The notes were like threads of gossamer and tails on kites, springy and enchanting in a way that made Evangeline think of warning fables of boys and girls so bewitched with magic songs that they danced until they died. Instead of musicians, a grand music box opened and life-size clockwork players stepped out to perform an endless stream of ethereal sounds. If Evangeline had a dagger, she imagined she could have sliced into that night as if it were a cake and stolen a piece of of it to take a bite of all the wondrous dark. The happiness felt touchable, the magic in the air was tasteable, and the sky seemed a little closer to earth.
Let me just present some quotes that had both inventive ideas and engaging delivery with vivid word imagery. This was particularly frustrating because there were plenty of other passages that clearly show Garber can write well, so why were some sentences so incredibly wooden? So lacking in life that they read a bit like cardboard? These amazing aspects just got overshadowed by several rather more annoying features, the first of which being frequent bouts of clunky writing.
There were so many great ideas, like how the prophecy key worked, and lovely magical touches that were the precise brand of whimsy that I love, for example sentient bells (which OUABH opens with and I was so happy about) or cursed stories. V from BTS, a young korean man wearing a beanie, smile-grimacing with the caption ‘it’s sad but okay hand emoji So, I guess I had quite high expectations. I’m not really into circus themes so I didn’t read ‘Caraval’, but OUABH sounded amazing, and when I checked it out I found so many people getting excited about a Jacks spin-off. Honestly…this was a slight let-down given how popular this author and the character Jacks seem to be.
0 kommentar(er)
