me.”

Almost a decade has passed since the events of Sleeping Giants, when Rose Franklin and her team hunted down and assembled the pieces of the giant alien robot known as Themis. Rose has dedicated her time to studying Themis, and Kara and Vincent have continued to try to master operating her. Then another robot materializes in the middle of London, and the government’s response inevitably leads to a deadly confrontation. The appearance of Hyperion also drives home how little the Earth Defense Corps really knows about Themis’ combat capabilities. And that knowledge will be more necessary than ever when more robots begin to materialize around the globe, in the world’s most populous cities. The aliens know that humanity has found Themis, and they are not happy about it.

The structure of Waking Gods continues in the interview format Sylvain Neuvel used with great success in Sleeping Giants, with the unnamed character who I always think of as the Interrogator resuming his contact with the Earth Defense Corp after a long silence. Neuvel continues to work this technique, for example by having General Govender practice his speech to the UN General Assembly for the Interrogator before he delivers it. This in fact makes for a more interesting scene than simply witnessing the speech directly, as we gain insight into the Interrogator through the changes he suggests. However, as the situation on Earth descends into chaos, the narrative structure devolves in parallel, taking on more of a transcript style than an interview format. Everything is falling apart, and the style mimics that. We do, however, find out more about the mysterious Interrogator, and his even more mysterious friend Mr. Burns.

It has been nine years since Rose Franklin returned from the dead, mysteriously missing three years of her life and memories. For all that time she has struggled with what this rebirth means, whether she is really Rose Franklin, or merely a copy with some of her memories and knowledge. That doubt has been eating away at her stability for nearly a decade, but when the robots begin to appear, and Themis is called into action, it is the world that has become unstable, and Rose who must hold steady in the face of the unknown. Her development is one of the most interesting aspects of this series.

One of the more disturbing plotlines picks up a dangling thread from Sleeping Giants. Before being ousted from the Earth Defense Corps, geneticist Alyssa Papantoniou harvested ova from Captain Kara Resnick without her knowledge or consent. Kara has never been informed about this violation, because those who knew about it decided that the situation had been taken care of with Alyssa’s removal. When it turns out that Alyssa may have had time to act on her plans before her ouster, they continue to delay telling Kara what was done to her as they try to confirm whether or not Alyssa succeeded. If I can get a little bit spoilery here for the remainder of this paragraph… I absolutely loathe plotlines where women who are childless by choice are forced into motherhood. And I especially hate the implication that their choice was just due to some sort of damage, and really they would be great mothers. In short, I really did not enjoy how Kara’s character was developed in this volume.

In Waking Gods, the genre elements of Sleeping Giants are intensified, and the plot becomes more fast-paced. There is now no question that Themis has alien origins, or that aliens visited earth long ago, and that some of them stayed behind. Waking Gods explores the fallout of these conclusions, but also the more dramatic effects of the aliens becoming aware of how humanity has developed since their last contact. At the same time, the aliens are not significant characters, since this is really an exploration of what it means to be human. Although the duology stands well together, the epilogue hints at the possibility of further adventures.

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You might also like The God Wave by Patrick Hemstreet