#mistborn review

[taurnachardhin]

Sanderson gave Kaladin Marsh's worldview with Kelsier’s charisma and then gave Moash Kelsier’s worldview with Marsh's charisma and I think that was very funny of him.

[tbookblurbs]

The Final Empire - Brandon Sanderson (Mistborn Era 1, #1)

5/5 - fabulous characters, heist novel, Vin my beloved!! start of a truly fabulous trilogy, really innovative magic

SPOILERS BELOW!!!

This was the first Sanderson novel I read and it really captured my heart (as it probably obvious). As such, it holds a special place of honor To Me as one of his superior works.

The Final Empire is excellent for a number of reasons. First, it's a heist movie in a book. Think Ocean's 11 (2018). The crew is all very likeable and they come together to put together a truly insane plan. The best part is that, at several points in the story, key elements of the plan go completely wrong. It's delightful. Nothing is better than watching characters who are supposed to be clever actually act clever.

TFE is also distinct amongst many trilogy consisting of a fight against an evil overlord in that the fight happens and succeeds in the very first book. It doesn't take them the usual first attempt, minor success, second attempt horrific failure, and third attempt actual victory that usually happens over the course of fantasy trilogies. This also means they actually have to have the philosophical discussions that usually get tossed to the wayside regarding what to do after a revolution succeeds. Delicious I tell you.

Sanderson is also a master of describing places that are foreign compared to Earth and then sells these concepts by changing the way that characters behave. People thinking plants being green would just be weird? Extra notes of importance on the color white because of all the ash? The world doesn't only look different, which is common in most fantasy settings, but the characters feel like they're from somewhere totally different, which some books are not successful at.

Allomancy as a concept is also something that's super distinctive to me. Sanderson is pretty well-known in fantasy circles for defining "hard" and "soft" magic and he abides pretty strictly by those rules.

And the cherry on top of the cupcake is Vin. My beloved. Her struggle with identity, trust issues, her own power, it's just everything to me. She goes through a whole "I'm not like other girls" arc and yet she's still struggling. She's immensely powerful and yet so inexperienced. I love her. I would do anything for her.

Also Vin and Elend's romance is just so cute. You have to feel for Vin the whole time. They have my whole heart.

Now having read The Secret History, I still harbor some conflicted feelings towards Kelsier. He's such a good father figure to Vin (which makes him dying so heartbreaking) but his whole religious arc still leaves me feeling weird.

PS: If you would like some really good Vin art, or good Sanderson art in general, I highly recommend @lamaery their Vin design and their costume design is !!! crazy good

[tommock]

I DNF'd Mistorn: Here's Why

Disclaimer: You asked for this. Let me start there. Don't get mad at me, Mistborn lover. If you clicked on this link, and that means you are taking the dagger into your own hand. The wound is self-inflicted!

I did not finish Mistborn by Brandon Sanderson. I know, I know, its actually called The Final Empire. The name Mistborn has stuck with so many readers for a reason, so I'll continue to use it as a shorthand. The book didn't work for me, but I think WHY it didn't work for me might be interesting to read about, especially for fellow authors.

If you have read and enjoyed the Mistborn books, or any work by Brandon Sanderson, I'm delighted. I want to applaud any work of fiction that brings people joy (so long as it or its author is not reprehensible in some way (he said, covering his ass)). I don't want you to think this is me taking shots at you or at Sanderson. I'm just talking about a work of fiction and what it did to my brain.

Believe me when I tell you I have no delusions about being some high-handed minister of good taste. You should see some of the anime I watch to destress at the end of a long day trying to be a self-published author, editor, and, well, just an ordinary semi-functioning human being.

I've read many, many books and loved them, only to come back to them later and find they were … less deserving of my matured tastes. Sometimes books meet us at the right time. If Mistborn was, or is, one such book for you, I would be a jerk and a fool if I tried to tell you that you were wrong for liking it. That isn't what this is. But, if you're at all curious why I didn't like it the way you did, here are my thoughts.

Instead of trying to construct some long elaborate essay, I've decided to present my reading notes as I was writing them. If you're at all familiar with my SPFBO9 opening reads thread, this is in a similar, though much protracted style. This is my travelogue of the first few chapters. If these notes are rough or feel stilted in places, I'm sorry. I DNF'd the book a few months ago, and I found in trying to clean up my notes that I was making up commentary to fill in gaps and I don't think that's fair. I've tried to provide some context where I could.

Pages referenced are from the first mass market edition, published August 2007 by Tor

My Notes:

Starts well enough. Interesting introduction to the fantastic elements of the environment (the ash fall) and the enslavement of the skaa. Some neat 2nd world titles “obligator,” etc.

Not great, not riveting, but competent introduction of world and one protagonist, Kelsier. He doesn't know what to do with Vin, though. Disconnect between the characters as we're told they are and their actions. Lacking coherent motivation.

(P.5)The slave that stands and stares defiantly sending a chill through the lord so-and-so is a bit melodramatic. Both actions struck me as over the top.

(writing note)…too many “of courses”

The writing is competent and descriptive. The Mist at night is another interesting setting detail.

(p.6) I immediately dislike Kelsier. “I’ll have to cure them of that (fear of the mist) some day.” This is has an unsympathetic arrogance about it. If this is also the man who stared defiantly at lord-so-and-so, hes blasé about endangering these people, and seems to look down on them, much like lord-so-and-so. I suspect this impression is not intentional. I suspect I’m supposed to think him strong and clever. We’ll see.

(7) rolling his eyes at these people. This seems intentional. But it’s also annoying.

(10) beatings beatings beatings. These “peasants” and their daily beatings. Did I mention the beatings? Their lives are harsh! There are beatings!

(‘) what is this talk about Tepper “leading” the skaa? Leading them how? They’re slaves! What decisions are they making? No, really. What is this forced little conflict? It’s pointless.

(‘) “How do you do that?” “What?” “Smile all the time” - there’s no reason for him to ask this. It’s unmotivated dialogue. How do you smile all the time? How? No. Why, sure. “You keep smiling. Is something about our home funny to you?”

(19-20, ch.1) I’m having trouble with Sandersons storytelling. This is coming across as heavy handed and simplistic. Here’s Vin. She was betrayed. There are betrayals. This boy who came to get her who’s nice enough will also betray her. But the ash is free…

I wonder if we’re going to slowly work through the alphabet section by section. Ash, then beatings and betrayal… who knows what could be next? Crime? I bet it’s crime.

Also - Reen’s sayings and betrayal. I think in general I find it a bit affected when we meet a character and they’re immediately thinking of their backstory … but that’s probably not fair of me. I think what comes across as affected is Sandersons execution. There’s a very light fiction - YA quality about Vin’s angsty introduction. I might have loved it if I read it at 14, but not now.

I’d like to think of an example of what would be more appealing to me - the introduction of a character with similar enough circumstances… Actually, Gideon the 9th might be a good example. We get to hear Gideon’s voice in the prose and the dialogue and get a strong sense of her character as well as the specific and very interesting world building details of how she got into the 9th house. Here, Reen’s betrayal is left completely unexplored, and so I wonder why bring it up at all except for that cheap YA punch in the gut of “my brother betrayed me and now I’m here.”

Maybe Sanderson felt some necessity to move faster here. He wanted to get to the city theiving … but it isn’t working for me, so obviously I think it was a mistake. Obviously he was hoping this would create a sense of anticipation that we would eventually find out HOW Vin’s brother betrayed her, but because he leads with it and then doesn’t explain it, it makes it seem like it doesn’t really matter HOW Vin was betrayed, what’s important is that she was betrayed and now she doesn’t trust anyone. It’s just a bit weak.

THE HEAVY HANDEDNESS (People being mean to Vin - her hard life) (21) the slap in the face (23) Theron looking Vin up and down - “eyes lingered on her … running down the length of her body. … She was hardly enticing (didn’t even look 16); some men preferred such women, however.” (24) “what do you know?” “Enough” - Vin hurts her, expositional dialogue about her brother’s debt and selling her to a whorehouse.

(25) fearing Vin would disappear in a scene she doesn’t have much to do during, we get these unnecessary interjections of her watching the interaction, followed by the explanation of Camon thinking Vin is his good luck charm. This should have been presented earlier, because it just interrupts the dialogue here. But also, it feels inaccurate after Vin made such a useful critique of Camon’s servants. She seems much more useful in other ways than a luck charm, and comfortable offering her criticism without the slightest hesitation.

This chapter ends rather abruptly and without much Go to it. Vin uses her Luck and gets our stuffy official to consider her boss’s mundane business proposal.

The notion that Camon brings Vin along because he thinks of her as his luck charm feels really thin, especially on a job like this where everyone has to look the part. Which raises an important question: what was Vin doing there? I mean literally. Why didn’t Camon have SOMETHING for her to do. Camon didn’t dress her up in any part, she didn’t have any kind of cover story as his daughter or nurse or anything. Just some kid in the room dressed … who knows how while important official business is discussed. She just floats somewhere, doing nothing, as far as anyone is concerned.

VIN’S MOTIVATION Where is it? What does she get out of making this work for Camon if he has no idea what she’s doing? Why is she avoiding him if this is such an important job? Why is she helping him at all?

The pieces are there, but Sanderson doesn’t put them together.

Camon should know about Vin’s ability to “smooth things over” in some capacity. This would give him a serious reason for her being there on this crucial job. Vin should be motivated to help him because if this lucrative job works out, it will go a long way towards paying off her brother’s debt. Now suddenly there is a sense of urgency for her instead of just having a bad time owned by a “crew leader” getting slapped around. The scam itself isn’t enough. Frankly, it’s kind of boring at this point. It’s a slow moving beurocratic swindle.

(32) Kelsier. Sanderson is doing a good job introducing some thieves’ cant here as Dockson and Kelsier are planning their job, talking about how they need a “Smoker.” Someone is a good Tineye. The loss of a man to the Steel Ministry underscores the mortal risk these men are taking. But … there’s something about all this crime play that feels a bit cute, like Sanderson had only a passing, generic understanding of (fictional) gangs/criminal organizations. He’s spent his world building energy on the fantasy aspects of the story - the dystopian Tolkien Lord Ruler and Steel Ministry, skaa, ashfalls, mist - but not on developing the criminal world of the characters, linguistically speaking. They’re all crews working on a job headed by a crew leader. This is the world we’re living in, most immediately, and yet it feels the most underdeveloped.

“Kelsier shook his head. ‘No. He’s a good Smoker, but he’s not a good enough man.’ Dockson smiled. ‘Not a good enough man to be on a THIEVING CREW … Kell, I have missed working with you.”

This stopped me dead. I laughed at the book and put my hand over my eyes. “Thieving crew” is just silly. It’s sixth grade D&D language, but even more ridiculous is the sentiment of Dockson’s statement: that character is somehow a moot point because they are criminals. It’s as if he’s saying: we’re breaking the law, so we’re the bad guys, and bad guys don’t work with “good men.”

Here we see Sanderson’s shallow understanding of the characters he’s portraying. They are stealing from slavers who exist in the service of a brutal, oppressive dictator. But put that aside, and consider we’ve just been told one of their ilk had been caught and beheaded by the Ministry. The risk these people are facing couldn’t be higher. Working with people they can trust, a stand up guy or a “good man,” would be one of the most important things to them. From their point of view a “good man” doesn’t mean a patron saint of the poor, but it means a hell of a lot. If a guy is a drunk who cheats on his wife, you can’t trust him not to turn on you. If he gambles too much, you can’t trust him not to gamble on your safety. He doesn’t keep his apartment clean, how can you trust him to be conscientious about keeping you alive. It all matters - even more so because he’s on a “thieving crew.”

Now, Sanderson probably didn’t give this line more than a moment's thought. He was writing fast and sailed right over it. But that’s exactly the problem. It gives the book a kind of childish, YA feeling.

(33) “Kelsier turned with curious eyes.” I’ve written lines like this, but I almost always revise them because I write about eyes too much. The point is his eyes aren’t curious, Kelsier is, and it shows on his face. I can’t picture curious eyes, and I’m sure you can’t either. And I would cut the next line of dialogue - going to chastise my brother … we already know he was going to do this because he said so, and the line just isn’t very good anyway. A look of curiosity from Kell, and the promise from Dockson “it’ll be worth your time,” gets us out of the section better. Sometimes the best repartee between characters is a look.

(33-34) the scenes with Vin remain heavy handed, and affected. This section adds almost nothing to the story accept for the disappointingly narrow view of a fantasy underworld that the women in it are only ever whores. This from a world crawling with Smokers and Tineyes? I think not. The clumsy presentation of Vin’s awful life is what makes these sections particularly affected. With her particular ability to use her Luck, I can’t help but wonder why she’s even still here. That seems to be the story to me. Not the abuse, but why she remains when she clearly has the power to get out. She can smooth over deals with reps from the SM, but she hasn’t thought to calm some member of the crew and then just … walk? Go literally anywhere in the city and use her Luck to get work where she won’t be whipped and slapped. It seems like the easiest thing in the world, so why hasn’t she done it? This is what the story here could have been, and it would have been so much more interesting.

Obviously she has to be there so Sanderson can have terrible things happen to her so she can be saved by Kelsier just like he saved the other raped scaa girl (let’s all take a moment to roll our eyes) and then her character can have a trajectory from passive victim to active hero - but that’s an excuse, and excuses don’t make good stories.

That said, as is, these two pages could be cut entirely and with very minor revision to the next session, nothing would be lost. It introduces a hideout we don’t need to know about, abuse that is redundant, over the top and unmotivated, and then Camon says “it’s time.” It’s just a prelude, in which nothing happens, before the actual scene. So just cut to the actual scene.

(36) we finally find out what the Camon job was supposed to be, I suspect because Sanderson finally decided what the details were. It would have been much more interesting to know this earlier, just like it would have been more interesting to understand about the particulars of Vin’s brothers betrayal earlier, so we could understand the context of the story being told.

But a LARGER ISSUE continues to emerge. First Camon tells Vin nothing about his plans. She says she is apparently the only crew member who didn’t know what was going on. Then, as they sit in the waiting room, in the vey belly of the obligator beast, he tells her everything. Why? Because Sanderson wants us to know even though he never decided who this character was.

He wants her to be a passive victim of inordinate abuses by a group of irredeemable villains, who only avoids constant sexual assault through the exhausting use of her secret magic so she can be saved and then learn how to be powerful later. But he also wants her to be a smart, capable member of Camon’s crew who is considered as such, because he knows passive protagonists aren’t interesting and because he wants us, the reader, to know what’s going on, and also think that Vin is cool. She can’t be both at the same time. She either needs to be less of an abject, pathetic victim, or she needs to be less involved in this big important scam - and that means she knows less about it and does less to make it work. As is, he’s done too little with either idea of her character and both Vin and Camon are an unmotivated mess.

(42) steel inquisitor. Cool, creepy, disgusting - something straight out of hellraiser.

(43) “Besides, I’m not about to let a possible Mistborn slip away from us” Ah!

Ch3 (45) after the meeting with the obligator (that was a trap), is the first time Vin ever expresses any interest in getting away. Much too late Sanderson gives us a much too thin reason why Vin hasn’t run away (considering the conflicting versions of her character as mentioned before). It’s little more than an afterthought.

(47) in no more than 2 pages Vin goes from never thinking she could make it on her own to leaving for good, telling herself she’d survived sleeping in alleyways before, she could do it again and - “Reen had taught her how to scavenge and beg. Both were difficult in the Final Empire … but she would find a way, if she had too.”

So far, this is all based on a bad feeling. More motivation conflict - Vin has no problem telling Camon directly how his plans won’t work and that he should change the way the servants are dressed, helps him succeed with her luck in both plans, but sees no reason to tell him “I have a bad feeling about this. That was too easy. Why did that obligator suddenly agree. Doesn’t this seem weird to you?”

Sanderson has many of the right pieces, but he hasn’t been able to put them together coherently.

(45)(And, just as an aside, I’m not sure why a girl who has spent to book so far reiterating to herself that EVERYONE WILL BETRAY ME is going out of her way to tell Ulef she has a bad feeling and to get him to come with her. Sanderson says “if he would go with her, then at least she wouldn’t be alone.” But he has also up until this point defined her character by a near constant desire to be alone - when she is introduced sitting in the window of the hideout thinking her brothers word “Vin wasn’t on duty; the watch-hole was simply one of the few places where she could find solitude. And Vin liked solitude. ‘When you’re alone, no one can betray you’- (37) at the “It’s just another betrayal, she thought sickly. Why does it still bother me so? Everyone betrays everyone else. That’s the way life is … She wanted to find a corner - someplace cramped and secluded - and hide. Alone.”

(47) "Bringing Ulef was a good idea. He had contacts in Luthadel." These after the fact explanations are no good. This isn't Vin thinking this, it's the author coming up with more justification for Vin's action, but in order for her character to seem active and motivated, this needed to be revised into the section where Vin decides to bring Ulef. Now it's just tacked on - oh, yeah, and, by the way, if you weren't sure it made sense for Vin to do this, Ulef probably knows people. So, there.

It doesn’t wash. Who is this girl? Can she not stand the idea of being alone, or is it the one and only thing she wants? Is she strong and resourceful in spite of her circumstances, or is she a passive victim? Does she believe everyone will betray her, or does she desperately want to believe otherwise because she can’t live in such an unkind world? Sanderson doesn’t seem to have been able to make up his mind. Maybe some of these details were added in revision on the suggestion of beta readers and the result is a checkerboard character. I’ve seen that before where you make a suggestion to a writer and they add your suggestion but they don’t make the necessary changes to the rest of the book so that the new material earns its place, they just throw it in and dust off their hands - job well done, gotta stay on schedule to publish! But now I’m just writing fan fiction about Sanderson’s process. I don’t know.

(55) Vin’s “weakness” - the contradictions/inexactitude of characters seems to be an ongoing issue for Sanderson, at least for Vin. Is she weak and has to pretend to be strong, or is she strong and often chooses to pretend to be weak (so far she has seemed to be weak and act weak, other than her Luck).

Well, that's as far as I got. Kel shows up just in time to be the wrath of justice for Vin. He's the superman who will make everything alright for this feckless girl. Our hero. Did Sanderson lay it on thick enough? Did you get that these people were all so irredeemably and stupidly bad? Aren't you so glad this strong man has shown up to be Vin's vengeance, just like had been telegraphed all along?

Sorry, I don't mean to be sarcastic. This part of the narrative really isn't so bad, its just been so heavy handedly and clumsily lead up to that there's no thrill in it for me. It isn't a bit satisfying. I'm just glad I don't have to read about any of these shallow side-characters anymore. Except, I have no intention to read on, so I don't have to read about any of them anymore.

Is this book bad? Yes and no. I don't want to read any more, and only read as far as I did as an examination of storytelling, so for me its bad. You only get so many eyerolls before I have to say that. The sentences are very clear and coherent. On their own, they are coherent. Together, they fail to paint of picture of coherent characters who drive the action of the story. If you don't have that, at least in my book, you've got nothing.

The images work. The setting, in its broad strokes, is eveocative. I'd love to set a DnD campaign in a world of ash and a dark lord and all that (I'm not the least mad about the cliché of the dark lord, by the way. Who doesn't love archetypical stories?) But, as near as I can tell, there are no human beings in this book. No one is real. The characters are just that, only characters in a book. They are paper cutouts. They fall flat when the hand of the author isn't pushing them around and making them do things.

Fans often hold Sanderson up as the gold standard of a fantasy author who produces work fast. And having read this far into Mistborn, I can say this about it: It reads like it was written fast.

Yes, Mistborn was an earlier book of his, so I can't judge him by it alone. But it is a work that is so often held up as a favorite by his readers. That's why I picked it up, to see what all the fuss was about. There were many things I enjoyed, but what I enjoyed wasn't the narrative. The story and the characters who moved it were the thing that I enjoyed least. The unique magic and broad setting details and description of places and creepy Inquisitors were what I liked best. The proper nouns were fun.

But proper nouns don't make a story for me. So I did not finish Mistborn by Brandon Sanderson.

If I were looking for a light fantasy read that I didn't have to take seriously and I could pick up and put down whenever I wanted because it was never that exciting or particularly witty or clever, but managed to string along one event after another and kept them going, more or less, whether it made much sense or not, until the end, I think Mistborn would be a fine book to dip into. Lots of people have read it. But then, that seems to me to be its major appeal. It’s a book you can talk about with other people.

It's not enough for me, though. There's lots of fun fantasy books out there that feel more coherent, and, well, INTERESTED in the story they're telling. Interested in violence and revolution and crime in an oppressively totalitarian, dystopian world. Interested in the plight of a young girl who only wants … well, what does she want? To be safe? But the only way she finds she can be safe is to go toward danger and realize how very strong she is? Maybe this story would like to be that, but it hasn't been for the first 60 or so pages.

Sanderson's novel felt more interested in the large and vague story shapes around the characters - a city, a dark lord, slavery, soot snow, bad mist, some kinds of magic, and (I cringe to say it) rape and thieving and beatings - but not in the world of their lives.

I've heard good things about The Way Of Kings from people who did not like Mistborn either, but its safe to say at this point that I have reservations about my reading tastes being a good match for Sanderson's work, at least at this point in time.

If I'm looking for fun I'd rather read another swanky, noir fantasy by Douglas Lumsden any day, or the next gothic gaslamp fantasy mystery by Morgan Stang, or discover my next favorite author, indie or otherwise.

I don't think Mistborn was terrible by any stretch of the imagination. Sanderson has delighted readers for over a decade now! He's prolific, hard working, and he delivers what his fans want, and he and they continue to be richly rewarded for his efforts. He is a Name in the genre, often listed alongside the greats. And why not? Isn't pleasing readers what this is all about? Taylor Swift has oceans of adoring fans, and she's no less deserving of her accolades. Brandon Sanderson is the Taylor Swift of fantasy, you could say. I just don't like her music either.

[glorious-destruction]

“You cant summarize an entire book in three words”

Mistborn:

[that-0ne-goblin]

I can’t lie, TenSoon has got to be my overall favourite ever Mistborn character.

!Spoilers!

Like, I don’t know how to explain it, there’s just something so likeable about his way of thinking and how you grow to relate with him throughout the book. So much so that when it’s revealed he’s the imposter, you don’t hate him for it, I personally just wanted to see more of him.

During the last part of the last book especially, when he went looking for Vin and running around the world trying to find her, you can tell his attitude towards her has changed as surely as his loyalties towards his own kind. The times where he did things out of impulse and you got to see how he truly felt - the fact that he was willing to kill himself when he felt Ruin take control, and when Vin got attacked at Elend’s assembly he protected her against his own Contract. Peak character arc there, I knew how it would go as soon as I saw them warming up to each other and I loved it nonetheless.

RIP TenSoon :C

[quinnharlock]

Cosmere Wrap-Up

✦ Books Read: 21 (As of Nov. 2023)

✦ Average Rating: 4.29 / 5

✦ Favorite Book: Tie between Tress of the Emerald Sea and The Way of Kings

[pieandpaperbacks]

Top 10 books of 2023

My favourite books of 2023, in no particular order:

A House With Good Bones - T. Kingfisher I was so disappointed when this didn’t win the goodreads choice awards for horror of the year. It’s so creepy and unsettling but in a uniquely T. Kingfisher way that somehow manages to still be funny and kind of cozy.

Wyrd Sisters - Terry Pratchett Of all the Discworld books I read this year, this one was definitely my favourite. I feel like Pratchett started to find his stride in this one, which I noticed more reading chronologically. Also it’s a spoof of Macbeth, and I’m a sucker for anything with Macbeth jokes.

The Bone Season (10th Anniversary Revised Edition) - Samantha Shannon I’ve loved the Bone Season series ever since I binged it in 2021, but the first book always fell a little flat for me. This revised edition fixed all the problems I had with the original. Highly recommend if you’re looking for a really unique fantasy/dystopia.

A Day of Fallen Night - Samantha Shannon I love Priory of the Orange Tree, so I was a little hesitant about a prequel, but ADOFN somehow managed to surpass Priory. It’s a  perfect high fantasy that spans many countries and characters, and features multiple sapphic characters, as well as bisexual, asexual, and other queer folks. This was my absolute favourite book of the year.

Stone Butch Blues - Leslie Feinberg One of the most important queer novels of the last 50 years. So glad I read this.

Tell Me I'm An Artist - Chelsea Martin This book found me at just the right time. It asks what it means to be an artist, and explores the intersections between the art world and privilege, and looks at the age old question; what is art?

Gideon the Ninth - Tamsyn Muir I am so late to the Locked Tomb hype, and I can’t believe it took me this long to pick up Gideon the Ninth! The Locked Tomb is quickly becoming one of my favourite fantasy series.

Heartstopper Volume 5 - Alice Oseman I waited all year for this instalment of the Heartstopper series to come out, and I devoured it in one day. Alice Oseman's work is always beautiful and heartfelt, and Volume 5 of Heartstopper is no exception.

The Well of Ascension - Brandon Sanderson I dipped my toes into Sanderson's work for the first time this year, and I started with the Mistborn series. While the prose is not the most complex, the characters and setting are what truly drew me in. So far, The Well of Ascension is my favourite of the trilogy.

Nettle and Bone - T. Kingfisher I read six T. Kingfisher books this year, with the first one being Nettle and Bone, and it's still one of my favourites. A weird dark fairytale with goblin markets, a quest to kill a prince, grave witches, an evil puppet, and a chicken possessed by a demon. What else could you want?

[ofliterarynature]

MARCH 2024 WRAP UP

[loved liked ok nope dnf (reread) bookclub*]

Supernova • The Last Unicorn • Cahokia Jazz • (Heartstopper Vol 1)* • The Hero of Ages • Godkiller • Humanly Possible • Traveller’s Joy • The Well of Ascension • Babel-17 • The Final Empire • Loot • The Death I Gave Him

Finished: 11 books (9 audio, 1 print, 1 ebook)

Not many books this month but by god I read THREE Brandson Sandersons, so -

I guess I may as well start with Sanderson while we're here. I promised a mutual years ago (who's sadly left tumblr) that I would read Mistborn and it's probably been at least half a decade but I did it Lourdes! I've read a few one-off Sandersons before, but nothing I fell in love with. The Final Empire definitely had some issues, some things felt a little off, but overall I think I liked it! Except those things did not then improve in the next two books, and by book 3 I was dragging and solidly decided that I wouldn't continue past the original trilogy. I was so mad at that ending y'all, and if the mixed vibes from the copy for the next books wasn't enough that definitely sealed the deal lmao. Happy for the people who like him but it's not really my vibe. (but god, did it remind me how much I love big, grand, epic fantasies. I really need to find a good one). 3 stars

Babel-17 (3 stars) - idk, I think I found this on a rec list for sci-fi about linguistics? Which it sort of was, maybe, ostensibly. It was weird in that old sci-fi way and I kind of wish I'd DNF'd it when I originally considered it.

Traveller's Joy (5 stars)- look I will never say no to more in the Greenwing & Dart series, especially if it's my good good boy Hal. Not to mention more info about the immediate post-college times, and an outside POV on Jemis (Jemis my dude I love you so much but you are not a reliable narrator). Victoria picked a great piece of canon to explore!

Humanly Possible: Seven Hundred Years of Humanist Freethinking, Inquiry, and Hope (4 stars) - I've been wanting to read this since I first heard about it (and Humanist thought in general), and while it was interesting and I'm glad I read it, I found my attention drifting a lot. It spent a lot of time in the early/distant periods of humanist thought, which ended up not really being what I wanted - I think I'm more interested in the modern Humanist movent, but at least I know I'm on the right track!

Godkiller (4.5 stars) - It was great! It was kind of idk, epic fantasy with fairy tale and D&D vibes sort of? My brain is throwing out T Kingfisher and Robin McKinley for comps, but I'm not sure if that's accurate. A great one for fans of less-than-benevolent voices in the back of your head that are nonetheless very concerned for your well being! A solid 4/4.5 stars from me, it switched pov a little to often and didn't stick well in my head as well afterward as I'd have liked. Can't wait to get the next book!

Heartstopper (5 stars) - so cute! at least half the people who have ever come to book club at some point have said they loved this, so since we're in our graphic novel era it just made sense! I read a good chunk of the comic online ages ago and it's still great (and much easier when not fighting my wifi to load pages lol)

Cahokia Jazz (5 stars) - y'all I lost my fucking MIND OVER THIS ONE. Absolutely going to be one of my top books of the year. I'm such such a sucker for books about an outsider trying to find themself, their place, and reconnect with their culture, and hnnnnnng it was so good! Not always easy, but I loved it. I sobbed over that ending so much, I had to get up at work and go hide in the restroom for a bit and couldn't stop tearing up for the next week. Warning that the opening is pretty gory/crime novel/these-cops-are-corrupt vibes that *did* almost make me dnf (GASP), but it gets so much better I promise. Give Joe a chance, he's got hidden depths.

The Last Unicorn (3.5 stars) - It was ok? I didn't really get into it and was glad it was short, but I'm sure if I'd gotten my hands on this as a kid I'd have read it 10x times. I've also never seen the movie. I'm debating if I want to keep my copy for future niblings, but probably not.

Supernova (3 stars) - finally, I am DONE with this series. I admit, the second book almost got me and had me reconsidering if I should keep my copies after all, but this one yanked me back to reality. The undercurrents of ethics/morals/philosophy? to this series are fascinating, but uh, I'm not sure the author is aware of them as much as I was? Because the ending was fine, but all of these questions it felt like the series was raising were just ignored or pushed past. Not a bad series, just don't think about anything too hard.

DNF's

Loot - I was here for the automaton tiger and clockmaking, but that wasn't really the focus? I'm not quite sure what was, actually, I dropped this pretty quick between that, not liking the writing style, or the narrator's voice.

The Death I Gave Him - I was SO sad to give this one up. It's told through excerpts and transcripts and all sorts of things pieced together that hint at events in the future, which is one of my favorite things!!!! Except I don't know shit about Hamlet, and it was giving more psychological-thriller vibes and less murder-mystery, and I wasn't really having fun. It made me want to reread Sarah Gailey's The Echo Wife.

[the-weed-and-read]

FINISHED MISTBORN.

Ok I get the hype. This was worth all the praise. Honestly, this had me way more invested than Throne of Glass… am I becoming a Sanderson Girlie?!? Can I get over him being Mormon? This was good enough for me to try. Onto the next!

[claireelizabethsblog]

~ August's Books Reviewed ~

The month started out strong with me riding a Sanderson high, then I did a thing that I objectively hate and know will 9 times out of 10 have me reading less, which is started several books at once.... as of the end of August I was reading three books at once, yet none of them were finished so none of them get included in August's round up... look forward to that in September I guess!

The Well of Ascension by Brandon Sanderson

(763 pages)

The stress I felt reading this was unreal... which is simply evidence of how good it is. It genuinely was pulling actual visceral reactions from me and I physically could not put it down at points. I know this is a shorter review than usual, but I can think of nothing else to say.

I gave this book 5 stars ⭐️⭐️⭐️⭐️⭐️

The Hero of Ages by Brandon Sanderson

(748 pages)

An amazing conclusion to a really really good trilogy. The twists and turns of this were so well executed and completely shocking in exactly the right way. The ending in particular I never could have seen coming. If this were a spoiler review I'd be able to go on more, but for now, I leave with simply the promise that if you love fantasy novels, Sanderson novels, epic twists and/or social/religious/political commentary then you should definitely give this series a try!

I gave this book 5 stars ⭐️⭐️⭐️⭐️⭐️

The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid

(585 pages)

I was gifted this book and admit to being a little wary before committing to reading it, as a general rule books that blow up exclusively on social media tend to be a let down to me after the copious amounts of hype they've received. I'm pleased to say that was not the case with this book. If anything, I was pleasantly surprised with how much I enjoyed it. It was extremely uniquely written; it was emotional, clever and beautiful. The characters were all so complex and felt genuinely so real. I would say that was the highlight of this book, the characterisation. Every character you could relate to a real person. You sympathised with their decisions, or at least understood them. Like real life, there was no villains and heroes. Bad people and good people and somewhere in the middle people, sure. But also like real life, the last group was the most prevalent, and the first two groups different to each individual's opinions. I would actually really recommend this book to almost everyone I know who reads, I'm pretty sure everyone could find something in it that keeps their focus, be it the mystery, the love story, the characters....

I gave this book 5 stars ⭐️⭐️⭐️⭐️⭐️

The twist of a knife by Anthony Horowitz

(373 pages)

I am like 90% sure that this was not the first book in a series, however it stood well as a stand alone book too! Like the other Horowitz book I read earlier this year, I found this novel a little slow to pick up at first, however I did get into it in the end. I found it clever and quirky and I loved the meta elements. Ultimately, it was exactly what it was advertised as - a light, humorous murder mystery - and actually, I'm not mad about taking a break for something silly every so often!

I gave this book 3 stars ⭐️⭐️⭐️

If We Were Villains by M. L. Rio

(422 pages)

After the success of The Seven Husbands, I felt brave enough to try another recent social media favourite book. I'd seen mixed reviews over this one, however my flatmate strongly recommended it and as usual, our tastes in books aligned and it was extremely good. Despite the predictability of the plot, I was fully engaged the entire way through which speaks to how well the characters were depicted that I was willing to look past the predictability of it all just to read more about the people. In fact, I would like to make this a formal call for more people to start writing fanfictions for this novel because I want to read even more about these characters and am being denied that currently based off the limited options on ao3 (if anyone has any good recommendations please let me know!) I think, if I had read this in another month it would have received five stars, however it was let down by the fact that it was read within the same weeks as Sanderson and The Seven Husbands which meant I could not in good conscience give it full marks when the plot was just a little too easy to see coming for me. Therefore....

I gave this book 4 stars ⭐️⭐️⭐️⭐️

[redemptiionss]

Oh and I just finished reading Yumi and the Nightmare Painter and I'm going insane, it was so good. This was my first Sanderson book lol I'm going to have to read his other books too for sure

[tempest-melody]

Book Review: Tress of the Emerald Sea

Title: Tress of the Emerald SeaAuthor: Brandon SandersonPublication Date: 2023Publishing House: Dragonsteel Entertainment If you have been following this blog for a while you know that I fell in love with the Mistborn series by Brandon Sanderson. When I heard that he was publishing some standalone novels in The Cosmere, this is the shared universe of many of his novels, I knew I had to read…

[tbookblurbs]

The Hero of Ages - Brandon Sanderson (Mistborn Era 1, #3)

5/5 - Satisfying conclusion, excellent discussions about faith, intensely vivid world-building

Spoilers below!!

This book deserves high praise for its commitment to the plotline alone. Many books (and tv series) that I've read(/watched) find themselves unwilling to commit to the ending that they've set themselves up for. As heartbreaking as it is, sometimes the events set in motion have to result in major character death and despair. Anything else would be unsatisfying.

I can still remember how I felt the first time I read HoA and even knowing the ending, you still feel this sense of dread. How can the characters survive this? How can you fight the end of the world? And yet because I was so used to seeing most of the main characters survive, I remained convinced until the end that Vin and Elend would make it, which makes their deaths all the more heartbreaking. The imagery of Sazed piecing their bodies back together and laying them in a bed of flowers makes me tear up every time.

On the topic of Sazed, I think the bait and switch of Vin or maybe even Elend as the Hero, only to have Sazed fulfill that role is a really earned and satisfying conclusion. It feels good to see that only Sazed could save the world and bring everything back to what it should have been because he's a scholar. Conflict and death couldn't resolve everything in the end.

The journal entries should have tipped me off, honestly. The first time, I thought that maybe Elend or Vin was writing them later on, old and able to look back on these times with more of a curious eye, or maybe that Sazed and the pair were creating it together. But now, reading this for the second time, the hints of Sazed were there the whole time. He's got such a distinctive voice and way of looking at the world.

From a pulled-back perspective, Sanderson is really good at writing the end of the world. I felt similarly reading the Parable of the Sower by Octavia Butler (which everyone should read!) and that same sort of sadness and hopelessness bleeds through the page here. However, just like in Butler's work, there's this pervading sense of hope. It's desperate and crazy at times, but it's still there. And that's one of the things I really like about Sanderson's novels. He seems to really believe in the potential for people to be good and hopeful and trusting in one another, which I vastly prefer over the "all humans are evil" schtick that a lot of other authors have going (GRRM).

[geraniums-red]

Brandon Sanderson - The Bands of Mourning

Book 6 in the Mistborn trilogy, and book 3 in the Wax and Wayne quartet.

I appreciate it when an author does good universe-building. I appreciate it a lot less when they feel compelled to tell me about it in detail. There are 10 pages of Mistborn universe info-dump near the start of the book that I could gladly have lived without.

However, apart from that rather shaky start, it was a pretty good read. I have very dim memories of the first two books in the quartet (and it's possible that I've only read one of them), but although I'm sure I missed a number of references, the book was still comprehensible.

The story focuses on a team of five characters on a mission to find the Bands of Mourning and rescue Wax's sister from his uncle. The team has three women and two men, putting women in the majority - something that is still unusual enough to be noteworthy in fantasy books. I was particularly fond of Steris, who is autistic-coded and deals with the world via predicting possible events, contingency planning, and lists.

Other things that stood out to me were [spoilers ahead]:

Wayne moving on from pursuing the woman he has been in love with for years after he finally accepts that she isn't interested. (I have seen too many romantic plot-lines where persistence in the face of disinterest is rewarded.)

Wayne's relationship with the kandra MeLaan, a monstrous being with human-level intelligence, and the way he doesn't care about the body-horror and shape-shifting aspects of her existence.

The friends to lovers narrative arc between Wax and Steris.

The way that it's demonstrated that Wax's lack of interest in politics is making the inequalities between Elantris and the surrounding cities worse, even as he's trying to work for justice in his day-to-day life. (I really hope this gets resolved in the final book.)

In conclusion: not a perfect book but an interesting one. I recommend starting at least at the beginning of the Wax and Wayne quartet, and probably at the start of the Mistborn series as a whole. I also recommend having a better memory than mine, or taking notes, particularly if missing references bothers you.

[matchbox-muse]

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