Saga Volumes Five – Eight (CBR10 #37-40)

saga 5-8 covers

I’ve finally finished the remaining available volumes of Saga. At the end of Four I was devastated, I both simultaneously wanted to start the next volume immediately and knew I wasn’t emotionally ready for it. Instead, I went on vacation, came back, and then slowly continued my journey through Hazel’s story. These books continue to be fantastic and I am in awe of what Brian K. Vaughan and Fiona Staples partnership has managed to accomplish.

*As a note, I am refusing to grade these against themselves, they are collectively some of the best storytelling I have read this year and they will all be given five stars, regardless of swings in execution from volume to volume.

Volume Five

We pick up with Gwendolyn, Sophie, Lying Cat and The Brand are looking for the ingredients to a cure for The Will. Marko’s uneasy alliance with Prince Robot IV to find their missing children is underway (and it is just as awesome as I hoped). The children, Alanna, and Marko’s mom are with their kidnapper and other terrifying new enemies who bring an entire new area of danger to light. There is simply no end in sight to the struggle Alana and Marko will continue to endure to protect and rebuild their family, welcome to the middle of the story.

While there are arguably only a couple of main characters in Saga the “supporting” characters are just as well-developed, sympathetic, and alive as Alanna and Marko. Gwendolyn has grown on me, my interest in her story growing as she moves away from being revenge driven. In this chapter she is something extra, something more. She’s tough as nails, and a part of that strength is built from rage, the rage she feels at the entire situation she is in, but that she tamps down. I understand her rage, viscerally. Her emotions can cause her to think and act rashly; she clearly isn’t whole, but isn’t portrayed as broken. She never falls to pieces; none of our characters do because even while strong, terrible, dramatic things are happening our brains are capable of processing them alongside the other more mundane needs to keep us functioning. The focus of this part of the story is personal, but the scope of the story is growing and becoming the epic and galactic space opera we’ve been building towards to this point. While Gwendolyn is a great example of the complexity of the characters Vaughan and Staples are creating, she’s merely a small part of the impossibly grand character driven saga that we are being told.

Volume Six

After a time jump (which, was devastating), we join Hazel and her grandmother in detention. Hazel is in kindergarten, no longer a cute chubby bundle, and we are treated to both the Hazel on the page and the Hazel in the narration. She’s her own person with her own mind and ability to make decisions now and is now an active part of the story.  I loved her storyline, particularly when she meets a prisoner who is transgender, Petrichor, and that experience prompts her to tell her teacher about being “half-wings, half-horns”. The relationship between Petrichor and Hazel grows to be an important outlet for our little adventurer.

Meanwhile, her parents have been non-stop searching for her, and as we rejoin them they are finally close to finding Hazel. Also reappearing in the story (although not missed and I’m liking them less and less as they reappear) are the tabloid journalists, freed from the embargo put on them by The Brand and off looking for the scoop of the century. We get to see The Will again and he’s not in a good place. I can see where some might see this volume as filler. I disagree. Sure, it isn’t full of huge action pieces (well, we get a couple) but several of the story lines from earlier volumes are paying off, and this volume is the end of the bridge that began at the end of Volume Four.

Volume Seven

I wanted to rate this book four stars, right until the very end and the team of Vaughan and Staples kicked me in the feelings and five stars it was. Finally reunited with her ever-expanding family (and boy do I love the work being done on the definition of family in this series), Hazel travels to a war-torn comet that Wreath and Landfall have been battling over for ages. This volume is about families, combat and the refugee experience, and it’s a doozy. Our band of misfits have taken up residence on Phang, where Sophie was originally from before being sold as a slave. It is not a nice place, and what was supposed to be a quick stop to refuel turns into months as they all settle in and make do with the choices they’ve made thus far. The focus of the story is Hazel and it’s striking to see evidence of her childhood, even as it’s directly contrasted with terrible, adult things happening all around her. Fleeting childhood friendship, first kisses, and the impending birth of a sibling are presented side by side with hunger and poverty, refugees, and violent, senseless death. We learn that the war is becoming more complex and people are starting to be seen as either resources or liabilities, and that diplomacy is going to matter more and more.

Volume Eight

After the traumatic events on Phang, Hazel, her parents, and their surviving companions embark to the westernmost edge of the universe to deal with the events from Volume Seven, and some of them are having a harder time than others. The lingering pregnancy externalized the internal grief they’re feeling, both in the literal ways we see Alanna struggle but also in the reactions of Petrichor and Prince Robot. We also take a side trip to see what The Will is up to, and I want that man to get his shit together very, very badly. I’m done with The Stalk, with his “visions” while high, and with him running away from his emotions. I need The Will to get back to himself, desperately. It’s time for him to get on the right side of things, (well, his right side of things) and stop wallowing. We also get back to Ghüs and the princeling, and they’ve been suffering while everyone’s been working their way back to them after finding Hazel. This part probably could have been brought in earlier to keep the pacing up, but I get leaving it where it is. The ending of this volume suggests a pretty big change in the narrative going forward, and I am very eager to see where the journey takes us next.

On the whole, this series is sophisticated but isn’t afraid to be crass. It is complex and a bit bizarre yet it feels as familiar as my own face. There is a sense that each storyline is part of this grand whole that is only slowly being revealed to the reader, that we’ve still only barely scratched the surface. We will likely never see the real whole, because the worlds created by Vaughan and Staples are too rich. But we are given these characters to hold onto, and it’s through them that we can see the larger things their creators are concerned with: family, love, and meditations on war and violence begetting nothing but more violence. I liked the grey areas that Vaughan and Staples are working in, and they appear to as well. Now I wait like everyone else for Volume Nine (out in October!) and then truly suffer as the wait for Ten inevitably begins.

Rain: A Natural and Cultural History (CBR10 #36)

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We humans share a fascination with the weather, and more often than not, with rain. I’m an eastern seaboard American; I’ve lived both in the northeast and in the Caribbean climate of South Florida. Each location has its own particular type of rain – and I love the rain in all its forms. I love rainy weather and I love listening to rain fall against windows and plopping into puddles. As a Cannonballer I love reading books near an open window on a rainy day catching the new, clean smell the rain leaves behind while devouring the words in front of me.  But Cynthia Barnett has me beat; her fascination with rain stunned me and led her to writing over three hundred pages on the subject.

When Book Riot’s Read Harder Challenge called for a book about nature it was not a surprise that I located a book on the topic, and so Rain: A Natural and Cultural History was added to my list. But while this book should have been like catnip to me, I instead had a rough go of it – Barnett, in the words of Cheryl Strayed, writes like a motherfucker but reading her book often left me unsatisfied. There was something about the structure of the sections and chapters that felt like a meandering as opposed to a thoughtfully structured narrative. In the bluntest way I can think to say it, this book bored me from time to time

What Rain does well it does very well. It aims to weave together science—the true shape of a raindrop, the mysteries of frog and fish rains—with the human story of our ambition to control rain. Barnett’s writing flowed easily and blended from one topic to the next with great ease, there were no uncomfortable changes in style or failures of writing mechanics. The authorial voice matched the subject and when it was engaging it was very engaging. But, when it is not working the book is merely a potpourri of rain facts. We get the history of the Mackintosh raincoats. Then there’s a chapter on rain in literature and a stop in India where villagers extract the scent of rain from the monsoon-drenched earth and turn it into perfume.  There’s just too much going on and I struggled to keep my attention on the page.

Barnett hits her stride when she’s exploring the cultural significance to discoveries made in hydrology and detailing the effects of climate change. After thousands of years humanity has finally managed to change the rain. As climate change upends rainfall patterns and increasingly severe storms and drought affect us globally, Barnett shows rain (or its lack) to be a unifying force in our shared history and future. The book would have been better if she’d focused on that or written a more tongue in cheek book about rain mythologies and rain inspired industries.

This book was read and reviewed as part of the charitable Cannonball Read where we read what we want, review it how we see fit (within a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society.

The Long Way Home (CBR10 #35)

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In order to pace myself I read the Inspector Gamache books in the season or month they are set and it has been eight long months since I last visited the greater environs of Three Pines. Book nine, How the Light Gets In, had a feeling of finality to it, of bringing together the various storylines and setting a new normal for our characters. I was unsure what I should expect when it finally came time to read The Long Way Home, what would life look like in Three Pines now that Gamache had retired there?

In reality what I found was characters and an author trying to decide what is next. The Long Way Home refers to several things, and certainly the book is chronicling how Gamache and others come to terms with the actions necessitated by the end of How The Light Gets In, but it is also a study in the character of Peter Morrow even though he is largely absent from the page. It has been over a year since Clara kicked Peter out, and she is finding the weeks of silence following when he should have returned to Three Pines to be filled with ever-increasing dread. Why has he not returned? What has happened to him? She is concerned enough to ask the still recovering and newly retired Gamache to help her find him.

Gamache and Beauvoir do help Clara, and the majority of the book trails the Clara-led journey to find Peter, visiting new locations and old characters along the way. It is hard to find the best way to write another review of a Louise Penny book, particularly when I’m not fond of it, while also walking the tightrope of not giving the mystery away. The mystery in this one isn’t who committed the murder (although there is eventually a confirmed murder) but rather what is keeping Peter away. I found it hard to care why Peter was missing, or if he had in fact reformed from his terrible ways which led to Clara kicking him out in the first place.

The other let down for me in this book was the lack of a secondary plot. Everything is very linear, including the direction of the hunt for Peter. In a certain way Gamache and Beauvoir are going through the motions, and in much the same way of my other least favorite, A Rule Against Murder, we are kept almost entirely away from Three Pines and its residents. The portions of the book which interested me were when Penny went poking around in the psyches of our characters, but we get less and less of it as the book continues.

The language, however, is delicious and Penny finds ways to insert food into her narrative to describe locations and character moods. The characters are richly developed and beautifully layered that you will want to return time and again and Penny charmingly and closely describes some new enchanting food in each chapter. I’m not kidding, of the 41 chapters in this book I think 39 had some glorious description of exquisite food, just enough to add some lightness to the book as well as make the reader hungry.

This was the final Ralph Cosham narrated Gamache book, and I will miss his work greatly. His voice is the voice of Three Pines for me, and I hope to be able to read the next few books in his voice.

This book was read and reviewed as part of the charitable Cannonball Read, where we read what we want, review it how we see fit (within a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society.

Scrappy Little Nobody (CBR10 #34)

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I went away this weekend with one of my favorite people and we spent our time looking at gorgeous scenery, visiting museums and historic sites, and eating and drinking local. In doing so we spent a lot of time in the car going from place to place, so my travel buddy suggested we listen to Anna Kendrick’s autobiography because he was sure I would really enjoy it. This is why he’s one of my favorites, perfectly lovely weekend away and happy to re-listen to an audiobook because I would want to read it.


This book, in turn, was really good for what we were looking for it to be: entertaining and an easy way to keep conversation going (10 hours in and out of a car is a long time, no matter how much you like the person you’re travelling with). Kendrick is a little younger than us, and even though her life has some very different aspects to it (Tony nominated teenager, Oscar nominated young 20 something) there was still plenty of reflections about growing into your adulthood when we did that hit a very truthful note and definitely gave us things to commiserate about, remember, and laugh about.

So if I enjoyed it so much why is it only three stars? Because it doesn’t really rise above what it is, it’s a pretty straightforward memoir that clocks in at about 6 hours of audio (probably more if anyone else narrated it, Kendrick speaks quickly). She’s honest about who she is, what her experiences are, but she’s not diving any deeper. If you like her Twitter presence, you will like this book though; her authorial voice is the same.

Saga: Volumes One – Four (CBR10 #29-33)

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Other than clocking everyone’s rave reviews I have been staying away from the world of Saga on purpose. I have an inclination to wait for series to be near its conclusion before I pick it up. But I’m not made of stone. My friend Gina hand delivered the first eight volumes to me while we were on vacation last month. It seemed Saga’s time had arrived.

These books are *fantastic*.  I always knew they would be: the swath of Cannonballers who love these and have such varying taste means that they absolutely have to be the best of the best.  These books are viscerally good. Cancel plans, move around to read lists, question all life choices that have kept you from reading them before now GOOD.  They also transcend any entry issues I usually have with comics and graphic novels.  I’m putting it down to two things, the quality of Vaughan’s narrative and the absolute stunning design of Fiona Staples.

Brian K. Vaughan was introduced to Fiona Staples by a mutual friend. Vaughan reportedly chose to work with Staples because her artwork is incredible, that it doesn’t look like anyone else. I can absolutely believe it, have you seen her work? GLORIOUS. I’m so glad to know that Staples is co-owner of Saga, her work in designing the cast, the ships, and all the various races in the story is just as integral to my enjoyment of these books as the story Vaughan has plotted.  Her painted covers, and hand-lettering Hazel’s narration with her own handwriting, make the difference in the quality of the books.

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Volume One introduces us to our family on the run and all of those who are chasing them. When two soldiers from opposite sides of a never-ending galactic war fall in love, they risk everything to bring new life into a dangerous universe. Alana and Marco are dynamic characters in very few panels; we immediately know them and their struggles even if we don’t know details yet.  Their love for each other and their newborn daughter is captured on their faces in Staples’ art.  There isn’t a lot of lumbering info dumps, the universe that is a scary, crazy, fucked up, violent place is easily understood and the peril facing the young family is illuminated: the antagonist characters are quickly made complex, but also frightening.  Even the protagonists’ allies are visually scary, but terribly charming. I really like The Will, I don’t know what that says about me.

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Volume Two is my favorite thus far. It may be a perfect space opera: adventure, romance, and humor. This volume is the story of the coming together of family across planetary divides. Marko has not told his parents that he ran off with a member of the enemy, as one would expect, so he has a lot of explaining to do when they show up at their ships door. Hazel’s narration told from the future is hilarious. Marko and his mother go to find the accidentally exiled babysitter Izabel, and Alana and Marko’s father get to know each other better. Prince Robot IV is searching for the star-crossed family, The Will reluctantly joining forces with someone on the hunt for Marko broadening his character out and we get more delicious sass from The Lying Cat. I should probably tell you more about this one, but I can’t seem to find the words to break it into smaller bites, just know its good, and inextricably linked to the volumes before and after.

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Volume Three has my favorite of the four covers so far. It was so burned in my mind that when Gwendoline shows up in Volume Two I immediately recognized her and then became VERY confused about how we got from where we were to where we were going. Our motley crew travel to a cosmic lighthouse on the planet Quietus searching for their literary hero, the author of the romance novel that their initial courtship hinged on. This book pulls together the themes of the two previous ones and adds some of its own, as you would expect. It explores how to make a life while on the run, what finding love after a loss might look like, and how to feel about it.  There’s also a bit about getting over a breakup and that violence only begets more violence. Plot-wise The Will, Lying Cat, Gwendoline, and Sophie are stuck on an idyllic alien planet while waiting for their spaceship to be repaired and Gwen is impatient to get to Alana and Marko, but the Will seems quite content to stay on the new planet. He doesn’t seem to realize that he’s seeing impossible things and they are all in danger. Meanwhile, a pair of tabloid journalists is trying to figure out exactly what is the story with Marko and Alana: could two enemy combatants actually have deserted, got married and had a child? (Yes) The real threat to Marko and Alana’s family time on Quietus is not that they betrayed their respective people, it’s that their life together might give others ideas about just who the enemies are, and that there are other options than killing them. And we learn that the opposite of war is not peace, because this is that kind of book.

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Volume Four is my sole four star rated volume, the other three are all five stars. I’m sure that the plot it covers was necessary for the narrative that Vaughan is after, but it was both hard to read on an emotional level, and frankly a bit uneven. In order to watch people come back together they have to be separated first, and that is not enjoyable for the characters or the readers. We’ve got toddler Hazel, Alanna and Marko struggling with the reality of life in hiding and the stresses of family, but we also have a secondary plot dealing with the Robot monarchy and rebellion that felt… off. But, even that leads to a great final panel so I can’t hate it too much. But most of all I don’t want Alana and Marko to be fighting anymore. My emotions are fragile and I love them as a team figuring it out together, not sparring with one another, no matter how true it rings.

Overall, I’m in love with this series. It’s rare to have humor, sorrow, wit, action, adventure, and beautiful drawings married in one text, but this is that text. I’m making myself take a break from reading the next four volumes until at least tomorrow. I think I have the strength to hold out.

These books were read as part of the charitable Cannonball Read, where we read what we want, review it how we see fit (within a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society.

The Long Way to a Small, Angry Planet (CBR10 #29)

The Long Way to a Small, Angry Planet (Wayfarers, #1)

Science Fiction is one of the genres that grew on me over time.  I find myself drawn more to the space-based versions, books like the Red Rising trilogy, The Martian, Hitchhiker’s Guide to the Galaxy, The Sparrow, and Children of God have been favorites over the years.  There’s something about the exploration and survival stories that are part of the genre that work for me. I became particularly interested in The Long Way to a Small Angry Planet when I heard it described as a contemplative, character driven space opera. My favorite genre books are all character driven. But I still put this book on and off my to read list at least once, but that’s a story for later in the review.

The Long Way to a Small, Angry Planet is at its heart a road trip story. We’re introduced to the ship the Wayfarer in the form of a newly added crew member: Rosemary Harper. No one expects much when she joins the crew the captain, Ashby, just needs someone to be their clerk and keep up with the forms so they can get better jobs drilling holes in space, and Rosemary is looking to be anywhere but where she came from. While the hodgepodge ship has seen better days, it offers Rosemary a place to rest her head and some distance from her past.  Life aboard the Wayfarer is chaotic and crazy and populated by a diverse crew of sapients. It’s also about to get extremely dangerous when the crew is offered the job tunneling a wormhole to the titular small, angry planet. While that’s just the type of plot that works for me, in the hands of Becky Chambers it is treated in an episodic way. She spends over 400 pages of her book bouncing from one small adventure to another resulting in character development but not much else. But it doesn’t really need much else; its power is in the small things it accomplishes.

The book is also unabashedly feminist (Chambers used to write for The Mary Sue), sex positive, inclusive, and has an overall optimistic view of the future, even if that future contains our destroying the Earth.  The crew of the Wayfarer lives in a world which intrinsically makes room for multiple ways of being. Chambers isn’t writing a story about overthrowing systems and fighting against injustice. Her story is about the lives we lead in a universe that is stable but still has its problem areas. She’s writing a story about adults for adults that isn’t “adult” in its content. Not all of her characters are loveable, or necessarily likeable, but they all make sense. They may be alien (and Chambers manages to really make her aliens seemingly infinitely diverse) but they are all recognizable and relatable. It makes the minutiae of their lives an interesting read all by itself, and puts the larger plot of the journey take a back seat.

Time to circle back to my almost putting this book off to some indeterminate time: some science fiction books have absolutely beautiful cover art… and some do not. That was honestly part of my entry bias to The Long Way to a Small, Angry Planet, that I absolutely hated its cover. I also couldn’t really get excited about the frequent comparisons to other properties – it didn’t sound like the fun character study I had initially been sold on.  I put it back on my to read list when I read the Read Harder Challenge Tasks late last year, and  its lackluster cover got it its spot on 2018’s to read list.

This book was read and reviewed as part of the charitable Cannonball Read where we read what we want, review it how we see fit (within a few guidelines), and raise money in the name of a fallen friend for the American Cancer Society.

Her Every Wish (CBR10 #28)

Her Every Wish (The Worth Saga) by [Milan, Courtney]

For my next review and #CBR10Bingo square, let’s stay on brand, shall we? This morning I woke up unconscionably early and decided I had time for a novella before I had to deal with the day: so off to my bingo list and the award-winning novella by Courtney Milan, Her Every Wish.

Her Every Wish won the 2017 RITA for Romance Novella. The RITA awards are given by the Romance Writers of America, aims to promote excellence in the genre by recognizing outstanding published romance novels and novellas (there is a separate award, The Golden Heart, for unpublished work). It is a wide field, up to 2,000 romance novels are entered in the competition into one of over a dozen categories (that number fluctuates year to year). There are two rounds of judging and the winners are announced each year at the RWA conference in July.

As beloved as she is, it is hard for me to believe that this was her first win and her second nomination, but Romancelandia is a wide and busy place and whether it affects things or not, Milan self-publishes. For those wondering, she was nominated a third time this year for her novella “The Pursuit of…” in Hamilton’s Battalion, a collection sitting on my digital shelf, and her first nomination was in 2014 for The Countess Conspiracy. I’ve not read the book which precedes this one, Once Upon a Marquess, as it was a bit of a disappointment to others and this series is still early in the writing stage, and set to be seven novels long. I had decided to wait it out until there was more of the series to read (although Emmalita’s review of After the Wedding got me to purchase that book and this one). In broad strokes Milan is endeavoring to continue her feminist romance mission but adding even more to the expected tropes of historic romances set in England. Milan is an author on a mission to stop the whitewashing of history and include people of color and a variety of sexual identities into her work.

This novella focuses on Daisy and Crash. Daisy is the daughter of a failed grocer, her mother is in ill health, and financial security is a memory. The local parish announces a Christmas charity bequest to help young people start a trade; she sees it as her last chance to get her wish of security for herself and her mother. Her only problem – the grants are intended for men, but it didn’t say so explicitly so she’s attempting to bluff her way into a future. It all goes as roughly a one might expect for 1860s London and her former beau, Crash, steps in the help her succeed as best he can. Crash comes with his own baggage – his family line is filled with slaves, whores, and sailors, he has no idea his true heritage, and the world would not let him forget it, but he has been raised to do his best to keep going. He is determined to help Daisy keep going for her own sake.

In its short 100 pages Milan packs her novella with plot and characters, but also with the robust themes of learning how to accept someone as they are, for who they are, and finding value in yourself, of being worthy of your own wishes. It was an uplifting, jam-packed Milan novella in the style of some of my favorites, without the drawbacks of some of her missteps in the past. I am not at all surprised, and a bit glad, to know that this won last year.

This book was read and reviewed as part of the charitable Cannonball Read, where we read what we want, review it how we see fit (within a few guidelines), and raise money for the American Cancer Society in the name of a fallen friend.

The Cuckoo’s Calling (CBR10 #27)

*Note: This reviews were completed in 2018 before the author’s hateful views towards our trans siblings was widely known and acknowledged by the author. My reading experience was what it was and these reviews will remain up, but it should be noted that I find her TERF values abhorrent and will no longer be supporting her through further readings or reviews. 

I don’t scorn rereading (see please, my Harry Potter reread), it just isn’t something I do often since I joined up with the Cannonball crowd back in 2012. It is sometimes very difficult to find new words to express a reaction to a book, and now that writing a review is part of my reading process I cannot skip a review. If I read a book… I’m reviewing it (with the exception of on book back in CBRV, but I still reviewed it on Goodreads).

So, why did I dive back into the world of Cormoran Strike? Several reasons, actually. I was longing for the world of these books, having spent 18 months away from them, I was willing the announcement of the publication date of book four, Lethal White, into existence (we got it!), and I had purchased the audio of the first book in the series, The Cuckoo’s Calling several months ago because I wanted to own the complete series as read by Robert Glenister. Which meant that I had spent money on a book that I had already read, so I should probably read it again to help justify to myself the purchase price (worth it).

So what is The Cuckoo’s Calling for the uninitiated? It’s a classic murder mystery in its style and delivery. Strike is an injured war hero, he’s just broken up with his mysterious fiancée after a long on and off again relationship, he’s the son of two famous people but eschews the spotlight for himself, and is dead broke. He’s hardened and grizzled, and he’s clever where others aren’t. He is also dogged and determined, and endearingly befuddled like all great investigators in fiction. Robin is the eager sidekick, super competent at all things, with agency: she has desires and wants and fears and ambitions that come to life over the course of the book and series. The victim is a gorgeous supermodel who apparently jumps to her death, but her grieving brother can’t accept how the case was closed and hires Strike to find out what really happened, and hopefully before their mother passes away from end stage cancer.

On the surface it would be easy to say that these books don’t share a lot thematically with the Harry Potter books, but I would disagree with that assertion. This is also a story where the unsuspecting forces of good battle to resist the forces of fear and hate. The characters of Robin and Cormoran are rediscovering themselves, unpacking who they can be and are in the pursuit of knowledge, of truth (how more Hermione can you be?). Additionally, the writing has a similar and familiar structure, Rowling’s style of writing flows easily; she uses plenty of adjectives and humor and is very good at putting you in the room with her characters. I’m watching along with the BBC miniseries as I reread, and it is so noticeable when the adaptation moves away from Rowling’s plotting – the character motivations are diminished. The adaption for the first book, which is three episodes, should have been enough time to lay the story arc out as Rowling wrote it, there was no need to move some plot points around or change the nuance of Guy.

But I digress. My complaint about this book when I read it back in 2015 was that the beginning was too slow, I no longer agree with that assessment. As I sat in my car listening to the world unfold I was happy to have the time Rowling puts into her worlds – she is not so much a builder as a suggester, but she does quite a bit of character and world building in the first quarter of the book before launching us, securely, into her better-than-average mystery. The series works on re-read (so far) on the strength of its characters and getting to spot the clues that Rowling left for us in plain sight.

My reread of this will continue in a few weeks, I’ve got a new shortened deadline to get these read again (although I know I have to wait a bit past publication for the audio version to be released).

This book was read and reviewed as part of the charitable Cannonball Read, where we read what we want, review how we see fit (within a few guidelines), and raise money for the American Cancer Society in the name of a fallen friend.