Just a warning: there are some spoilers in this review that I did not tag, so read at your own risk.
(Also, I feel like I need to say that this review does not reflect what I think of the author herself or of other readers who enjoyed this series. You are free to love what books you love! I'm just not able to jump on this bandwagon. D: Stay chill, my friends. :))
One
sentence summary: Celaena Sardothien is now the King's Champion, and
must keep up a daily charade of pretending to be his ally while
simultaneously plotting to tear him apart; meanwhile she keeps
discovering more secrets below the castle, secrets so deep that they
could destroy the world.
I once mentioned that a book
made me so frustrated that I actually threw my Kindle. Well, this is
the book in question. And it was more of a toss. Onto my bed. But the
fact remains that I was so flustered and even angered by the ending of
this book that I was willing to make my beloved Kindle airborne.
I desperately
wanted to love this book, just as I wanted to love the first in the
series. Normally when a series becomes wildly popular, I either
appreciate the hype or I can at least understand it, but with this
series, I honestly just can't. I really do not understand why this
series is so popular, and I really do not understand why people prefer
this book to the first. I found this book to be worse.
Let me start with what I did like:
∙Celaena's breakdown:
This actually happened in the fourth novella as well, which was why it
turned out to be my favorite. Her breakdown provided a much-needed
vulnerability to her character for the reader. It was very human of
her, and for once she didn't seem so vomit-inducingly perfect. It also
reminded us that she actually is an assassin and will always turn to bloodlust when confronted with such strong emotions.
∙The underground everything:
I was glad to see that the underground passageways were still alive
and well, considering they were my favorite part of the first book. The
mysteries and discoveries and cool traps and doors and hallways, etc. I
do have to admit that it's taking a bit of a weird turn, but I still
like it.
∙Celaena actually killed people!: Yay. Because she is, you know, an assassin.
Perhaps
the biggest issue is that I simply did not like any of the main
characters or the overall plotline; considering these two aspects are
what basically make a novel what it is, I may have been doomed
to dislike this series from the beginning. Celaena is too perfect,
Dorian is too boring and Chaol is too predictable. They all are so
stuck in these personality traits that it's hard to see them as three
dimensional characters. They are flat and, quite often, unlikeable. I
honestly think that Mass has a lot of good ideas, but they're buried
underneath her inability to create complex characters and her juvenile
writing.
It's not that she's incapable of creating an
interesting character, it's just that there's one aspect of them that's
so heavily focused on that any other intended trait gets pushed to the
side, making them seem like caricatures. Even Nehemia, perhaps the most
interesting character, fell prey to this. Maas made her so noble that
she seemed almost inhuman. And that's the issue with these characters -
they don't feel real. If I'm constantly reminded of how two dimensional a character is, how am I supposed to get into the story?
I'm
also extremely unimpressed with the reliance on the shock value, which
this book had. I have been in Celaena's head, both as a first person
narrator and as a third person narrator. There should be no reason for
her hiding the fact that she's a Queen (which wasn't much of a shock)
and that she's a faery (which was) from the reader. How could Celaena
not once thought of those things? How, as a reader, am I expected to
just passively accept this as valid instead of as a ploy to cover up a
mediocre story? The thing is, had Maas no decided to pull this, I might
have actually enjoyed the book. If she could have just revealed this
earlier and relied on her writing to further explain it to the reader
while hiding from the characters, she might have had the opportunity to
create something fanastic. Instead, she went the cheap route which only
served to highlight all of the other instances in the book that felt
poorly written.
The ending felt so rushed and so disorganized
that I felt like I needed to just buckle down and finish it in order to
get it over with. After the original reveal, which is Celaena's faery
power, I honestly started finding everything to be ridiculous. Maas
seemed to have gone to such lengths to destroy the image of Celaena as a
Mary Sue, and then she adds the superhero power onto her, putting the
character right back where she started.
All in all, I am still a
bit baffled as to why this series is as popular as it is, but I know
that I'm very much in the minority on this. I cannot look past being
emotionally manipulated by the author and I can't shake the "big
reveals" as anything other than a cheap trick to cover up insecure
writing.
Wednesday, December 10, 2014
Friday, December 5, 2014
BOOK REVIEW | Paradise Regained by John Milton
Paradise Regained, while not at the same level of rhetoric and literacy as Paradise Lost,
does offer an interesting insight into Jesus' temptation in the
wilderness. Milton uses language in order to assert Jesus as the
Messiah, and Satan as an agent of evil, which is being used by God, to
help that assertion. Paradise Regained is largely static.
There is no real rise and fall of tension and there is no real climax,
either. Rather, all of the stress is placed on the importance of
language and silence.
When comparing Satan and Jesus' speeches, there is an immediate difference: Satan's speech is clouded in "persuasive rhetoric," whereas everything that Jesus says is plain and accessible. Jesus does not need fancy language in order to convey His message. Instead of trying to make Himself more confusing, the Messiah takes language back to its roots and uses it as Adam did (in a way that would be able to communicate with God directly) by keeping it as simple and as close to God as He can.
In his brilliant essay, "The Muting of Satan: Language and Redemption in Paradise Regained," Steven Goldsmith argues that the language Jesus is using is not the same as the language Satan is using. Rather than stay silent while Satan tempts Him, Jesus uses the fallen language in order to thwart Satan and beat him at his own game. In the process of using this language, Jesus is paving His way towards becoming the Messiah by silencing Satan so that His voice will be heard. Underneath all of Satan's fancy word plays lays absolutely nothing. He is the "linguistic anti-christ," who "has nothing to express."
Jesus finally asserts Himself as Messiah and readies Himself to be "all in all" with God towards the end of the poem:
"To whom thus Jesus: Also it is written,
Tempt not the Lord they God, he said and stood.
But Satan smitten with amazement fell."
At first glance, it is easy to see that Jesus and Satan are opposites: one is standing and the other is falling. However, the fact that Jesus "said and stood" is important. It parallels God's perfect speech during the creation of the world: "God said... and there was." This is the pinnacle of the poem - the point where Christ has officially triumphed over Satan and can now go public as Messiah. Satan is allowed to roam the fallen world and has even created a kingdom of his own in Hell and in the sky (according to Milton) where he perversely "blesses" people with wealth, glory, etc. Jesus has to enter the fallen world and first silence its biggest voice before He can redeem it.
"Queller of Satan, on thy glorious work
Now enter, and begin to save mankind."
According to Goldsmith, "the process of verification that is the purpose of Paradise Regained has been accomplished." By using language, Milton paralleled Jesus' own entrance into the world as Messiah by silencing Satan and glorifying Christ.
While I still believe this is not nearly as fascinating as Paradise Lost (and is also much shorter), it's still well worth the read if you've read the former. They really are two parts of a whole. Satan's temptation of Christ not only mimics his temptation of Eve, but it is also referenced throughout the entire poem whenever he feels foiled. This is the finale to Paradise Lost.
When comparing Satan and Jesus' speeches, there is an immediate difference: Satan's speech is clouded in "persuasive rhetoric," whereas everything that Jesus says is plain and accessible. Jesus does not need fancy language in order to convey His message. Instead of trying to make Himself more confusing, the Messiah takes language back to its roots and uses it as Adam did (in a way that would be able to communicate with God directly) by keeping it as simple and as close to God as He can.
In his brilliant essay, "The Muting of Satan: Language and Redemption in Paradise Regained," Steven Goldsmith argues that the language Jesus is using is not the same as the language Satan is using. Rather than stay silent while Satan tempts Him, Jesus uses the fallen language in order to thwart Satan and beat him at his own game. In the process of using this language, Jesus is paving His way towards becoming the Messiah by silencing Satan so that His voice will be heard. Underneath all of Satan's fancy word plays lays absolutely nothing. He is the "linguistic anti-christ," who "has nothing to express."
Jesus finally asserts Himself as Messiah and readies Himself to be "all in all" with God towards the end of the poem:
"To whom thus Jesus: Also it is written,
Tempt not the Lord they God, he said and stood.
But Satan smitten with amazement fell."
At first glance, it is easy to see that Jesus and Satan are opposites: one is standing and the other is falling. However, the fact that Jesus "said and stood" is important. It parallels God's perfect speech during the creation of the world: "God said... and there was." This is the pinnacle of the poem - the point where Christ has officially triumphed over Satan and can now go public as Messiah. Satan is allowed to roam the fallen world and has even created a kingdom of his own in Hell and in the sky (according to Milton) where he perversely "blesses" people with wealth, glory, etc. Jesus has to enter the fallen world and first silence its biggest voice before He can redeem it.
"Queller of Satan, on thy glorious work
Now enter, and begin to save mankind."
According to Goldsmith, "the process of verification that is the purpose of Paradise Regained has been accomplished." By using language, Milton paralleled Jesus' own entrance into the world as Messiah by silencing Satan and glorifying Christ.
While I still believe this is not nearly as fascinating as Paradise Lost (and is also much shorter), it's still well worth the read if you've read the former. They really are two parts of a whole. Satan's temptation of Christ not only mimics his temptation of Eve, but it is also referenced throughout the entire poem whenever he feels foiled. This is the finale to Paradise Lost.
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