This Week, I Read… (2021 #27)

#73 – The Bear and the Nightingale, by Katherine Arden

  • Mount TBR: 68/100
  • Beat the Backlist Bingo: Based on non-Greek/Roman mythology
  • Rating: 3/5 stars

In many ways, mostly good ones, this reminded me strongly of Juliet Marillier’s work–basically, what if Marillier wrote about Russian mythology instead of Irish? Both authors are working in the same space, where the old clashes with the new, expressed through fantasy and fairy tale.

But however much I liked the setting and the little fae creatures and even Morozko himself, I disliked the extremely slow pacing, unnecessary history-tangents about characters who stop being important less than a third of the way through the book, and the lack of character development for anyone in the story besides Vasya.

There’s also this pervasive aura of dread throughout the entire story–though it’s for different reasons at different times–that I don’t feel like the ending fully paid off. I’m not all that satisfied by the climax of the story, the “battle” against the Bear–I think partially because he never felt like the primary antagonist, even though he was clearly supposed to be. He had to share the spotlight, though, with the priest, and also Morozko. The priest is the center of a lot of that dread, because he was just enough crazy to be slightly unpredictable and I was never sure when/if he was going to go mad, and what would happen if he did. And Morozko was sitting directly on top of the “is he a villain or is he a romantic hero” fence. He does a lot to aid Vasya, and the wispy bits of maybe-romance aren’t strong, and aren’t resolved, but the whole time he remains a dangerous, menacing figure as well. So the Bear almost struck me as incidental to the plot, which isn’t great when he’s half of the title.

The other half was one of the underdeveloped characters as well–Solovey is cool for what he is, a horse who is also somehow a nightingale, and I dig that! But he’s just there, and since I have no idea what his deal is because I don’t already know the story this is based on, I was waiting for an explanation I never got, or something more to him than “I am a really cool bird-horse who you just met but I will be instantly loyal and awesome for no obvious reason.” Which is a very, very fairy-tale trope to have, the amazing mythical beast companion, and I’m not knocking those in general. I just wish Solovey had any depth (or really that anyone other than Vasya had any depth, she’s surrounded by stereotypes.)

While in theory I’m all for the message of the very end of the book–screw the patriarchy, let’s have adventures–I’m finding myself not all that interested in finding out what those adventures actually are. Since I’m not on fire to read the next book after finishing this one, I probably won’t ever bother.

#74 – Act Like It, by Lucy Parker

  • Rating: 4/5 stars

I’d had this book on my TBR for quite a while, but then recently a friend recommended the author to me, and I said, wait, that name sounds familiar. Since the audiobook turned up on Hoopla, and I’ve been knitting a lot lately and audiobooks are ideal for that, I took a break from my regularly scheduled reading and listened to all of this in a single day.

It’s not perfect–I have some plot issues–but it’s very, very good, and the narrator is lovely.

At first I wasn’t sure our dour, grumpy hero could be redeemed from his absolutely dickish behavior, and surprisingly by the end, he really hadn’t been–he was notably less of a jerk to the heroine, for obvious reasons, though they still bickered very charmingly. But he was still at least mostly a dour grumpy person to everyone else. I’m kind of mixed on this–it would be fake to have him do a 180 and be sunshine and roses all the time, and it’s good that being in love changed him, but not too much. On the other hand, he is still kind of an arrogant ass, and that’s not my favorite hero type. It’s a delicate balance, and it won’t necessarily be for everyone.

Our heroine is witty and not at all spineless, which I love about her. On one hand, I almost hate that my bar for good heroines is so low that I’m impressed when one isn’t a total pushover, but here we are, modern romance heroines are so often wishy-washy pushovers that it’s notable when one isn’t.

My sticking points are in the plot escalation. I have no problems with the early romance obstacles, or even the pace at which the two lovebirds realize that they don’t actually hate each other, that’s all fine. Even the “must protect girlfriend from lecherous but powerful old man” scene was foreshadowed properly. You know what wasn’t? An actually life-threatening situation which provides the final cathartic reunion between our two leads after their fight. I don’t think it was set up properly, and sure I was happy that everyone lived, but I don’t feel like the danger was earned because it felt so random. A seemingly throwaway line near the beginning about how their theater was old, and the presence of some construction crew immediately before the disaster, wasn’t really enough for me to believe this turn of events. And since the hero putting himself in danger deliberately was in service to the misunderstanding he had about how much “ex” the heroine’s ex was, it got tied into the jealousy subplot which was probably my least favorite aspect of the book.

All that being said, I still enjoyed it immensely, listened to it all in a single day, and look forward to going on with the series.

#75 – Sexy Motherpucker, by Lili Valente

  • Rating: 3/5 stars

I enjoyed it, but it was a bit of a letdown compared to my experience with the first book in the series. Call it 3.5 stars.

The humor is still there–I clearly jive with the style. And I’m totally down for a good single-parent romance, especially when the kid isn’t a perfect, unrealistic angel child that never causes a single plot disruption. Chloe sounds like a wonderful kid in most respects, but clearly isn’t perfect, and her presence does cause friction in some places.

Our hero, however, is not the greatest. He’s not a complete trash fire like I sometimes run into, when I seriously question how anyone could possibly find the sort of on-page behavior those heroes engage in acceptable, let alone attractive–but let’s face it, Brendan is a user. A user who is partially aware of it, and does have deep-down good intentions because it’s for his kid, but a user nonetheless. And he’s pretty terrible at respecting boundaries, which is certainly a flaw carried all the way through the story–the flashpoint at the climax is a natural extension of that.

He may be handsome, he may be the sexiest thing between two hotel sheets, he may even be sweet in some ways. But he’s a user, and it makes him harder to like than I prefer my romantic heroes to be. When he screws up and inevitably apologizes, those apologies are sincere, but only bring him back to square one in terms of reasonable behavior.

It doesn’t help that Laura, who seemed like such a firebrand as a supporting character in the first book, has devolved into an “I’m so in love with this apparently unattainable man that I’ll completely enable his user behavior while calling it friendship” pushover. As paired flawed characters, these two line up perfectly, and I see why the plot happened exactly the way it did–I’m not slamming the structure, just questioning what happened to turn Laura from wise and self-possessed older sister to simpering fool.

Okay, this is starting to sound like a less-than-three-star review. Yes, I’m less than happy about some aspects of the characters and that made some of the plot conflicts seem both predictable and frustrating. But I did still like the book overall! I was laughing my ass off at several scenes, because the banter is either adorable or hilarious or cheesy as the mood calls for. I was even laughing at the “naked mole rats” scene that I see other reviewers generally cringing over, because I, too, have said incredibly random/stupid things when under the influence of mind-altering substances, so I get that it’s weird and kind of gross, but that’s why it was so funny to me! (As always, humor is deeply personal and I’m not criticizing anyone who didn’t enjoy that bit–I see you, I get it. But I was cackling, myself.) And Chloe was cute, Diana was an excellent new supporting character, as were Brendan’s in-laws from his first marriage. Libby and Justin were great in their limited roles as former leads who are still friends/siblings with our current main characters. The sex scenes were still graphic, and the whole story was still full of swearing, and I am still totally okay with both of those things.

I’m willing to forgive a lot in a rom-com that I actually find funny, so while this didn’t live up to the five-star ticker tape parade of a review I gave the first book, it’s a stumble, not an unforgivable drop off a cliff into the pits of despair. Still moving forward with the series.

#76 – The Billionaire’s Wake-Up-Call Girl, by Annika Martin

  • Rating: 1/5 stars

DNF @ 76%. This book fell off such an amazingly steep cliff that I actually went back and read my review of the first book in the series to make sure I was remembering the right story, that yes, I did actually enjoy it and didn’t mistakenly continue a series I meant to abandon. But no, I gave the first book 4 stars then couldn’t bring myself to finish this one.

First up, I didn’t care for the female narrator, who had this weird tendency to end the last sentence of a scene or chapter on a rising tone, which meant it always felt like there was more she was going to say, but then there wasn’t, just a pause and then “Chapter [whatever].” I noticed no such problems with the male narrator. Also, I didn’t care for her accent (which I peg as SoCal but could be wrong, it’s those hard, elongated R’s that stick out like speed bumps) and definitely did not care for her exaggerated “girly” delivery of the conversations held via text.

But whatever issues I have with the audio presentation, it’s only icing on the cake, after all. The underlying cake of the story is terrible.

I did have a problem with the premise of the first book, for the very beginning. I had a problem with the premise of this book the whole time, it never went away. I never felt the hero’s behavior was appropriate to the situation–the jump from “I’m angry at this wake-up-call operator” to “I’m actively going to seduce her until this is just phone sex” came very early and with very little buildup…and she just goes with it! I sat through that scene chanting in my head “she’s being harassed, when is she going to notice she’s being harassed, a real employee of this type of business would have hung up and terminated this client’s contract, she’s being harassed.” But no, she masturbates. And yes, she’s not really doing this for a job, but I would think that engaging in phone sex in this situation would be a dead giveaway that she’s a fake.

The premise continued to be unrealistic well beyond my ability/willingness to suspend my disbelief.

But the sham doesn’t last forever, and the parts where the hero was trying to figure out how to contact her weren’t terrible, in terms of solving a mystery. They were, however, terrible in that it’s awful creepy stalker behavior to want to track down a woman you only know over the phone, who is paid to provide a completely nonsexual service to you. Am I supposed to like Theo? Because I hate him. There’s no good side shown to his controlling personality, he’s just an a-hole the entire time.

I gave up because the story actually gets worse after they meet up in person. The tension is completely gone, the sex scenes are laughably cringe-worthy, and the new conflict is apparently supposed to be “hero must convince heroine not to move out of the city,” and I’m actually offended on her behalf, because given the financial trouble she’s in because of her backstory, her plan for getting back on her feet seems incredibly sensible to me. Like, let her concentrate on her business? Which she clearly cares about? But since the hero is Super Rich, I’m willing to bet he’s going to continue to solve her problems with his money, and that’s way less interesting. I’m not going to say the heroine has it easy–the whole book is about how she doesn’t–but the whole book is also about her hard work in solving her own problems, so him throwing money at her isn’t a satisfying conclusion. And if I’m inferring the wrong thing, well, then I’m wrong, but at the point I gave up he’s already paid off her immediate loan shark debt, so I don’t know why he wouldn’t keep paying (somehow) to keep her around, which does make the whole thing very Wake-Up Call Girl.

Yuck.

#77 – Sophie, by Abigail Barnette

  • Rating: 3/5 stars

A happy and mostly triumphant ending to a series that I (and many others) feel has stumbled a bit along the way. We can’t seem to agree on what those stumbles are, specifically, because so much has happened over the course of several in-universe years and seven other books. And the major problem that causes is that this sometimes didn’t feel like a story, it felt like a to-do list of getting closure for the many, many plot threads.

Which, yes, is what endings are for. But in covering everything that’s ever happened in the story, that drags up a lot of the things that feel like dead weight. I wasn’t a fan of the idea to give Sophie a baby she didn’t birth by killing off its parents in a car accident; I felt it undermined Sophie’s determination not to be a mother. So now, in every book since, she’s had to do a mental dance of “I’m a caregiver, not a mother” even when she’s clearly performing parental duties and experiencing something at least adjacent to a maternal sort of love. And this book addresses that, actually in more depth (or at least more consistently) than I recall other books doing, by exploring her dynamic with El-Mudad’s children, who were long out of babyhood when they came into Sophie’s life. So I won’t say that cognitive dissonance isn’t recognized and discussed, only that I wish it had never had to happen in the first place.

But the list goes on. Some readers apparently dislike El-Mudad (not me, I adore him.) So they’re going to be unhappy he’s even around, let alone getting a happy ending with Neil and Sophie. Holli and Deja and Penny all have to show up–and man, even though I’d read the first two of Penny’s spin-off novels back when they came out, I’d managed to forget she was a character at all, it’s been so long. It’s been long enough that I’d also forgotten, when Sophie runs into Ian at a party, that she slept with him and his ex-wife back in their collective swinging days. As for me, I didn’t really like The Sister that much (relatively speaking to the other novels) so I was forced to sit through Molly half-heartedly being important to the plot again, and the only-sort-of-resolved issue of Sophie in denial about her diabetes. I don’t particularly feel like either plot thread enriches the story, and even the tiny subplot with Molly and Amal, cute in isolation, felt like a complication that we didn’t really need on top of everything else we already have to speed-run through.

If there can be said to be a “main” plot of this novel on its own, it’s certainly the Laurence/Valerie/Olivia family tangle, and that, I do feel was handled well. The issues were foreshadowed, the complications laid out and entangled with subplots in great detail, and the resolution satisfying. Given that Valerie has been a thorn in our main characters’ collective side for the entire run of the series, I would have been disappointed if she didn’t still have a major role to play at the end, and as far as that goes, I got what I wanted.

I just also had to wade through a lot of flotsam that I wish could have been left behind.

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