Book Review- A Darker Shade of Magic by V. E. Schwab

Title:  A Darker Shade of Magic

Author:  V. E. Schwab

Series:   A Darker Shade of Magic #1

Published:   27 February 2015 by Titan

Length:   400 pages

Source: Publisher

Summary : Most people only know one London; but what if there were several? Kell is one of the last Travelers magicians with a rare ability to travel between parallel Londons. There is Grey London, dirty and crowded and without magic, home to the mad king George III. There is Red London, where life and magic are revered. Then, White London, ruled by whoever has murdered their way to the throne. But once upon a time, there was Black London...

Review: Kell is one of the last Antari, a blood magician. As the adopted brother of the prince in Red London, where magic is prized, he hops between the other Londons- White, ruled by a ruthless brother/sister duo, Grey, without magic at all, and occasionally Black, which was wiped out by London, on diplomatic missions. He’s also a smuggler. At some point he meets Lila,  a thief from Grey London, as he’s smuggling artefacts between the worlds. She hopes to be a pirate and adventure, and with Kell she gets more adventure than she’d thought as they try to return an artefact he’s taken.

I wanted to read this because, as you may have noticed, I am a little obsessed with London and its variations. I’ve enjoyed the London based urban-fantasy I’ve read so far, and the idea of four Londons, each very very different, intrigued me. Also, Schwab posted on Goodreads a summary of elements:-magic, cross-dressing thieves, Londons (plural), and a royal who is equal parts Prince Harry and Jack Harkness- which definitely caught my eye.

The characters are fun and fleshed out. I think my favourite was Rhy (the aforementioned royal mashup of Harry and Captain Jack) who starts off providing comedy and then by the end he’s more than that and you just want to hug him. Then come the Dane twins, the cruel rulers of White London, who I loved reading about as they do evil things.  Kell and Lila, I really enjoyed seeing their friendship develop, but I didn’t care for them as much as I did for Rhy, Astrid, and Athos.

The writing was good in places and bad in places. There’s a lot of world building to start with, and partially though the middle. I love how each London is completely different and how each world the London is in is completely different in elements like language, rulers, and general ambiance. While the world building to start is brilliant, it also makes the book slow down, and for me, it never picked up the pace or interest/adrenaline levels,  even with all the plot twists and the fight scenes, which is probably the main reason I didn’t enjoy this as much as I was hoping. It did pick up towards the end though.

Overall:   Strength 3 tea to a historical fantasy novel set across three beautiful worlds but, for me, was let down by the pacing and plot.

Links: Amazon | Goodreads | Author website |

Theatre Review: Spring Awakening by Sater and Sheik, performed by Renegade

You know I said at the start of the year that I wanted to do more theatre, and I’d do it with Renegade.... well, I was going to, but then I got a job (which makes my compulsive book buying financially viable!!) but then it meant I couldn’t be in this. I’m glad I got to see it though!

Title:  Spring Awakening

Writer: Stephen Sater and Duncan Sheik, based on work by Frank Wedekind

Director:  Alex Howarth

Performed by: Renegade Theatre Company

Major cast: Tom Noyes, Niven Willett, Alex Brain, Joe Oliver Eason, Mhairi Fairholm, Joe Carter, Hayley White

Seen at: Duke Street Theatre

Other info: I reviewed  Spring Awakening by Frank Wedekind, the play that this musical is based on, here.

Review-contains mild spoilers for the twists Renegade put:  Late 1800s Germany.  Schoolboys and girls discover sexuality. It really does not go well. Among other things, Wedla Bergmann does not understand how babies are made, Moritz Stiefl is tormented by erotic dreams, and Melchior Gabor, having read about sex, now believes in nothing. Spring Awakening: A New Musical follows a set of turbulent coming-of-ages, with everyone’s internal monologues making up the songs.

I know Renegade from being ensemble in their last show, Lucky Stiff. As a company, they're wonderful to work with, and I know the production team has changed from Lucky, but I was hopeful that the effort and the uniqueness of  ideas and things put in for Lucky would also be seen here, a show which I already loved.

When you get there, the tone is immediately set by red lighting, the children sitting in pairs with candles in between them, the adults looking on strictly, and church music in the background. The stage is square, there's two rows of seats on each side, and two sides have further seating behind. There's staging areas behind and among the seats too, for a really intimate, immersive experience.

I think my favourite performer was Niven Willett, who poratrays.  Moritz's lost, confused character through every bit of his  body and face and movements. Then there was Alex Brain, who plays Wedla's innocence really well and has a beautiful voice. Tom Noyes plays the self-assured Melchior, well, getting most of the really high notes of Left Behind. Then  there’s the two Joes (Eason and Carter), Hanschen and Ernst. Eason's ease of being and casualness  as Hanschen... brilliant, in both My Junk and the seduction scene (with a brilliant use of strawberries), And then Hayley White, Martha, whose crying at the funeral nearly got me goin. And then Tanita Gold, Dominique Hamilton, and Zac Abbott who doubled as all the adults, each taking on very different personas as they played different people.

To be honest, all the cast was brilliant, both as their own characters, and as an ensemble. Director Alex Howarth made really good use of  all the cast, who, if they weren't in the scene, were probably hovering on the edges, watching and reacting. The group dances were sharp and on point, and so was the singing.

The music was a bit different to the version I'm used to from the soundtrack. They use acoustic guitars instead of electrics, and the backing in places is more gentle and allows for the vocal harmonies to come out a lot more. I loved Melchior's backing in Whispering, traditionally Wedla's solo. Also, love to the actors playing guitars and accordions on stage as part of the show. The only thing I didn't like was the oddly upbeat string music in the scene change just before Wedla dies in agony. Considering most of the themes had been played pretty straight, the one subversion felt really out of place.

The setting and lighting was really good. They use not just normal stage lighting, but also candles and torches and handheld lights to draw attention to things. The permanent set was ladders at each corner of the  stage, plus the levels afforded by the seating, and chairs suspended from the ceiling.   Movable ladders and chairs were also used really well, and so was the piano, being brought in for the haystack scene. The scene changes were really quick, being fully incorporated into the action most of the time, and leaving no time for applause in between each song.

The more adult themes are handled well. The abuse and the suicide were stylised, and Wedla's death was played wonderfully. The haystack scene was surprisingly consensual. There's a lot of violence played really roughly, making the anger in those scenes seem real.

The little touches really made it. The boys in the classroom writing the Aeneid at speeds fitting for their characters. The fact that Martha, who had said she was in love with Moritz, was the one who cried most at his funeral. Moritz's scarf. The whole metaphor of ballet shoes vs. combat boots, showing Wedla as ultimately still a child when she dies. The Those You've Known scene, when it seems that Ilse died as well (and then she's playing pirates with Moritz and it's heartbreakingly beautiful).

There's many powerful moments in the show, which Renegade did wonderfully, but I really have to highlight The Dark I Know Well. It's one of my favourite songs, and I'm so happy with how it was done here. You see, the versions I've watched online have been haunting, tragic, profound. The one I saw here was fucking terrifying. The actors on all sides acting out punches and defences. The looks of menace on everyone's faces. The boys crowding in around Martha and Ilse, as they try and hold on to each other in desperation. The lighting showing Martha and Ilse’s faces, but everyone else as less actors, more shadow. Everything about that scene...I'm sorry, I could go on forever about how brilliant that was. 

Overall:  Strength 5 tea to a powerful, intense show that got the Renegade Treatment and was definitely made better for it. So much love goes to all the cast and crew.

Links: Company  

Book review and giveaway- Delete by Kim Curran

Today, Faber Academy and I are kicking off the blog tour for Kim Curran's DELETE! It's had a bit of trouble getting out, due to the closure of Strange Chemistry, but it's coming and it's having a blog tour! 

Title:   Delete

Author:  Kim Curran

Series:    Shift #3

Published:   31 March 2015 by Xist Publishing

Length:  230 pages

Source: Strange Chemistry ARC

Other info: I reviewed Shift and Control and really enjoyed them! I’ve also had Kim over to talk about shifting in real life, and about her other book, Glaze (which I also reviewed).

Summary : The country is at war. Beset by enemies within and without. And all because of the decisions changed by one boy, Scott Tyler. In this ravaged alternative reality, Scott hardly recognises himself. He's a war hero, a leader of a unit of Shifters and maybe the only one who can prevent the country's frail defences from crumbling.

But all Scott wants to do is find a way back to the world he knew, without losing the girl he loves. With every Shift he makes, Scott edges closer towards oblivion. With no one to trust – not even himself – how much is he willing to risk to get home?

Review: This is the end of a trilogy, so this review will contain spoilers for the first two books (and you really do need to read Shift and Control before this one). Following the end of Control, Scott finds he has shifted to a world where Britain is at war, and Scott is apparently the Commandant of ARES, or at least its present form, and  everything is completely different. However, unlike most Shifters whose realities change when they shift to accomodate for that shift and they accept that shift as being the one true reality, Scott remembers the more peaceful, less treacherous world, and he wants to get back.

I really enjoyed Shift and Control, and thus I was very excited to read this. When I did get to read Delete, I read it so quickly. I think if life didn’t get in my way, it would be a one-sit-read.

You know how I said Control put the plot on a larger scale to Shift? It’s happened again. Majorly. Again.

I loved the different sides of the characters we got to know. Frankie, Aubrey, and Katie  were all changed but also still them, and Scott...woah. in this world, Scott’s personality is rather different to the one he remembers having, and I loved seeing him struggle with what he remembers, what he thinks he is, what what he has to do in this world.  So much character development.

The plot progressed well. It’s fast, but there are also quieter moments. Especially between Aubrey and Scott as  he tries to find the differences between the past Aubrey and the one now. .

I did have mixed feelings about the end. Initially I really disliked it, but after a little time, I realised how wonderful it was because Scott has learnt things and might be able to make things better and maybe it isn’t as bad an ending as I thought.

Overall:  Strength 5 tea to a brilliant ending to an action packed series examining decisions and their consequences.

Links: Amazon | Goodreads | Author website |

Also, there's a tourwide giveaway happening to win all three Shift books. Good luck!
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Book Review: Under My Skin by James Dawson

Title:   Under My Skin

Author:  James Dawson

Series:    N/A

Published:    March 2015 by Hot Key Books

Length:  302 pages

Source: bought

Other info: James Dawson has also written Hollow Pike, Cruel Summer, This Book is Gay, Say Her Name, and Being a Boy

Summary : Meet Molly Sue. Once she's under your skin there's no getting rid of her...
Seventeen-year-old Sally Feather is not exactly a rebel. Her super-conservative parents and her treatment at the hands of high school bullies means that Sally's about as shy and retiring as they come - but all that's about to change. Accidentally ending up in the seedier side of town one day, Sally finds herself mysteriously lured to an almost-hidden tattoo parlour - and once inside, Sally is quickly seduced by its charming owner, Rosita, and her talk of how having a secret tattoo can be as empowering as it is thrilling. Almost before she knows what she is doing, Sally selects sexy pin-up Molly Sue, and has her tattooed on her back - hoping that Molly Sue will inspire her to be as confident and popular as she is in her dreams.
But things quickly take a nightmareish turn. Almost immediately, Sally begins to hear voices in her head - or rather, one voice in particular: Molly Sue's. And she has no interest in staying quiet and being a good girl - in fact, she's mighty delighted to have a body to take charge of again. Sally slowly realises that she is unable to control Molly Sue... and before long she's going to find out the hard way what it truly means to have somebody 'under your skin.

Review: Sally Feather, Satanville fan, understudy to the main part in Little Shop of Horrors, otherwise shy and quiet girl, is heading home when she sees a creepy homeless guy screaming to get "it" out of him. Another day, she ends up in a tattoo parlour, where she is talked by mysterious owner Rosita into getting one. She chooses pinup girl Molly Sue. And then starts hearing her voice. And then starts losing time. Molly Sue seems to enjoy not being only a drawing any more, and, in the words of Rosita, "she's trouble."

I wanted to read this because I love James Dawson's work, especially Cruel Summer and Hollow Pike, and tattoos and possession and a TV show called Satanville, which is totally something I'd watch, make for something I was very excited to read.  Then I started reading. The opening scene is an audition for Little Shop of Horrors. I love that show. I could tell this was going to be good.

James' style is very similar to the one used in Say Her Name, full of little funny comment and  references. I liked it more in Under My Skin. I don't know why

My favourite character is Molly Sue. Yeah, she's the villain. But ohmygosh she's the best. Her first interactions with Sally is laughoutloud funny, I love her voice, and I love her feminism. Not an exact quote from page 160, but "Women aren't men without dicks. We're not missing anything. We're not holes to fill." and other parts of that speech. OK, maybe the situation that speech comes from and the methods she uses really aren't the best, but hey. The words are excellent. She also helps Sally stand up for herself, and for Jenny, which I'll get to later

'The other characters, I liked too. Sally develops a lot, with the help of Molly Sue but also with the help of her own experiences, such as with Todd(? Sorry, I've forgotten his name) and I love the final message she embodies of learning to live with herself and love herself and be independent.  Stan and Jennie are wonderful friends and the three of them are definitely friendship goals. Also, Jennie’s relationship? I think that was handled well-from what I’ve read, there isn’t much out there about abusive teen relationships (correct me if I’m wrong) and it is a real thing that can happen and I’m glad it’s a  thing that got brought up.

I think, like Say Her Name, Under My Skin would play out perfectly  as a film. That’s nothing against the book, it’s just the events, tropes, pacing and such fits well as a fun film with a serious undertone.   

On a final note, the aesthetics of this book are gorgeous! The tattoo style! The illustrations inside! The finish of the cover (stroke it!)! And the sprayed edges! Thank you very much, design team!

Overall:  Strength  4  tea to another story from one of my favourite authors –good plot, characters, and fun, and then extra love for  Molly Sue style feminism.

Links: Amazon | Goodreads | Author website |

Giveaway Winners!

Sorry for taking so long to get round to this. Schoolwork and stress. Ugh. 

Anyway, giveaway winners! Thank you very much to everyone who entered and spread the word.

a Rafflecopter giveaway

Winner time! It's Suzanne Smith and Liz R!

Also, you may remember I had a The Darkest Part of the Forest giveaway going. The winner for that was Rhoda!


Congratulations, guys. I'm emailing If you don't reply within two weeks, I'll pick another. Thank you for entering!

Book Review: Spring Awakening by Frank Wedekind

 Title:  Spring Awakening (Original German title: Frühlings Erwache)

Author:  Frank Wedekind, translated by Francis J. Ziegler

Series:   N/A

Published:    Feb 2012 by Methuen Drama. Written 1890-1. First performed 1906.

Length:  192 pages

Warnings: rape, suicide, child abuse, and abortion

Source: Project Gutenberg

Summary from Student edition:  Wedekind's notorious play Spring Awakening influenced a whole trend of modern drama and remains relevant to today's society, exploring the oppression and rebellion of adolescents among draconian parents and morals. This seminal work looks at the conflict between repressive adulthood and teenage sexual longings in a provincial German town. Highly controversial and with themes of sexuality, social attitudes and adolescence, the play is a popular and provocative text for study, especially at undergraduate level. 

Review: Late 1800s Germany.  Schoolboys and girls discover sexuality. It really does not go well. Among other things, Wedla Bergmann does not understand how babies are made, Moritz Stiefl is tormented by erotic dreams, and Melchior Gabor, having read about sex, now believes in nothing. In a series of scenes, we follow the teens as they try to navigate growing up.

You may have heard of the rock musical that got adapted from this play. It’s the controversial one that deals with rape, suicide, child abuse, and abortion.  When the play first came out in 1906, it was criticised for sexuality, puberty, and homosexuality as well, but to be honest, that’s the least of everyone’s problems. As someone who quite enjoyed the musical and enjoys reading/seeing source material, I knew I’d have to read it someday.

I felt that some characters were quite underdeveloped. Martha’s story is only mentioned in passing, most girls don’t get any characterisation beyond fancying Melchior, and I didn’t really care for what happened to the boys other than Melchior and Moritz. We do get good characterisation for the three main characters, and we did get to know what some people were thinking in detail (see next paragraph). It could have been better though.

Giant monologues. Ugh.  I know monologues are a standard part of drama, and I don’t mind a couple. But they seem to drag on and on and on, Hanschen’s “have you prayed tonight, Desdemona” one in particular, and if I were seeing this live, I would probably want the actors to just be quiet.

The plot is mostly driven by subtle indications of what’s happening. There are not that many stage directions, and if I didn’t know the story from the musical, I’d have had to reread quite a few scenes to make sure I understood what was going on.

What I really like about this play is that while it was written to criticise the repression of the 1800s, despite 120 years passing, it’s still relevant today:  the young people are unprepared for life due to the inadequacy of adults. There’s a scene after Moritz dies in which the teachers are going to start discussing what to do about his death, but then they spend ages arguing over what window should be opened, which is the clearest example of adults failing to care for young people, a theme also seen when Wedla’s mother does not tell her about conception until it’s too late.  The young people are victims of the society that forces academic knowledge on them (if they’re boys), does not tell them about life (for almost everyone) and leaves them to discover it on their own, which leads to tragedy.

Overall:  Strength 3 tea to a tragedy that showcases perfectly what happens when sex-ed fails.

Links: Amazon | Goodreads | 

Guest Post: My Favourite Sherlock Holmes Adaptations by Adam Christopher

Today, I have Adam Christopher talking about his favourite adaptations of Sherlock Holmes. This is because his Elementary tie in novel Ghost Line is published today. As a fan of Conan Doyle's novels, the BBC adaptation (to a point) and Elementary (nearly to infinity), I'm definitely looking forwards to reading this one.

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Since A Study in Scarlet first appeared in Beeton’s Christmas Annual in 1887, there have been innumerable adaptations of the Sherlock Holmes canon—the first, a stage play, coming as soon as 1894. Holmes and Watson are easily two of the most famous literary creations in modern history, and nearly 130 years after their first appearance, there is no sign of their popularity declining. I don’t remember when I first read the original Conan-Doyle stories, but I must have been about seven or eight, and the Holmes canon has remained a part of my life ever since.

I have two favourite adaptations of the stories—they are nearly polar opposites, but I think that shows the strength and flexibility of both the characters and the stories.

For literary and historical accuracy, the Granada Television series starring Jeremy Brett as the great detective is, I think, the definitive adaptation. Running from 1984 to 1994, they managed to film all but eighteen of the original stories, and the 41 episodes stick more or less to the source material. Brett is a pitch-perfect Holmes—eccentric, terrifyingly intelligent, more than a little unpredictable (even dangerous). His Holmes is an aloof genius, a loner who sometimes views the rest of humanity with an intelligence that is cold and indifferent. Watson was played by two different actors over the decade—David Burke and Edward Hardwicke—both of whom likewise took the role perfectly.

What I love about the Jeremy Brett series is the attention to detail and the historical accuracy. The deerstalker? Banished! Holmes wears a top hat in the city (as any Victorian gentleman would). The superb location filming and high production values make the show a visual feast.

My other Holmes adaptation I adore—for completely different reasons—is Elementary. Here, Holmes is transported from 19^th Century London to 21^st Century New York. A recovering drug addict, he is aided by his former sober companion, Joan Watson.

What makes Elementary so good is that it doesn’t attempt to simply translate the original Conan-Doyle stories to a modern setting. The show dips in and out of the canon as required, borrowing plot elements and characters, but within the context of what is a highly original and offbeat detective show.

The other reason for Elementary’s success is the casting. Jonny Lee Miller’s Holmes owes a lot to Jeremy Brett, and his performance is truly extraordinary: this Holmes, like Brett’s, is eccentric, unpredictable, and a little dangerous. He is The Other, a person completely unlike the rest of us, who we can only try to understand through the point of view of his companion, Watson. Lucy Liu’s take on Watson is perfectly balanced against Miller’s Holmes—she is calm and logical, a guiding force for Holmes’s rather more chaotic persona.

But those are just my two favourites. We’re lucky, because such is the range of Sherlock Holmes adaptations that there is truly something for every type of fan.

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Agreed with the last line- there's so many adaptations and spinoffs-canon era, modern era, mice, robots- of Sherlock, everyone can find something for them,

Elementary: Ghost Line can be bought off Amazon here and found on Goodreads here. Adam Christopher can be found on his website.

Book Review-The Bunker Diary by Kevin Brooks

Title:  The Bunker Diary

Author:  Kevin Brooks

Series:   N/A

Published:  7 March 2013 by Penguin

Length: 268 pages

Warnings:  many things. Highlight [start] suicide, murder, quite extreme cruelty [/end]

Source: library

Other info: The Bunker Diary won the Carnegie Medal in 2014.

Summary : Room meets Lord of the Flies, The Bunker Diary is award-winning, young adult writer Kevin Brooks's pulse-pounding exploration of what happens when your worst nightmare comes true - and how will you survive?
I can't believe I fell for it. It was still dark when I woke up this morning. As soon as my eyes opened I knew where I was. A low-ceilinged rectangular building made entirely of whitewashed concrete. There are six little rooms along the main corridor. There are no windows. No doors. The lift is the only way in or out. What's he going to do to me? What am I going to do? If I'm right, the lift will come down in five minutes.  It did. Only this time it wasn't empty . .

Review: Linus has been abducted and is now in a bunker. He doesn’t know why. More and more people come into the bunker. They have to try and survive.

It is a terrifying idea. Everyone’s scared of random abduction, of not knowing what’s going to happen to you. Also, another thing to be scared of is humanity (I’ve learnt my lesson from that Doctor Who episode-Midnight). What people will do to eachother. What people will really think of eachother.

I liked the narration. It is, as the title suggests, the diary that Linus keeps while he’s kept in the bunker.  But we don’t know everything that Linus does-it states he doesn’t write everything in case The Man Upstairs comes and finds it. I really liked that idea-knowing even less than the character we see the story through. I also liked seeing the different ways people reacted, even if I kenw it wouldn't be that good for some people.

It’s one of the books for me where the literary criticism and reader criticism collide. From a literary point of view, I understand that we don’t get much development of Bird and Anja-Linus spends less time with them, reader spends less time with them. From a reader point of view, I want to know what they’re all thinking. Even more of a clash is the ending. From a literary point of view, I understand why Brooks would have ended it there. Linus doesn’t know, so we don’t know. From a reader point of view, it’s very unsatisfying. There’s no closure. We don’t get ANY of our questions answered.

It does keep you hooked from the start- not knowing anything, only finding things out in bits, the new things that The Man Upstairs puts in their way. Also, the tension, as well as the sittuation of being trapped, is heightened by the fact that these people are going to be unpredictable, and there isn’t a sense of cohesion, and ugh human relationships.  The feelings of panic, of claustrophobia, of uncertainness are brilliantly conveyed.

Overall:  Strength 4 tea to a book that’s gripping throughout most of it, but is let down by the end.

Links: Amazon | Goodreads |