Month: April 2025

Serena’s Review: “Chaos King”

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Book: “Chaos King” by Kacen Callender

Publishing Info: Tor Teen, April 2025

Where Did I Get this Book: ARC from the publisher!

Where Can You Get this Book: WorldCat.org | Amazon | IndieBound

Book Description: Ever since he rose up against his father and saved New Anglia from destruction, Ash has been struggling to adapt to his new life. He has nightmares every night, haunted by strange black orbs and his screaming dead mother. Ash is sure she’s trying to warn him that the world is still in danger, and becomes determined to find a way to speak to her again―but communicating with the dead isn’t easy, even for an alchemist as powerful as Ash.

Previously Reviewed: “Infinity Alchemist”

Review: I didn’t love the first book in this series, but many of its problems also may have came down to all the elements a first book must tackle. Given more familiarity with the characters in this second go-around, I was interested to see where the story would go from there!

I will say, I did like this one better than the first. For one thing, I think the pacing was more balanced here. This makes sense, as it didn’t have to do nearly has much heavy lifting with regards to introducing the basic structures of this society and magic system. That being the case, the story had more free rein to dive straight into the main plot and several intense action sequences. This same benefit extended to the characters. While I still don’t love multiple love interests, the longer I’ve spent with all three of these people, the more I came to care about their various travails.

However, I still found myself struggling with the swapping pronouns for one of the characters. Inclusivity is important, but there are practical realities of reading a story via the written word that does create barriers to how this sort of character is presented. As it stands, swapping pronouns often throughout the story left me struggling to piece together who was saying/doing what. And this markedly detracted from my ability to stay connected to the plot, as I had to constantly come out of the story to piece together sentences and scour previous bits for context clues. Like I said in my original review, I’m not sure what the solution is here, but I think in light of the very real limitations of the written word, simply sticking with “they” as a pronoun would have greatly improved the writing in this book.

I did enjoy the themes explored here. This society has very real boundaries placed on its people, and we see the struggles our characters go through. Beyond that, we have the exploration of themes regarding religion and magic, and the lengths people are pushed to in their devotion to their beliefs. Revolution stories are always a good time in fantasy!

That said, the book has an odd ending. I thought this was a duology when I picked this one up, but the end definitely leaves the door open for more, with several questions left unanswered. Ultimately, I think if you enjoyed the first book, this one will definitely hold up as a good sequel. Even for those who didn’t love the first book, this was definitely an improvement!

Rating 7: While it’s an improvement on the previous book, I still struggled with the readability at times, and the ending had me scratching me head a bit.

Reader’s Advisory:

“Chaos King” can be found on this Goodreads list: 2025 Dark Academia Releases.

Ripley’s Reviews: “The American Friend (Der amerikanische Freund)” (1977)

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“Ripley’s Reviews” is an ongoing series where I will review every book in Patricia Highsmith’s “Ripley” Series, as well as multiple screen adaptations of the novels. I will post my reviews on the first Thursday of the month, and delve into the twisted mind of one Tom Ripley and all the various interpretations that he has come to life within. Up next is the third film adaptation of a “Ripley” book I’m covering, the 1977 film “The American Friend”.

Film: “The American Friend (Der amerikanische Freund” (1977)

When I started this series of reviewing books and films about Tom Ripley, I didn’t realize that there were so many adaptations of the various books. I had clearly heard of the Matt Damon film and the “Ripley” series on Netflix (look for that in the future), but goodness! There are quite a few more! And NEVER in a MILLION years would I have ever thought that Dennis Hopper would be playing Tom Ripley. Dennis Hopper!?!? My main associations with Hopper as an actor are as follows: “Apocalypse Now!”, “Speed”, and “Blue Velvet”. He’s fantastic and nails all of these roles, but reserved they are NOT. And Tom Ripley is a cold, calculating, patient, and restrained character. I am not sure if Hopper has ever played restrained (let me know if I’m wrong!). But in “The American Friend”, he is Tom Ripley, and he’s…. KIND OF restrained. And interestingly enough, it does, indeed, work.

“The American Friend” is mostly an adaptation of “Ripley’s Game”, in which Ripley manipulates a working class picture framer to do his dirty work of carrying out a couple hits against some mafia figures, which Ripley didn’t want to do himself. It also takes the plot of “Ripley Under Ground” of the art forgeries and inserts them into this film, so it’s KIND of an adaptation of that as well, though it’s more for context I’d say. As an adaptation of “Ripley’s Game” it follows the plot mostly closely, though Ripley himself is a bit of a departure. And it probably is because Hopper is playing him. Instead of a put together and subtle posh fella living a luxurious quiet life, THIS Ripley feels like he could lose control at any minute, making him menacing in a different way. Yes, he does have a lot more calmly sinister moments, but it’s Dennis Hopper, and the more implied fiery villainy is a departure, but not in a bad way. I’m admittedly probably going to like Hopper in most anything I see him in, so I could be biased. But I thought that his Ripley was interesting and refreshing. And I really enjoyed the chemistry he had with Bruno Ganz, who plays manipulated picture framer Johnathan Zimmerman (they changed his name in this from Trevanny; not sure if it’s because this character is German instead of British, but it doesn’t really affect anything). This kind of feels like a buddy comedy in some ways as these two play off each other, since in this Ripley genuinely feels shame about his actions. Well, as much as he CAN, given that he’s still monstrous. He just feels a bit bad about it. He’s not the Ripley I’ve come to expect, but I still thought it was a fun interpretation. Cowboy hat and all (book Ripley would NEVER).

Speaking of Ganz, if I felt back for Johnathan in the book, I REALLY felt bad for him in the film. I think that that’s in part because he is just so worried about his wife and son, believing that he is dying of his until now stable blood disease (and like in the book, no, Ripley tricked him with a fake doctor and diagnosis) and that they will be penniless should he die. I am wholly unfamiliar with Ganz as an actor, as I have not seen much German cinema, but man he just broke my heart. You just feel his anxiety and desperation when he interacts with his family. I felt the same disgust for Ripley and his stupid mean plan as I did when I was reading the book. Ganz nailed it. And like I said above, the chemistry between him and Hopper was unexpected and sometimes, dare I say, kind of sweet?

As a thriller this is very well done, it’s intense and unrelenting. The tension is palpable and there are some scenes that truly had me at the edge of my seat, and the cinematography had some really great bits (I’m thinking of a particular scene where we are seeing Zimmerman flee and we are tracking him through his movements via the security camera footage). I also really loved a chase scene on a beach. Wim Wenders directed this and he had a very clear vision that translated well on the screen, with intensity and grittiness to spare.

So at this point in adaptations, I would say that Damon’s “The Talented Mr. Ripley” is still the best, followed by “The American Friend”, and then “Purple Moon”. But they’ve all been really enjoyable! Perhaps it should be no surprise that Tom Ripley is a character that translates well to the screen. Up next I am going to watch “Ripley Under Ground”, with Barry Pepper as Tom Ripley!

Serena’s Review: “This Monster of Mine”

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Book: “This Monster of Mine” by Shalini Abeysekara

Publishing Info: Union Square & Co., April 2025

Where Did I Get this Book: ARC from the publisher!

Where Can You Get this Book: WorldCat.org | Amazon | IndieBound

Book Description: Eighteen-year-old Sarai doesn’t know why someone tried to kill her four years ago, but she does know that her case was closed without justice. Hellbent on vengeance, she returns to the scene of the crime as a Petitor, a prosecutor who can magically detect lies, and is assigned to work with Tetrarch Kadra. Ice-cold and perennially sadistic, Kadra is the most vicious of the four judges who rule the land – and the prime suspect in a string of deaths identical to Sarai’s attempted murder.

Certain of his guilt, Sarai begins a double life: solving cases with Kadra by day and plotting his ruin by night. But Kadra is charming and there’s something alluring about the wrath he wields against the city’s corruption. So when the evidence she finds embroils her in a deadly political battle, Sarai must also fight against her attraction to Kadra – because despite his growing hold on her heart, his voice matches the only memory she has of her assailant…

Review: This is going to be a very strange review to write, mostly because it was a very strange book to read. I’m honestly having a hard time thinking of a book that was more of a roller coaster ride than this one. One minute I’m loving it, whipping through action scenes, swooning over the love interest. The next, I’m irate, considering DNFing, franticly scanning other reviews to see if I’m way off base or totally missing something.

Beyond the whiplash that this experience created, I was also off balance due to the fact that my usual points of interest/concern were reversed. I’m a character reader first and foremost, and more often than not, if I get through a book I’m otherwise struggling with, it comes down to the strength of the characters or the narrative voice. Here, however, the characters (more, the main character) was the problem, but the writing itself was so good that it carried me through the real deep troughs I experienced otherwise. The author simply has an excellent style and voice! The world-building was perfectly crafted, the dialogue all felt believable, hitting all of the right notes in its humorous, serious, or romantic moments. And the exploration of its themes regarding law and justice were *chefs kiss.*

And, again, when I wasn’t getting bogged down in the main character, I really enjoyed the romance! The story is a true slow burn, and while the romance is important to the story, it doesn’t overshadow the other serious aspects of the story, such as the aforementioned themes regarding justice or the mystery behind what happened to Sarai. And, for his part, Kadra was an excellent romantic interest in his own right! Strong, but compassionate. Filled with purpose, but also focused on Sarai as she works through her trauma. And, honestly, a hell of a lot more patient with her more ridiculous moments that I ever would have been.

And then, there’s Sarai. Now, if she had simply been an unlikable heroine through and through, we probably wouldn’t be here, good writing bedamned. No, instead, she has a lot of strengths as a narrator! I enjoyed most of her inner voice, and her motivations and magical abilities were all very interesting. The problem, however, came down to her approach to discovering the truth behind the attempt on her life. To get into my feelings with this, I’m going to have to go into some spoilers of actions in the first half of the book. For those who want spoiler free, I’ll just say she makes wild leaps of logic throughout that make zero sense. The rest of this review, however, will be a bit more in-depth with my problems here.

SPOILERS BELOW!

So, a little backstory: years ago, someone attempted to kill Sarai. The nature of the crime left her body and mind broken, with all but the barest fragments of memory of the event wiped from her mind. All she does remember is a specific voice, one that instructs another person to patch her up and get her out of the city, granted in a rough and tough tone of voice. In the years since, there has been a suicide spree, with many individuals with magical abilities like Sarai seeming to kill themselves in odd ways. Years later, she returns to try to discover what happened and who tried to kill her. Almost immediately, she recognizes the voice from her memories as Kadra.

Now, as readers, we know that Kadra can’t have been the attempted murderer, simply because we know we’re reading a romantic fantasy novel and he’s the romantic interest. Sarai couldn’t (and shouldn’t!) think this way, too. However, from the memories she does have, even she admits early in the book that whomever the voice belonged to was responsible for patching her up and could have very well been there for other reasons than being the person behind the attempt on her life. I read a paragraph from her saying just this and I thought, “Great, phew! We got the obvious bit out of the way right from the start and reinforced the idea that the true mystery here is why Kadra was there, why he helped her, and why he banished her out of the city.”

Unfortunately, no. In the very next chapter, Sarai is full-on convinced that Kadra must have been the one to try to kill her (somehow immediately forgetting/disregarding the fact that he then, inexplicably, saved her?? Why he wouldn’t have just finished her off for good is simply…never mentioned or thought of). What’s worse, Sarai begins to suspect that Kadra must also be behind the deaths of the others like her, those who have been supposedly committing suicide.

Early in their time working together, Kadra and Sarai go to the morgue to look over the body of the most recent “suicide victim.” While there, Sarai witnesses Kadra fighting with the coroner over the manner of death, insisting that it couldn’t be a suicide (something that Sarai agrees with, after viewing the body). The coroner, on the other hand, is sure it’s a suicide and has ruled it as such. What’s more, she’s sick of Kadra coming by FIVE OR SIX TIMES before this over the last few months to argue this very point! Sarai, internally, goes on to think this: “Aha! Kadra must be behind this! He’s perfectly positioned himself to cover up his crimes by being the investigator behind them!!”

Girl, what?? No one thought this guy was murdered EXCEPT Kadra! If it wasn’t for him, this guy would have been buried and listed as a suicide months ago! And yet somehow, Sarai, dumb dumb that she is, has decided that it’s totally reasonable and smart that a murderer would stage an elaborate scene to make a crime look like a suicide, and then, after completely getting away with it, spend the next few months arguing with a coroner, insisting that it was, in fact, a murder! It honestly boggled my mind.

Next, a few days later, Kadra decides that he and Sarai should go inform the family that this guy didn’t commit suicide but was killed and that they’re looking into it. Sarai, SUPREME DUMB DUMB that she is, thinks to herself this: “Great! Maybe while I’m there I can uncover proof that Kadra was behind it!!”

Girl, WHAT?!?! You think that Kadra murdered this guy, set up an elaborate staged suicide, called that very same staging into question, and is now going to take a woman with incredible magical abilities back to the home of the victim where he just so happened to leave around evidence that explicitly condemns him?? What is he getting out of this?? How is this helping him and not, as any normal person would think, clearly revealing him to be the only person most likely to have NOT killed these people. And again, throughout this, Sarai never deals with the fact that her theory of Kadra as the man behind her own murder attempt is completely blown out of the water by the simple fact that he WAS THE ONE TO SAVE HER!

The face-palming throughout all of this was frankly appalling. I won’t go into more details, but these flaws in thinking and ridiculous theorizing continued on well over the halfway mark in the book. Later, there are even more “revelations” that Sarai takes as confirmation of Kadra’s guilt, all of which are equally as stupid as the two examples I listed above. Even writing about it now, I’m getting mad about it all again.

What’s worse, as I said, so much about this book was clicking so well for me! The writing was so strong, the story-telling was good, Kadra was excellent! All the right pieces were there. But somehow, it feels like the author went astray with Sarai herself, as if she knew she wanted to create this suspicion between Sarai and Kadra, but couldn’t quite manage to make it actually work. So, instead, Sarai is just an idiot who thinks completely illogical things, just to maintain the mystery element behind Kadra and his involvement.

All of this said, I’ll definitely check out another book by this author. I think she’s got great potential, and with a few tweaks, I could have loved this book! Unfortunately, I couldn’t get past Sarai herself; I can’t remember the last time I read a book where a main character was this flawed in their reasoning for so long. However, other readers may be less bothered with it, particularly if characters are less important for you. The vibes of the story and the romance itself were very good!

Rating 7: I’d give this a 6 just for Sarai herself. But the actual writing and world-building deserves enough praise to bump it up to a 7.

Reader’s Advisory:

“This Monster of Mine” can be found on this Goodreads list: 2025 Debut Novels.

Kate’s Review: “Strange New Moons”

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Book: “Strange New Moons” by Stephen Kozeniewski (Ed.) & Kayleigh Dobbs (Ed.)

Publishing Info: French Press Publishing, January 2025

Where Did I Get This Book: I received an eARC from the publisher.

Where You Can Get This Book: Amazon

Book Description: You can hardly swing a dismembered deer carcass these days without hitting a “No vampires, no zombies, and no werewolves” sign on an anthology.

Well, to that we say “Pshaw!” And also, “Awooo!”

Because what readers really don’t like are dull werewolf stories. So, we tasked the horror community with writing the weirdest, wildest, most creative, utterly bonkers tails (ha!) of lycanthropic lunacy possible.

– a brutal, boneshattering peek at the kind of “dogfights” the super-wealthy watch to amuse themselves

– a story of two inquisitive city employees trying to find out who (or what!) keeps pooping on a local landmark

– a ride along with a delusional cop trying to prevent the total werewolf apocalypse. Werepocalypse!

Plus werewolf Frankenstein! And werewolves in space! This book is all gore and no bore. With a lineup running the gamut from brand, spanking new cubs to heavyweight timber alphas, you’d have to be the weakest elk in the herd not to slobber all over…

Review: Thank you to French Press Publishing for sending me an eARC of this novel!

I’m still a little bit shocked that werewolves haven’t had a huge horror moment lately the way that vampires and zombies have. And I fully admit that I am kind of a part of that lack of werewolf moment, as I’ve never really been huge into that sub-genre of horror (though lately I’ve enjoyed books like “Such Sharp Teeth” by Rachel Harrison, and “Bride” by Ali Hazelwood, which do have werewolves and some horror elements). Hell, I didn’t even get my butt to the movie theater to see the new “Wolf Man” even though it looked pretty decent. So when I was offered the anthology “Strange New Moons”, edited by authors Kayleigh Dobbs and Stephen Kozeniewski, I was game. Bring on the lycanthropes, I said!

Like most other short story collections, I am going to showcase my favorite three stories, and then review the collection as a whole.

“Vargsången” by Mary SanGiovanni: This was the first story in the collection, and it made it so that it started with a serious bang. A woman in an isolated cabin knows that there is some kind of predator outside her door on a snowy night. She wants to keep her sleeping children safe, but doesn’t know if she should confront the beast, or just hope that it goes away. I love the Scandinavian setting and mythology choices, and thought that it was suspenseful and relatable as a mother has to decide if she should risk drawing attention to a predator outside the door. This may have been my favorite story in the collection, as a matter of fact!

“That Time of the Month” by Kayleigh Dobbs: I’ve read Kayleigh Dobbs before and have always enjoyed her stories, and this one was one of the more humorous contributions to the collection, with a wry commentary to go with the lycanthropy. Every month in a community the men lock themselves up, tucked away from the full moon lest they find themselves in a dangerous situation. But one hapless husband has found himself out on the streets on the night that he is supposed to be safely tucked away… Dobbs sets up one scenario based on what we’ve expected from werewolf tropes in past stories, but subverts it in a clever and often quite humorous way. I found myself cackling a fair amount as I read this story. Horror humor done right!

“It’s All For The Best, Sweetie” by Rose Strickman: I’m a true sucker for any kind of fairy tale retelling, especially if it’s a bit dark, so “It’s All For The Best, Sweetie” was the other story that really stood out to me. Through letters from a grandmother to a granddaughter, we find the story of a woman who has trapped her granddaughter in her home, believing her to be a dangerous animal at heart. The epistolary format was really great, and it made for a very unreliable grandmother narrator as she writes her letters to Roja, becoming more unhinged by the minute. Or is it just clarity? Such a creepy and twisted “Red Riding Hood” reimagining.

As a collection I thought that it had a lot of variety across sub-genres, which is always nice to see, with a nice mix of traditionally scary, to surrealistic, to tongue in cheek humorous. The only author I had read in this group (at least I’m fairly certain of) is Kayleigh Dobbs, and I truly enjoyed reading so many of the works in this collection from authors I was unfamiliar with. And any stories that didn’t work as well for me were more due to the sub-genres themselves (like leaning more heavily Sci-Fi, for example), and that is more a reflection on my tastes as I could see fans of said sub-genres being very happy with what they find.

So overall I’m pleased that I read “Strange New Moons”. It’s always nice to see more werewolf fiction since it hasn’t had it’s moment in the moon as much as other monster horror has, and if you do like werewolves this collection will surely satisfy!

Rating 8: A fun and varied collection of werewolf stories crossing tone and genre!

Reader’s Advisory:

“Strange New Moons” isn’t on any Goodreads lists as of now, but would fit in on “Werewolf Books”.