What family doesn’t have its little disagreements? Thank goodness the Olympians have many. .
In the latest of his inimitable Olympians series, O’Connor comes around to Ares and the Trojan War.
The heroically ripped Ares is depicted howling maniacally on the cover and later thundering into the melee in a chariot driven by Eris, the goddess of discord and plainly (as the author puts it in his closing “G[r]eek Notes”) “crazier than an outhouse rat.” Ares is openly reviled by his father, Zeus, thoroughly drubbed by his cooler-headed half-sib Athena (“Bring it, blowhard!”) but ultimately savvy enough to see his father’s subtle hand in the war’s course. In short, he comes across (like much of his immortal family) as wild and flawed but not one-dimensional. In compressed form, the major events of the Iliad and the subsequent sack of Troy serve as cause and backdrop for the internecine strife that the earthly war brings to Olympus. On both stages, Athena, still fuming from the beauty contest that started it all, practically steals the show. Zigzagging between Earth and Olympus, the sequential scenes present a typically lively mix of melodramatic action and strong reaction shots—enhanced, often, by not-exactly-Classical language. For all the chaotic violence, though, there is little visible gore.
What family doesn’t have its little disagreements? Thank goodness the Olympians have many. . (family tree, afterword, discussion questions, source notes) (Graphic mythology. 8-14)Pub Date: Jan. 27, 2015
ISBN: 978-1-62672-014-5
Page Count: 80
Publisher: Neal Porter/First Second
Review Posted Online: Oct. 21, 2014
Kirkus Reviews Issue: Nov. 1, 2014
A trilogy opener both rich and strange, if heavy at the front end.
Riggs spins a gothic tale of strangely gifted children and the monsters that pursue them from a set of eerie, old trick photographs.
The brutal murder of his grandfather and a glimpse of a man with a mouth full of tentacles prompts months of nightmares and psychotherapy for 15-year-old Jacob, followed by a visit to a remote Welsh island where, his grandfather had always claimed, there lived children who could fly, lift boulders and display like weird abilities. The stories turn out to be true—but Jacob discovers that he has unwittingly exposed the sheltered “peculiar spirits” (of which he turns out to be one) and their werefalcon protector to a murderous hollowgast and its shape-changing servant wight. The interspersed photographs—gathered at flea markets and from collectors—nearly all seem to have been created in the late 19th or early 20th centuries and generally feature stone-faced figures, mostly children, in inscrutable costumes and situations. They are seen floating in the air, posing with a disreputable-looking Santa, covered in bees, dressed in rags and kneeling on a bomb, among other surreal images. Though Jacob’s overdeveloped back story gives the tale a slow start, the pictures add an eldritch element from the early going, and along with creepy bad guys, the author tucks in suspenseful chases and splashes of gore as he goes. He also whirls a major storm, flying bullets and a time loop into a wild climax that leaves Jacob poised for the sequel.
A trilogy opener both rich and strange, if heavy at the front end. (Horror/fantasy. 12-14)Pub Date: June 7, 2011
ISBN: 978-1-59474-476-1
Page Count: 234
Publisher: Quirk Books
Review Posted Online: March 30, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Evocations of Narnia are not enough to salvage this fantasy, which struggles with thin character development.
A portal fantasy survivor story from an established devotional writer.
Fourteen-year-old Eva’s maternal grandmother lives on a grand estate in England; Eva and her academic parents live in New Haven, Connecticut. When she and Mum finally visit Carrick Hall, Eva is alternately resentful at what she’s missed and overjoyed to connect with sometimes aloof Grandmother. Alongside questions of Eva’s family history, the summer is permeated by a greater mystery surrounding the work of fictional children’s fantasy writer A.H.W. Clifton, who wrote a Narnialike series that Eva adores. As it happens, Grandmother was one of several children who entered and ruled Ternival, the world of Clifton’s books; the others perished in 1952, and Grandmother hasn’t recovered. The Narnia influences are strong—Eva’s grandmother is the Susan figure who’s repudiated both magic and God—and the ensuing trauma has created rifts that echo through her relationships with her daughter and granddaughter. An early narrative implication that Eva will visit Ternival to set things right barely materializes in this series opener; meanwhile, the religious parable overwhelms the magic elements as the story winds on. The serviceable plot is weakened by shallow characterization. Little backstory appears other than that which immediately concerns the plot, and Eva tends to respond emotionally as the story requires—resentful when her seething silence is required, immediately trusting toward characters readers need to trust. Major characters are cued white.
Evocations of Narnia are not enough to salvage this fantasy, which struggles with thin character development. (author’s note, map, author Q&A) (Religious fantasy. 12-14)Pub Date: Jan. 30, 2024
ISBN: 9780593194454
Page Count: 384
Publisher: WaterBrook
Review Posted Online: Oct. 21, 2023
Kirkus Reviews Issue: Nov. 15, 2023
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