Struggles in the shadows and fatal attempts at love
June 2020
The gunslinger Roland, driven by his obsession to find the Dark Tower, finally came face to face with the Man In Black, but only after he's paid the most ultimate price. In the last book, he meets a young boy whom he unexpectedly developed a father-son kinship with. And because the Fates are a fickle bitch, Roland ends up sacrificing this boy so he could get his hands on his nemesis. Nobody told him it was going to be easy, and to submit to his single-minded pursuit of the Tower also means he must abandon inclinations that could make him prey, vulnerable for the kill.
This duty, and the journey he must embark to fulfill it at all costs, comes with many unique hidden traps and poignant surprises along the way, and that has become more apparent by this second instalment in the series entitled The Drawing of the Three. Here Roland learns there are still certain forces at work that wouldn't leave him the damn alone, and that no matter how he thinks he is a one-man cowboy on a mission to liberation, such an exodus still requires companions, and these are fickle and complex companions who are not as suitable to the journey as he would like. |
Dream A Little Dream of Me
August 2009
Back in 2009, it was my second time to be a freshman in college (and my third course at that). To ensure that I stayed focused, I joined the student paper and there I met the associate editor who became my mentor in many ways than one; and he introduced me to Neil Gaiman's The Sandman series. I felt his excitement when he started to share this piece of literature with me, and I was greatly touched. I then ventured on with the knowledge that this is the first time I will ever consume the medium in a graphic novel form (that being collected into a single edition as oppose to monthly individual issues which I was more accustomed with in high school--I read a lot of X-Men back then). I have a pretty limited view of comic books before this; my doses of the medium are all about superheroes. So when I encountered this first volume of The Sandman, I was not expecting to find a delectable juxtaposition of gothic elements, cultural folklore, and historical fiction. But it's exactly what I got and it changed the way I appreciated comic books.
Preludes and Nocturnes was not immediately an impressive volume, however. It was a straightforward adventure-mystery that featured the mythos of the Endless--seven anthropomorphic representations of enduring concepts, and that titular character is the surly and enigmatic Dream, lord shaper of stories (who will be known as Morpheus in later issues). He was imprisoned for 75 years by a cult, thus screwing up most people's sleep and dreams for the next few decades. It was a great premise, filled with potentially exciting directions, narrative-wise. And it was indeed a thrill to journey on. Dream escapes and begins to gather his personal items across the murky metropolitan streets, the hellish landscape of inferno and within the tapestries of a psychotic mind.
I was familiar with some facets of the DC Universe while reading the volume, so seeing Doctor Destiny was something that made me crack a smile--and then it completely disturbed me because Gaiman utilized his character in an incomprehensibly horrific way. The presence of John Constantine was another bonus treat, because I was also between my readings of his own Hellblazer series right around that time.
The plot of Preludes was simplistic enough to follow and yet still fascinating to encourage any new reader to keep going. I managed to finish everything in two hours during a random afternoon at home. I was drawn to Dream fairly quickly (who doesn't love tall, brooding men?), and by the end of the Doctor Destiny storyline, I was already enthralled. But it was in the final story The Sound of her Wings which transformed that endearment into full-blown intoxication. In that story, we are introduced to Gaiman's enduring version of the reaper: a bubbly, raven-haired lanky beauty who is the personification of Death, and also the older sister to our brooding hero. Gaiman has indeed found his voice when he wrote this installment; Death was instantly likable; she understood her duty as the mother of endings, and she showed Dream that with death comes possibilities as well. No longer swayed by fleeting morose moods, Dream then accepted that he too has an obligation as the guardian of dreams and stories; and he will once again earnestly build his empire in the Dreaming now that he has a renewed sense of purpose.
Truly, Preludes and Nocturnes is a great start for this series and opens more doors for its author and fans. One can see why this series is praised for its creativity and originality, and has definitely become a worthy legacy that only someone of Gaiman's caliber can achieve.
Puppets who can see the strings
August 2009
Following the promising premise of Preludes and Nocturnes, this second volume became one of my favorite installments.
I believe this is the book of The Sandman series that captured not only my heart but my imagination in varying ways I did not expect it could. This is also the first time that Gaiman explored the vitality and freshness of his material and the result was a provocative examination of the unconscious and often catastrophic desires of human beings that are caught up in fulfilling such dangerous things.
Before the actual central story begins, the volume opens with Tales of the Sand, a short narrative pertaining to an African queen Nada who falls in love with the Dream king himself. It was considered unlawful for mortals to develop a romantic affiliation with an Endless so she was punished for it. This story able to cast a light on the nature of Nada's significance to Dream (she was first seen in Preludes, trapped in Hell because Dream was unable to forgive her). Another separate self-contained story is Men of Good Fortune which introduced one of my favorite characters, Hob Gadling. He is a man who doesn't want to die and Death grants him a pass, curious and amused of his tenacity to live. His unlikely friendship with Dream was uneasy and fragile, but one that has humanized our titular hero in the end.
Now onto the central story: the readers are now able to familiarize themselves some more with the mechanics and inner workings of the Endless mythos with Dream (Morpheus) as their point of reference. We get to know him best through the performance of his duties and his revealing interactions with the staff of the Dreaming like Lucien, the librarian, the raven pet Matthew, Cain and Abel, etc. Dream may not be entirely likable--he can be painstakingly stiff and cold at times--but the colorful characters he surround himself with provide not only entertaining foils to his somber personality, but also plenty of receptive opportunities that readers can relate and sympathize with.
One of them is Rose Walker, a tortured teen who stumbled upon the secret of her heritage; and the extent of its destructive potency. There are two separate stories that are happening for this volume: one of our titular hero, and the other with Rose Walker. While Dream was preoccupied apprehending some of the tangible nightmares that got loose during his sabbatical, Rose was carefully weaved into the events until she found herself in the Cereal convention; a dark parody of comic book conventions; only instead of geeks and nerds, Cereal conventions bring serial killers together (or "collectors" as they proudly dub themselves). These twisted men are under the influence of one of the most unforgettable nightmares in the series: the dashing and sexy Corinthian. Dream was able to get the Corinthian under control in the end, and he also passed judgment onto the serial killers, one that has a very chilling resonance ("You shall know at all times, and forever, exactly what you are. And you shall know just how little that means").
Another significant event was Dream having a chance encounter with a replacement of his who fancied himself as a superhero who fights crime (a comical tribute to the original Sandman character that Gaiman reinvented). He met Lyta Hall, a woman who got pregnant while in the confines of the Dreaming (and whose child will eventually have an important role in the course of the series).
In addition to Death's appearance in Preludes, readers are delighted to meet another Endless sibling, Dream's younger sister-brother (for it is androgynous and gender-free) Desire. He-she-it is the paragon of self-love, destructive passions and haunting pleasures. Its own realm is called the Threshold which is a towering heart statue where Desire resides. Desire also has a complicated relationship with its brother Dream and it has been pointed out that they have done nothing but clash in the last centuries. Desire toys with Dream every chance it gets, and its latest invention has something to do with the conundrum surrounding Rose Walker.
The climactic events that follow the confrontation among Dream, Rose Walker and Desire are something to look forward to. Overall, the thematic angle of The Doll's House reconcile the tumultuous personal responsibilities that human beings have over their own lives, and that of the purpose of the Endless, and the duties that are profoundly etched in their existence. It would seem that the Endless are dolls of humanity, enhancing the traits that they are personifying as anthropomorphic entities; as well as exemplifying mortal insecurities all the while still transcending human experiences; and that of which will always possess a quality of brevity.
Of muses, faeries and cats
September 2009
After the multi-arc storylines present in the previous book The Dolls' House, I was not ready for this volume because it was vastly different from what I was getting accustomed to for this series. Instead of a continuation to the major plotlines, Dream Country was an anthology of short stories instead. There is not much to say about this volume because I frankly did not enjoy it in my first reading.
Gradually, I did begin to appreciate the content, especially with Gaiman's delightful take on the Shakespearean story A Midsummer Night's Dream which won the World Fantasy Award. It was only when I started reading the analyses of this particular story in The Sandman Papers that I eventually liked the entirety of what it has to offer so I re-read it several times since and each time I would find a new layer of meaning. For this story, there are a lot of symbols and parodies written in the peculiar structure itself.
The only story I thoroughly enjoyed in this volume even in the first reading was that of Calliope, a Greek muse who was imprisoned by a struggling writer and was rescued by Dream (Morpheus) himself in the end (and she turned out to an ex-spouse). Death's appearance in Façade was remarkable though short, a story that dealt with a former superheroine's mortality (or actual lack thereof, considering her powers). A Dream of a Thousand Cats was almost forgettable, a Planet-of-the-Apes-esque story where cats dreamed that they could rule the world.
This volume might prove to be a distraction from the actual major storyline that readers are more excited to read. Nevertheless, Dream Country was insightful in itself, especially the bonus material where Gaiman's writing process and correspondence with his collaborator/artist were sampled and explored. I would not advise to skip this volume, especially since Shakespeare and Calliope will be appearing again in other volumes.
Forgiveness and Redemption
October 2009
Since The Doll's House, I knew that Gaiman's The Sandman will soon have a special place in my heart. I was nineteen then, and this piece of literature was also a way for me to connect with my mentor (whom I was infatuated with as well). I was eager to get back to the major story arc with the Endless for Season of Mists, and I got exactly that; and a lot more than I anticipated.
In this volume, I've learned more about the Endless (Destiny, Despair and my eventual favorite Delirium make their appearances here) since Gaiman has dedicated a single page to describe and illuminate each and their function/influence over human affairs and existence as a whole. Most notably, Dream's history with the African queen Nada from Doll's was expounded on, and the effects of his cruel punishment of sending her to Hell just because she chose not to be Dream's lover anymore. Desire may be manipulative and callous but it has a point and Death, much to Dream's surprise, agrees. Dream was forced to re-examine his judgment then, and accepting his treatment of Nada as a mistake is the first sign of character growth from him.
I distinctly remember that in Dream Country, his ex-spouse Calliope had pointed out that he has changed somehow, and that may have something to do with his 75-year imprisonment. It's very telling to readers that Dream was not always kind and has a tendency to hold grudges, and Nada is a living proof of that. Because Dream now has a firsthand experience with captivity, he has finally learned to see the error of his ways when he banished Nada to Hell and he proceeded to remedy that by visiting Lucifer Morningstar (also popularly known to most of us as the Devil and ruler of inferno) to free her.
Reading Season of Mists has dredged up uncomfortable memories from my childhood. My father had named me from Paolo and Francesca, the lovers who were sent to the fourth circle of hell in Dante's Divine Comedy and when I found out about this, I developed a fascination for the concept of hell and the devil, and I pursued this interest with vigor and to my own detriment (this is too personal to talk about here so let me just say that, because of prepubescent hormones and my insatiable hunger for taboo subjects, I ended up joining a really bad crowd that alienated me from my family). Going back to the story: Gaiman's interpretation of Lucifer Morningstar strongly reminded me of Milton's Paradise Lost.
When Dream confronts Lucifer, he began to lament human beings' prejudicial and malicious portrayal of him, claiming that he buys souls when in fact human beings are simply terrified to own to their evil misdeeds. Lucifer poignantly phrases it: "I don't make them come here (hell). I need no souls. How can anyone own a soul? No, they belong to themselves. They just hate to have to face up to it."
Lucifer then decides to abandon his post and gives Dream the keys to Hell. And here starts Dream's dilemma when all minor gods and goddesses from other religions have gathered in the Dreaming to convince Dream to give them Hell. Even angels and faeries have joined the debacle. It was quite an entertaining situation especially the way Dream has dealt with it. It's becoming clearer to readers that Dream takes his obligations seriously but broods about them most of the time. There's an exhaustion and surliness to Dream's way of doing things that often annoy me (especially in the course of the next stories) but he is nonetheless very magnetic, and surprisingly compassionate though he's not aware of it (which makes it rather comedic). His rescue of Nada was long overdue, and he may reason out that he has done it out of duty and balance of things, but I couldn't shake the feeling that he was also learning to forgive parts of his old self that hate and retaliate. In his own unknowable way, Dream loved Nada and understood that he couldn't be with her after everything, and so he parted her with one last benevolent gift.
Season of Mists overall was the most exciting volume of the series yet, and definitely character-driven, introducing characters like Nuala the faery and Loki the trickster god who will later play bigger roles in the series. This was the volume that I found a more lasting personal connection with so far. Gaiman's literary philosophy that human beings are the "godmakers" species is reinforced in this, and I believe that it was able to capture the nature of religions and philosophies with a more rational understanding as opposed to superstition-based, without necessarily discrediting the beliefs themselves. I was also more or less enthralled by the Dreaming, and the people Dream surrounds himself with in his realm. I enjoyed Matthew the raven most of all.
And the beak that grips her, she becomes
December 2009
In the next ten months of reading all of its volumes or so, I didn't really think it was possible for me to fall in love with The Sandman. I knew I was already a fan since The Doll's House, but my appreciation and affection for Gaiman's work were not as intense or as consuming as I thought they would become sooner of later (and that happened on once I got my hands on Gaiman's collaborative volume with Jill Thompson, but I digress). I enjoyed what Season of Mists had to offer. It was spectacular in scope, touching upon old faiths and religions and the complex interpretation of Lucifer Morningstar, as well as Dream's long overdue resolution with his former lover, Nada. My interest for this series of graphic novels was then maintained and I looked forward to what was in store. What I got in A Game of You was initially disheartening, only because I was once again thrown off balance from the major plot toward a self-contained narrative which the fifth volume was all about. I wasn't entirely happy about the sudden shift from volume 2 The Doll's House to volume 3 Dream Country (an anthology of short stories about secondary characters), so I was just as displeased when after Season of Mists, I had to contend myself with yet another separate events from the major storyline I'm already invested in (where Dream is the focus). Nevertheless, A Game of You proved to be a daring story centered on women from different walks of life: Barbie (whom we previously encountered in the second volume); the lesbian couple Hazel and Foxglove, the transgendered man Wanda/Alvin and the mysterious college student Thessaly. |
The concept of Game was written with a feminist perspective; Gaiman brought forth these conflicted women into the dreamscape to expound on the difficulties they faced both as social beings in the context of the unbelievable pressures the female gender has always faced; and as visitors/invaders of the Dreaming where they are thrust into an unknown territory that could change their lives forever. It is worth noting that Wanda was the only one left behind while the other four women were able to travel (and it's for the simple fact that he is physiologically not a woman at all).
Gaiman highlighted the long-held mysticism associated with female consciousness such as the connection pertaining to women's blood cycle and the phases of the moon; and how Barbie's heightened sense of fantasy has allowed her to bridge two worlds together. Queer relationships were touched upon with Hazel and Foxglove whose primary conflict was the unexpected pregnancy of the other due to a drunken mistake; and how it would affect the direction of their partnership. Thessaly, a later important character in the series, is a self-made woman who acts according to her survival instincts, if not because of the blatant disregard for the welfare of others she considers to be inferior to her. However, she is the most engaging character in the volume, and was able to capture the interest of Dream himself when he later arrives in the story to resolve the complications these women caught themselves in.
It's easy to dismiss the eventual arrival of Dream as a deus ex machina wrap-up that is anti-climactic, but after several readings of the entire volume, I realized that it was the most effective pay-off for the story. Barbie claims herself from the broken fragments of her dreamland and returns home to grieve the loss of her childhood and an unlikely friend. Thessaly once again defines herself outside the safety of societal expectations, and Hazel and Foxglove learn to build their relationship with more trust and open communication. The story of Wanda/Alvin is also very stirring and emotional, and its conclusion is one of the most unforgettable moments in the series for me.
Dream, on the other hand, says goodbye to another lover, and warns the women that they must take heed not to endanger themselves by their own hand because the only thing that truly oppresses them is the fact that they have learned to love their bondage. He was also beginning to soften a bit, thanks to the constant interactions with human beings and with the arrival of his secret admirer, the faery Nuala who was first introduced in Season of Mists.
After being able to refresh all of these moments in the book, A Game of You eventually became one of my top favorites of the series. Every time I read this volume, there's always something new to ponder within myself and discuss with people.
Gaiman highlighted the long-held mysticism associated with female consciousness such as the connection pertaining to women's blood cycle and the phases of the moon; and how Barbie's heightened sense of fantasy has allowed her to bridge two worlds together. Queer relationships were touched upon with Hazel and Foxglove whose primary conflict was the unexpected pregnancy of the other due to a drunken mistake; and how it would affect the direction of their partnership. Thessaly, a later important character in the series, is a self-made woman who acts according to her survival instincts, if not because of the blatant disregard for the welfare of others she considers to be inferior to her. However, she is the most engaging character in the volume, and was able to capture the interest of Dream himself when he later arrives in the story to resolve the complications these women caught themselves in.
It's easy to dismiss the eventual arrival of Dream as a deus ex machina wrap-up that is anti-climactic, but after several readings of the entire volume, I realized that it was the most effective pay-off for the story. Barbie claims herself from the broken fragments of her dreamland and returns home to grieve the loss of her childhood and an unlikely friend. Thessaly once again defines herself outside the safety of societal expectations, and Hazel and Foxglove learn to build their relationship with more trust and open communication. The story of Wanda/Alvin is also very stirring and emotional, and its conclusion is one of the most unforgettable moments in the series for me.
Dream, on the other hand, says goodbye to another lover, and warns the women that they must take heed not to endanger themselves by their own hand because the only thing that truly oppresses them is the fact that they have learned to love their bondage. He was also beginning to soften a bit, thanks to the constant interactions with human beings and with the arrival of his secret admirer, the faery Nuala who was first introduced in Season of Mists.
After being able to refresh all of these moments in the book, A Game of You eventually became one of my top favorites of the series. Every time I read this volume, there's always something new to ponder within myself and discuss with people.
More mediations and dreamscapes
January 2010
I was not a big fan of the third volume Dream Country which was composed of short stories. With the notable exception of A Midsummer's Night Dream, the rest of the stories did not interest me in the long-term.
Thankfully enough, Fables and Reflections is an anthology which I thoroughly enjoyed. This volume had a lot to offer, and I devoured the tales with much content. My favorites are definitely Three Septembers and a January, The Parliament of Rooks, Soft Places and Ramadan. But the rest of the stories were also commendable. Stories like Thermidor, The Parliament of Rooks, and The Song of Orpheus are ones readers have to remember since chief characters will make appearances in later volumes, particularly the Greek hero Orpheus whose connection to Dream is astonishing and yet very appropriate, if not tragically rendered on page. Meanwhile, August, The Hunt and Fear of Falling are all self-contained stories; the first one is a historical allusion pertaining to a well-known Roman figure and his darkest secret; the next one is the genre-savvy folklore which demonstrates the beauty of storytelling; and the last one is a general story about symbolic dreams. As for my favorites, Three Septembers and a January features Despair, Desire and Delirium making bets against Dream, and their older brother showcases in the end why dreams have such a magnitude of importance even to an ordinary mortal. Soft Places follows the adventures of Marco Polo who got trapped in the sands of a desert and found himself intersecting with the sands of the Dreaming where Dream had just recently escaped captivity from the first volume. Finally, there's Ramadan and it's definitely a story that pierced through me in ways you have to experience for yourself to understand. |
Gaiman's unique take on mythology, dark fantasy and gothic themes is what makes The Sandman series so easy to enjoy and even harder tor resist once he starts getting under your skin by writing stories with layers and depth that one could not imagine is possible in a comic book medium.
The disquiet and ephemeral
February 2010
Brief Lives was personally perfect in every way. It was the volume of The Sandman that solidified my love for the entire series. Not only was it a sublime story about brevity and forgiveness; it was an affirmation of what the Endless was supposed to stand for (and all seven of them too, because we finally get to meet the prodigal sibling who abandoned the responsibilities of his realm). Jill Thompson is the collaborative artist for this volume, and hers are my most favorite depictions of the Endless, their realms and the overall tone and atmosphere of Gaiman's settings. The thematic resonance of this volume was all about mortality and endings, and how each Endless functions in their duties, knowing that even they could only do so much for the lives of the creatures they govern and have the power to influence--even destroy. There are quite a number of secondary characters whose appearances in the subplots and major arc are highly suggestive of the titular significance itself. Gaiman highlights the tragedy of choices unmade, and the wasteful quality of a human life when a person does not own up to it and deal with its milestones and corresponding consequences. This was the first ever volume where we get to see all the seven Endless and the meaningful interactions between and among them are certainly insightful of the complex dynamics and roles of each one. Dream and Delirium (my favorite) are the central characters that readers are following over the course of the major arc, and theirs has a more disapproving-father and awkward-daughter aspect than simple sibling dynamic. While dealing with a recent break-up with an unnamed paramour, Dream travels to human world with Delirium, in hopes that he will glimpsed said former lover. Meanwhile, Delirium seeks out their long-lost brother, Destruction. |
The subplots that surround this quest are where the other Endless took part; the painful dichotomy of Desire and Despair was given more substance in this volume alongside Dream and Delirium's inability to completely make sense of each other. Dream will always see Del as the youngest and most unruly and unpredictable of his siblings, and would rather not have anything to do with her. Delirium, however, was inexplicably both immature and wise, alternating between seeking the approval of her elder siblings, and questioning their fixed perceptions about things, and none is more rigid and overbearing of his stifling beliefs than the Dream Lord. This created an immediate rift between him and Delirium, but it also helped both of them to exert more effort in trying to understand each other's point of view.
The appearances of Destruction in Despair, Delirium and Dream's collective reminiscence paint the kind of Endless creature he was; this was a personification not just of chaos but of creation. In fact, the only reason he was able to bear through the first centuries of his role as a destroyer was because he knew that with endings, come beginnings, and Destruction is a self-proclaimed lover of all living things . There are separate panels that showed the readers just how likable he is; his warmth and pleasantness seem to contrast how we would picture someone who destroys worlds. This was an appealing revelation then; the presence of Destruction and his awareness of his duality clearly illustrate that his siblings have that duality as well.
Delirium was once Delight, a personification of joy and innocence but it was a mystery why she has changed, and perhaps too much optimism and light have rendered her insane and unstable, therefore shifting to Delirium. Desire and Despair are the obvious representation of dual forces that complement each other--and yet they were separate entities. Perhaps it's because they are too much of individual extremes to ever compose a one whole existence.
Destiny appeared in the later pages. Ever the walking-spoiler-alert, he reveals the pathways that Dream must take because it was an obligation he must fulfill, much to the Lord Shaper's utmost despair. No other pair of siblings feel as duty-bound as Destiny and Dream after all. The confrontation between Destruction and Dream only helped seal this deal. The climactic event that follows was one of the most bittersweet conclusions in the series. It was the most suitable and harrowing way for everything in Brief Lives to come full-circle.
And what of Death herself? One can say that she was the encompassing presence that we feel in Brief Lives. She is the mother of endings, and the one who transcends her role because she understands the the meaning of life since she represents its counterpart.
A Game of Thrones by George R. R. Martin
February 2012
I was quite wary when someone was gracious enough to give me this book on my 21st birthday on April three years ago. I have heard nothing of this author at all. So I put it aside, though, because I was in no mood to read novels lately. But thanks to Spartacus, I was in search for a new historical/medieval drama to watch. And A Game of Thrones had been a stellar recommendation in the fansites I’m a member of. I have yet to watch the HBO series, actually. I decided that, in the interest of humoring said friend who gifted me with the book, to read it first after finishing Brave New World. I found myself terribly captivated by Martin’s quaint and lavish prose so far that I feel like the TV series might spoil me in some way.
There is a certain charming quality to the expositions in the book that eagerly translated a beauty within each character development and made a reader like me pause and contemplate on the subtlety of it all. I was very bewildered by the way the prose reeled me in so seamlessly into the setting and plot. Not even The Lord of the Rings got me so instantly spellbound (save perhaps, small moments in Tudors and Merlin but even those stories don’t compete much with A Game of Thrones). So I devotedly place myself into this intricately-woven piece of literature. I was only able to watch the HBO adaptation as soon as I finished the novel. It was a marvelous TV series but the original book itself is ten times more riveting and chilling in all the right and dark places. |
I really appreciated the strength of GRRM’s writing when it comes to POVs. You get to understand the characters and their actions and personalities because it feels more intimate when you see things through their perspectives as oppose to chronological chapters which I think HBO used (but it also works best in a television medium).
Favorite POVs: Catelyn Stark, Sansa Stark, Eddard Stark, Tyrion Lannister, Bran Stark, Daenerys Targaryen Least Favorites: Jon Snow and Arya Stark Crowning Moments of Awesome: Tyrion’s captivity and trial Tearjerker Moments: Daenerys getting duped by a witch and paying for the price, Eddard’s deliverance, Sansa’s awakening Most favorite characters: Tyrion Lannister, Catelyn Stark, Sansa Stark |
Second favorites: Robert Baratheon, Daenerys, Eddard Stark
Sideline characters I enjoy: Bronn the sellsword, Varys the eunuch, Ser Jorah, and Khal Drogo Torn-about-them: The Lannister twins Jaimie and Cersei, Littlefinger, Sandor Cleagne (The Hound) Just hateful: Joffrey and Gregor Cleagne Tiny moments I appreciate: The supposed ‘hero’ is not invincible or saved; the fact that a dwarf can be one of the most important characters despite his ‘handicap’; the politics of power that translates to our modern times quite easily; the different kinds of love for family (and the price to pay for loving too much); the struggle of honor and its doom because it’s surrounded by corrupt people and situations; and the clear-cut, interesting distinctions about what men prioritize most and what women want to protect. |
A Clash of Kings by George R. R. Martin
June 2012
I think it’s by this book that I completely fell madly in love with A Song of Ice and Fire series. AGoT was a great premise; the sweeping prose of GRRM in every character POV has a breathless poignancy and I must admit that after finishing the HBO series itself, I still chose the original novel because it was more powerful with the delivery, characterization and impact. I wasn’t all the way converted to a fan, however.
But the second book—seven hells, the second book! I waited two months to start reading the sequel and so it took a while but as the plotlines progress in different directions and scattered about in every character POV—I was helplessly enthralled by the monstrosity of GRRM’s Westeros; the politics, the power play, the character developments, the brisk and seamless storytelling—everything about A Clash of Kings is to die for! |
I was so hooked in every twist and turn of the plots. Character-wise, I have learned to love my favorites even more while I finally developed a strong liking to the ones I didn’t care much about in the first book. I mostly enjoyed the variety of warfare which expands in all of Westeros and in the lives of both major and minor characters. Each POV is relevant and intense; all the interactions have the right kind of tension, duplicity and connotations. I immediately bought the third book while I’m almost done with this. I’d probably reward myself the pleasure of journeying through ASoIaF again this summer. And by April 1st, the second season will be released and I’ve kept watching the trailer over and over and cannot contain my excitement. I want to see how well HBO can execute this book.
[MAY CONTAIN SPOILERS] Favorite POVs: Tyrion Lannister, Arya Stark, Theon, Bran Stark, Jon Snow Second Favorites: Sansa Stark, Catelyn Stark, Daenerys, Davos |
Crowning Moments of Awesome: Anything with Tyrion, Renly’s demise, the battle scenes, Bran and Rickon’s exodus, the appearance of Brienne, Jamie’s snark talk with Cat, Daenerys’ tests and premonitions
Tearjerker Moments: Catelyn’s thoughts about her children, Bran’s coming-of-age and his curious dreams Most favorite characters: Tyrion Lannister, Bronn, Sansa, Theon, Bran Second favorites: Arya, Daenerys, Jon Snow Sideline characters I enjoy: Brienne of Tarth, Asha Greyjoy, Shae Tiny moments I appreciate: Tyrion-Bronn witty banter, Bran’s dreams and insights, Sansa’s deliverance, Cersei-Tyrion powerplay, Renly-Stannis feud, the seize of Winterfell, the overall mastery of language and assemble of characters; the tales from the Night’s Watch, consistent character interpretations and conflicts among them. |
A Storm of Swords by George R. R. Martin
August 2012
This is where the book series really escalates and there are tons of exciting, heart-wrenching events within these pages that shook me to my very core and even left me weeping on my bed for a whole day. A STORM OF SWORDS is how ASoIaF officially won me over. This book encompassed so many entangled tales among the most intricate characters. It was such a stellar accomplishment for Martin, to weave a cohesive plot within different narratives. I was blown away into tiny pieces just reading through. It took me at least two months to finish this masterpiece and it was the best 62 days of my life even if I had to struggle with the time. There is nothing like curling around a Martin book and be taken captive into Westeros and the prose that awaits to ravish me.
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I am so lucky to have owned and known this literature. I can’t imagine how I managed to linger this long as a bibliophile without knowing A Song of Ice and Fire. Perhaps it was destined to be, to encounter and feel passionate about this book series in my twenties :) The books will continue to keep me hungry for more, that I know that for sure.
[MAY CONTAIN SPOILERS] Favorite POVs: Tyrion, Sansa, Arya, Daenerys, Jon Second Favorites: Jamie, Catelyn, Davos, Samwell, Bran Crowning Moments of Awesome: Jamie/Brienne scenes, Bran’s adventures, The Wall vs the Wildings, Davos learning to read and doing something awesome afterwards, the Trio of Nuptials, all of Daenerys’ scenes in Essos, Sansa’s exodus Tearjerker Moments: RW, oh god almighty, RW. |
Most favorite characters: Tyrion, Sansa, Davos, Bran
Second favorites: Arya, Daenerys, Jon, Littlefinger, Jamie, the Tyrells, Sandor Clegane “The Hound”, The Tickler Sideline characters I enjoy: Bronn (forever FTW), Samwell, Brienne, Ygritte (kissed by fire indeed), Olenna “Queen of Thorns”, Oberyn Martell “The Red Viper”, Joffrey (for being the little shit) Tiny moments I appreciate: The heartwrenching song “The Rains of Castamere”; Daenerys’ duplicitous self-reflections (she projects a persona as queen but is still a fragile girl inside); Arya’s getting more badass than ever, Jamie’s unraveling (he is surprisingly not as bad as people thought); Tyrion’s "I’ve been in trial all my life for being a dwarf" line and Sansa’s "My skin has turned from porcelain to ivory to steel" line; all the unexpected sex and violence in the least likely yet perfectly inserted chapters; Sansa’s final chapter and the epilogue that followed :p |
A Feast of Crows by George R. R. Martin
September 2013
I must confess that I really enjoyed this book but for reasons very different from the previous book which is unarguably the pinnacle of everything that made A Song of Ice and Fire such a rich, beautiful fantasy series and deconstruction of the genre. That said, A Feast for Crows is more intimate and experimental in its narrative, choices of character POVs and theme focus. What do I mean when I say this? Well, a lot of critics who read this book agreed that it was a lesser novel than the others because first and foremost, the fan-favorite major characters are not present here (and by fan-faves I of course meant Tyrion, Jon and Daenerys who later appeared in A Dance with Dragons as the main POVs).
Having that in mind, it’s so easy to dismiss AFfC as uninteresting and bland. Since I knew about that flaw, I went with that perspective as I perused through the pages and yes, I saw for myself that it was indeed true. Nevertheless, it was not as bad and unpleasant as those critical reviews led me to believe. I think if a reader approaches reading this book with the high expectations that was built up by the previous book, it would be an injustice and a hindrance in fully enjoying and understanding what A Feast for Crows has to offer. |
Narrative-wise, the prose was often longer in the wrong places and irregular, and most of the time even lacks the usual GRRM signature of stylistic language, metaphor and varied atmospheric descriptions a fan has come to know and love. But it makes up for these weaknesses through the two other factors I’ve mentioned: choices of character POVs and theme focus. Now, of course I miss Tyrion and his emotionally infectious narrative. Though not my personal and absolute favorite characters, Jon and Daenerys’ POVs also provide me with a sense of danger and adventure that are not present in AFfC at all. However, I was also given new characters to examine: Cersei and Brienne, the lioness ex-queen and the shield-maiden respectively. In addition to that, Sansa and Arya have two or three POV chapters in AFfC that are so intricately parallel to each other content-wise and which therefore only strengthened the sun-and-moon metaphor GRMM has established in the previous three books. Jamie and Samwell also share a parallelism that is not instantly recognizable until the reader learns to read between the lines and see for themselves that they are both men struggling through the new obligations they didn’t want in the first place and are both responsible in taking care of people they would rather be rid of.
Both of them desire to play in the sidelines but also recognize the potentials of leadership within them and this is a challenge they deal with differently. At first glance, POVs from these characters are less interesting to read and Tyrion/Dany/Jon could outweigh them in so many aspects. And they do. Still, these are mesmerizing characters in their own right, more so the new ones we get to understand better: Cersei and Brienne.
With that said, it’s the theme focus of A Feast for Crows that made me appreciate and love this novel in an unexpected way that’s incomparable to the first three books. And that theme focus is its feminist perspective. Usually, fantasy stories consider its women to be of secondary importance in the narrative. They fall into comfortable categories and are not nearly as developed and well-nuanced as their male counterparts. They are either prizes to be won, symbols to be idealized or treacherous fiends to be burned in stakes. GRRM approached AFfC with this in mind, I believe, and where he fails to engage us in this book with exciting plot and twist-and-turn storylines as he did in ASoS before, he succeeds nevertheless in portraying women with depth and sensibility that I’ve never seen done before in the genre. He succeeded in delivering feminist perspective with his handling of the plight of either Stark sister; both of whom have abandoned their identities in the name of survival. Arya hardens again but was also beginning to regain hope when her purpose as her family’s avenger is renewed while Sansa learns insights pertaining to the political subtleties of the game and is eventually going to recognize her potential as a possible player. For the Stark sisters in AFfC, it’s not just about surviving anymore but also about forging a path to personal liberation and victory. On the opposite side of that, readers are served with Cersei and Brienne who are both trying to rise above Westerosi gender norms but through different choices and motivations.
For Cersei, her political ambition is both her strength and downfall. She’s a proud woman because she was raised in the Lannister household by a father who disregards any leadership potentials she has because she’s female. This stigma damaged her in so many ways that it has driven her to commit appalling and self-serving deeds. Though she embraces being a mother with an unfaltering dedication, she also doesn’t want to be solely recognized in that role. Eager and desperate to prove that her station as a woman does not hinder her from gaining true power, Cersei is blinded by false ambitions and greed more than any other female character in the series. To contrast this, GRRM also provided us two POVs about the Kraken’s daughter, the late Balon’s ‘heir’, Asha Greyjoy. The first POV was her own, and she shows a thirst for a dominant role but she has also established herself as a very capable captain with a league of followers who obey her command. Her fellowmen respect her—but unfortunately not enough that they would grant her a chance to sit upon a throne. Nevertheless, by the second POV which belongs to her uncle Victarion, Asha stands before the men and claims her rights not through namesake alone but through experience and a goal to give the Iron Islands the peace and progress it deserves under her rule. When she gets constantly insulted when some of them scream for her to find a husband or birth a child, Asha answers by showing her axe and saying that it’s her husband, and then pulling a blade from between her breasts and saying that this is her suckling babe.
When someone questions her authority by pointing out that women are only good for needlework, Asha readily answers that she will knit them a kingdom, taking that insult as a way to compliment herself as someone who will “weave” the Ironborn a successful regime when she’s queen.
Cersei does not posses the wit and confidence of the Greyjoy princess, however. She schemes and conspires with questionable allegiances and employs thieves and mercenaries to carry out her will because she fails to recognize the need for comrades who can offer intelligent counsel. She feels constantly threatened by such men and dismisses any potential alliances with them because she’s insecure about their loyalty since they’re smarter than her. It’s as if she believes that when a man can think for himself and has different opinions than her, he will immediately try to use or betray her. She therefore alienated even her uncle and twin brother in belief that they will try to subdue and impose their will over her which she endured enough already from her father and husband for decades. Cersei is aspiring to rule the world but the truth is what she needed is the will and strength to run her life.
She tries to hold onto the position of a queen because she thought this will give her control over her life but her ruthless pursuit of it has rendered her powerless, disillusioned and utterly alone. Although she remains unpleasant throughout AFfC, her struggles and the psychology behind them have made her sympathetic for me which I never thought would be possible at all.
To contrast this again, GRRM gives us another noble lady who struggles to fight the prejudices of patriarchy but, unlike Cersei, she doesn’t try to remove herself from her gender in order to achieve this. And I’m referring of course to Brienne of Tarth. A lady of noble birth who is aesthetically ugly, she decided to be a warrior and a knight not because she wants to be ‘one of the boys’ but because she craves autonomy in such a way that society may recognize as noble. She knows her obligations as a knight which is more than most men in the series do. But to be simple about it, what initially motivated her to hold a sword is because she felt like she never belonged to the cluster of noble ladies in the first place.
She felt undesirable and instead of being a victim to this lonely feeling, she decided to gain strength through taking arms. Still, unlike Arya in the first book, Brienne didn’t do this because she hates the gender norms of being a noble lady. In fact, she still holds it in highest esteem especially since she is honest enough with herself to admit that she can never be a lady and should find other ways to make her father proud.
She and Cersei are both intrinsically tested by the misogyny of the men around them. Cersei handles it by exploiting her sexuality and charisma as queen and takes advantage of the weakness of a man’s flesh in doing so which doesn’t truly empower her. Brienne, on the other hand, fights with her sword to prove that she is a physical match to these men and even better than them. Every time she is called ugly or unseemly, every time a noble lord like Lord Tarly commands her to don a gown and give up her sword because she’s a disgrace to her family, Brienne allows such hurtful words fall away from her because she knew in her heart that her intentions are pure and she will not give up being a warrior because a man says she’s not fit for it.
Meanwhile, Cersei is vengeful and bitterly dismissive of such criticisms and would reason out that she is a Lannister and can never be intimidated, but at the same time disparages her own gender in the process, believing that just by being a woman, she is immediately weak. Brienne knows she’s a woman and that it’s not something that makes you weak, only something that makes people perceive you as such and she knows she can prove it otherwise.
Their POVs are the most beautifully and emotionally infectious narratives in A Feast for Crows and my sympathy for both have grown every single time I compare and contrast their actions and thoughts from each other. I also like how both women perceive younger, more beautiful girls than them. For Cersei, Margaery Tyrell is a threat to her and should therefore be vanquished.
For Brienne, Sansa Stark is someone she must save or die in the attempt, because she swore a vow to Catelyn and Jamie and perceives herself as a protector of the weak because that’s what being a knight is about. This is what differs Cersei from Brienne. Cersei is a queen who wants to rule everything even when she can’t even rule herself and is losing in touch with her femininity, while Brienne is a knight who only wants to serve even if it means that her acts of valor will never be completely acknowledged by a misogynistic society.
To me, that’s what makes A Feast for Crows such an immensely touching novel. The additional POVs of sideline characters are also a treat since it lays groundwork for the new players of the game.
Both of them desire to play in the sidelines but also recognize the potentials of leadership within them and this is a challenge they deal with differently. At first glance, POVs from these characters are less interesting to read and Tyrion/Dany/Jon could outweigh them in so many aspects. And they do. Still, these are mesmerizing characters in their own right, more so the new ones we get to understand better: Cersei and Brienne.
With that said, it’s the theme focus of A Feast for Crows that made me appreciate and love this novel in an unexpected way that’s incomparable to the first three books. And that theme focus is its feminist perspective. Usually, fantasy stories consider its women to be of secondary importance in the narrative. They fall into comfortable categories and are not nearly as developed and well-nuanced as their male counterparts. They are either prizes to be won, symbols to be idealized or treacherous fiends to be burned in stakes. GRRM approached AFfC with this in mind, I believe, and where he fails to engage us in this book with exciting plot and twist-and-turn storylines as he did in ASoS before, he succeeds nevertheless in portraying women with depth and sensibility that I’ve never seen done before in the genre. He succeeded in delivering feminist perspective with his handling of the plight of either Stark sister; both of whom have abandoned their identities in the name of survival. Arya hardens again but was also beginning to regain hope when her purpose as her family’s avenger is renewed while Sansa learns insights pertaining to the political subtleties of the game and is eventually going to recognize her potential as a possible player. For the Stark sisters in AFfC, it’s not just about surviving anymore but also about forging a path to personal liberation and victory. On the opposite side of that, readers are served with Cersei and Brienne who are both trying to rise above Westerosi gender norms but through different choices and motivations.
For Cersei, her political ambition is both her strength and downfall. She’s a proud woman because she was raised in the Lannister household by a father who disregards any leadership potentials she has because she’s female. This stigma damaged her in so many ways that it has driven her to commit appalling and self-serving deeds. Though she embraces being a mother with an unfaltering dedication, she also doesn’t want to be solely recognized in that role. Eager and desperate to prove that her station as a woman does not hinder her from gaining true power, Cersei is blinded by false ambitions and greed more than any other female character in the series. To contrast this, GRRM also provided us two POVs about the Kraken’s daughter, the late Balon’s ‘heir’, Asha Greyjoy. The first POV was her own, and she shows a thirst for a dominant role but she has also established herself as a very capable captain with a league of followers who obey her command. Her fellowmen respect her—but unfortunately not enough that they would grant her a chance to sit upon a throne. Nevertheless, by the second POV which belongs to her uncle Victarion, Asha stands before the men and claims her rights not through namesake alone but through experience and a goal to give the Iron Islands the peace and progress it deserves under her rule. When she gets constantly insulted when some of them scream for her to find a husband or birth a child, Asha answers by showing her axe and saying that it’s her husband, and then pulling a blade from between her breasts and saying that this is her suckling babe.
When someone questions her authority by pointing out that women are only good for needlework, Asha readily answers that she will knit them a kingdom, taking that insult as a way to compliment herself as someone who will “weave” the Ironborn a successful regime when she’s queen.
Cersei does not posses the wit and confidence of the Greyjoy princess, however. She schemes and conspires with questionable allegiances and employs thieves and mercenaries to carry out her will because she fails to recognize the need for comrades who can offer intelligent counsel. She feels constantly threatened by such men and dismisses any potential alliances with them because she’s insecure about their loyalty since they’re smarter than her. It’s as if she believes that when a man can think for himself and has different opinions than her, he will immediately try to use or betray her. She therefore alienated even her uncle and twin brother in belief that they will try to subdue and impose their will over her which she endured enough already from her father and husband for decades. Cersei is aspiring to rule the world but the truth is what she needed is the will and strength to run her life.
She tries to hold onto the position of a queen because she thought this will give her control over her life but her ruthless pursuit of it has rendered her powerless, disillusioned and utterly alone. Although she remains unpleasant throughout AFfC, her struggles and the psychology behind them have made her sympathetic for me which I never thought would be possible at all.
To contrast this again, GRRM gives us another noble lady who struggles to fight the prejudices of patriarchy but, unlike Cersei, she doesn’t try to remove herself from her gender in order to achieve this. And I’m referring of course to Brienne of Tarth. A lady of noble birth who is aesthetically ugly, she decided to be a warrior and a knight not because she wants to be ‘one of the boys’ but because she craves autonomy in such a way that society may recognize as noble. She knows her obligations as a knight which is more than most men in the series do. But to be simple about it, what initially motivated her to hold a sword is because she felt like she never belonged to the cluster of noble ladies in the first place.
She felt undesirable and instead of being a victim to this lonely feeling, she decided to gain strength through taking arms. Still, unlike Arya in the first book, Brienne didn’t do this because she hates the gender norms of being a noble lady. In fact, she still holds it in highest esteem especially since she is honest enough with herself to admit that she can never be a lady and should find other ways to make her father proud.
She and Cersei are both intrinsically tested by the misogyny of the men around them. Cersei handles it by exploiting her sexuality and charisma as queen and takes advantage of the weakness of a man’s flesh in doing so which doesn’t truly empower her. Brienne, on the other hand, fights with her sword to prove that she is a physical match to these men and even better than them. Every time she is called ugly or unseemly, every time a noble lord like Lord Tarly commands her to don a gown and give up her sword because she’s a disgrace to her family, Brienne allows such hurtful words fall away from her because she knew in her heart that her intentions are pure and she will not give up being a warrior because a man says she’s not fit for it.
Meanwhile, Cersei is vengeful and bitterly dismissive of such criticisms and would reason out that she is a Lannister and can never be intimidated, but at the same time disparages her own gender in the process, believing that just by being a woman, she is immediately weak. Brienne knows she’s a woman and that it’s not something that makes you weak, only something that makes people perceive you as such and she knows she can prove it otherwise.
Their POVs are the most beautifully and emotionally infectious narratives in A Feast for Crows and my sympathy for both have grown every single time I compare and contrast their actions and thoughts from each other. I also like how both women perceive younger, more beautiful girls than them. For Cersei, Margaery Tyrell is a threat to her and should therefore be vanquished.
For Brienne, Sansa Stark is someone she must save or die in the attempt, because she swore a vow to Catelyn and Jamie and perceives herself as a protector of the weak because that’s what being a knight is about. This is what differs Cersei from Brienne. Cersei is a queen who wants to rule everything even when she can’t even rule herself and is losing in touch with her femininity, while Brienne is a knight who only wants to serve even if it means that her acts of valor will never be completely acknowledged by a misogynistic society.
To me, that’s what makes A Feast for Crows such an immensely touching novel. The additional POVs of sideline characters are also a treat since it lays groundwork for the new players of the game.
Favorite POVs: Brienne, Arya and Cersei
Second Favorites: Alayne, The Iron Captain, Jaime, The Kraken’s Daughter Crowning Moments of Awesome: KINGSMOOT and Asha’s speech, yo! The new High Septon not taking shit from Cersei and restoring the Faith’s arms, Brienne’s action scenes, Arya in Braavos, Samwell punching an asshole, and of course, Ser Hyle Hunt’s attempts to court Brienne which never fails to make me giggle like a school-girl with a crush Tearjerker Moments: Cersei and Jaime’s alternating POVs and how they are drifting apart, Brienne crying for the first time, Arya burying Needle in parallel to Sansa building Winterfell as a snow castle in the previous book, Gilly grieving in the ship, Maester Aemon dreaming of serving Daenerys Targaryen, and THE LAST SCENE IN BRIENNE’S POV |
Most favorite characters: Brienne, Asha Greyjoy, Alayne Stone and Arya Second favorites: Samwell, Jaime, Cersei, Arianne Martell Sideline characters I enjoy: SER HYLE HUNT FOREVER, The Sand Snakes, Aerys Oakheart, Osney Kettleback, Qyburn and Gilly Tiny moments I appreciate: Anything about Dorne, Sam-Gilly shippy moments, Jamie learning to be a better man even if it means neglecting Cersei, Brienne-Hyle shippy moments, Petyr teaching Alayne the way the game is played, Alayne being kind to Robin Arryn even if he’s such a messed up kid, all references to Tyrion or Sansa, and Arya being friends with the whores of Braavos and learning the language and ways of the Braavosi. |
A Dance with Dragons by George R. R. Martin
February 2014
I have posted my thoughts during the reading process in three parts, and they are located below this official review. It's quite hilarious coming back to them because in the first 500 pages or so, I was riveted and excited with the events that are in A Dance with Dragons, but then as I ventured on and reached the middle parts of the book, I was becoming increasingly frustrated and bored.
But nevertheless, I soldiered on and the reward was satisfying enough. The last 100 pages have been great because just when I thought my attention span will slip once more, GRRM surprised me with the comeback punches. For my further analyses of the events in the entire book itself, just view the comments on my Goodreads review page (but there are spoilers in them so proceed only if you have been reading the book yourself, or have already finished it). |
A Song of Ice and Fire series has given me the most amazing reading experience ever in literature. It was challenging and multi-layered. The character-driven narratives with the major story arcs enrich each other that you always remain emotionally invested in the story as a whole. The ensemble of casts for every book is staggering not just in quantity but in quality. GRRM takes good measures in character developments, writing everyone with a lot of depth while enabling them to grow and change by making sure that each has his or her own quirks, insecurities and struggles. The most definitive aspect of ASoIaF for me remains the characters who are the heart and soul of his narrative.
The structure and scope of his novels are gargantuan too, that you can't just be a passive or casual reader; you must be a part of the experience which is the best thing that GRRM has accomplished in this series. It allows readers to interact with the events, to care about the subtleties of politics and the personal journeys of his characters. And that to me is the reason why if one has only encountered the HBO adaptation, I certainly must insist that they read the books too because there is so much more that GRRM offered in his literary material that the Game of Thrones show itself has only touched the surface and then condensed for viewing purposes.
That said, A Dance with Dragons failed where the previous books (even the almost tepid fourth book A Feast of Crows) have succeeded. The length of the book was not justifiable as oppose to the third book A Storm of Swords. I do agree with most fans who said that it should have been edited better. There is an anomaly in the balance of major character POVs and minor character POVs. I really would have preferred some minor POVs taken out and put in the fourth book instead. Although the beginning and the last portions of the book were rewarding, the middle part proved to be a challenge to get through because it contained mostly minor characters that only appear once and such POVs weren't action-oriented at all, and did not even give any important insight (and relevance) to the major events.
I suppose GRRM included them as side instances just for additional background, but they that don't affect anything in the long-term so they were more or less read as updates or different angles that personally for me didn't matter because I can't bring myself to care for them.
Nevertheless, A Dance with Dragons was still a great book even with its obvious flaws in narrative scope compared to the previous books. I decided to objectively give it three stars because I still have to take into account the parts that I did not enjoy as much, and therefore affected my reading experience as a whole. But I look forward to what happens next to Jon, Daenerys, Tyrion, Arya, Cersei, Jaime and Bran next.
Come at me, The Winds of Winter!
The structure and scope of his novels are gargantuan too, that you can't just be a passive or casual reader; you must be a part of the experience which is the best thing that GRRM has accomplished in this series. It allows readers to interact with the events, to care about the subtleties of politics and the personal journeys of his characters. And that to me is the reason why if one has only encountered the HBO adaptation, I certainly must insist that they read the books too because there is so much more that GRRM offered in his literary material that the Game of Thrones show itself has only touched the surface and then condensed for viewing purposes.
That said, A Dance with Dragons failed where the previous books (even the almost tepid fourth book A Feast of Crows) have succeeded. The length of the book was not justifiable as oppose to the third book A Storm of Swords. I do agree with most fans who said that it should have been edited better. There is an anomaly in the balance of major character POVs and minor character POVs. I really would have preferred some minor POVs taken out and put in the fourth book instead. Although the beginning and the last portions of the book were rewarding, the middle part proved to be a challenge to get through because it contained mostly minor characters that only appear once and such POVs weren't action-oriented at all, and did not even give any important insight (and relevance) to the major events.
I suppose GRRM included them as side instances just for additional background, but they that don't affect anything in the long-term so they were more or less read as updates or different angles that personally for me didn't matter because I can't bring myself to care for them.
Nevertheless, A Dance with Dragons was still a great book even with its obvious flaws in narrative scope compared to the previous books. I decided to objectively give it three stars because I still have to take into account the parts that I did not enjoy as much, and therefore affected my reading experience as a whole. But I look forward to what happens next to Jon, Daenerys, Tyrion, Arya, Cersei, Jaime and Bran next.
Come at me, The Winds of Winter!
Annihilation by Jeff Vandermeer
June 2016
"Some questions will ruin you if you are denied the answers long enough."
Any bibliophile knows that there are certain books that often call to us; books that, once picked up, would be incredibly difficult to put down. And long after the spell of its story has been broken, the link can never be severed completely. It would haunt the reader even after that first page has been turned. There are several books that have had the same effect on me, and most of them have been science fiction stories, if not all. I've read at least 12 sci-fi books since 2014, and they have stayed with me, tucked away in the deep recesses of subconscious, both darkening my soul a little as they set me free as well. When I encountered copies of this trilogy, I was mesmerized of the covers, and had great hopes for the promising story within, seeing that it's critically-acclaimed. |
I curtailed these expectations, however, when I saw a few of users I follow in Goodreads, and whose reviews I respect, responded in rather lukewarm terms about the first book. That being said, it's just a small consideration, and did nothing at all to hamper my personal reading experience about this introductory novel to the trilogy entitled Annihilation. I should mention that in the breadth of time I was reading this installment, I took long breaks in between to read some manga, play visual novels, and write dark AU fanfiction for a certain fandom.
This is notable, I think, as to why I was able to distance myself from the story and contemplate about it. This is, after all, a short book. Only under two-hundred pages long, I think it can even be considered a novella. Another thing I want to add while I write this review is that I recently watched the New England folktale horror movie The VVitch about two nights ago, and the tone and atmosphere created by that film's cinematography can be likened to the sense of dread and alienation that steadily permeated Annihilation.
The premise of this book may be a tad misleading. It's not a psychological thriller, or even an action-packed suspenseful story. If that's what you're expecting, then Annihilation may come off as dragging and too shortsighted in its perspective. Written in a limited first-person POV, it's more or less something of a slow-burning chronicle of the twelfth expedition composed of anonymous four female experts in their field; a psychologist, anthropologist, surveyor and biologist. Readers see the events unfolding through the eyes of the biologist. All that we know of the unfamiliar landscape they are trekking called the Area X is solely dependent on her accounts, and her private inquiries and contemplations about the life she left behind were also a part of these entries. Because the story is told only through one person's accounts, there are aspects to Area X and even the other characters that readers will never know, and that's what makesAnnihilation not the easiest book to get into and remain invested in. However, I think author Vandermeer made the best decision to weave the story through one character's perceptions alone, and to choose an unnamed biologist at that.
This is notable, I think, as to why I was able to distance myself from the story and contemplate about it. This is, after all, a short book. Only under two-hundred pages long, I think it can even be considered a novella. Another thing I want to add while I write this review is that I recently watched the New England folktale horror movie The VVitch about two nights ago, and the tone and atmosphere created by that film's cinematography can be likened to the sense of dread and alienation that steadily permeated Annihilation.
The premise of this book may be a tad misleading. It's not a psychological thriller, or even an action-packed suspenseful story. If that's what you're expecting, then Annihilation may come off as dragging and too shortsighted in its perspective. Written in a limited first-person POV, it's more or less something of a slow-burning chronicle of the twelfth expedition composed of anonymous four female experts in their field; a psychologist, anthropologist, surveyor and biologist. Readers see the events unfolding through the eyes of the biologist. All that we know of the unfamiliar landscape they are trekking called the Area X is solely dependent on her accounts, and her private inquiries and contemplations about the life she left behind were also a part of these entries. Because the story is told only through one person's accounts, there are aspects to Area X and even the other characters that readers will never know, and that's what makesAnnihilation not the easiest book to get into and remain invested in. However, I think author Vandermeer made the best decision to weave the story through one character's perceptions alone, and to choose an unnamed biologist at that.
"There are certain kinds of deaths that one should not be expected to relive,
certain kinds of connection so deep that when they are broken, you feel the snap of the link inside you."
The unnamed biologist in question, I think, was a compelling voice all throughout. With the personality of an introvert whose inquisitiveness and scientific curiosity have made her both endurable and ultimately a tragic, sympathetic character, Annihilation is not so much as an adventure to fight or extinguish an unknown force of nature, as it is more about the grueling mediation concerning fear and loneliness. In fact, the more I read the biologist's chronicle of the events, and the regrets she had to deal with that are made meaningful by the horrors and alienation she had to face, the more I imagine her as the explorer Rousseau from the TV show Lost. Just like that character, the biologist was in Area X for scientific research and data gathering, only to find herself stranded with a crew who more or less she could not trust or truly know. The biologist soldiers on, however, driven by her innate desire to investigate, and the dire lack of options of survival offered to her.
Area X may be an enigma that this biologist can't even fathom as she walked on its deceptive thresholds and climb down its caverns, but readers will at least find comfort in the knowledge that they're getting to know the woman who is leading the way of the expedition, even if she has no idea where she is going. And that is ultimately how the majority of life must feel like for humans who lived thousands of years ago, surrounded only by the wilderness and unknown species of creatures. Vandermeer struck that primitive chord in me.
As someone who grew up in these contemporary times during an industrialized age with constant technological advancements, I would often take for granted that there are grander mysteries outside the comforts and luxuries I'm surrounded with. All of us would do that; safe and content in our cities and homes to even bother to track back where life on earth all began, and where it might lead. The expeditions by the Southern Reach to demystify the splendors of the rich ecosystem of Area X is, at this point in the first book, a possible sham to cover up the undergrowth of terrors beneath its seemingly beautiful and vast forestry. It's frightening because to do so is to traverse what is unknowable and beyond human.
Area X may be an enigma that this biologist can't even fathom as she walked on its deceptive thresholds and climb down its caverns, but readers will at least find comfort in the knowledge that they're getting to know the woman who is leading the way of the expedition, even if she has no idea where she is going. And that is ultimately how the majority of life must feel like for humans who lived thousands of years ago, surrounded only by the wilderness and unknown species of creatures. Vandermeer struck that primitive chord in me.
As someone who grew up in these contemporary times during an industrialized age with constant technological advancements, I would often take for granted that there are grander mysteries outside the comforts and luxuries I'm surrounded with. All of us would do that; safe and content in our cities and homes to even bother to track back where life on earth all began, and where it might lead. The expeditions by the Southern Reach to demystify the splendors of the rich ecosystem of Area X is, at this point in the first book, a possible sham to cover up the undergrowth of terrors beneath its seemingly beautiful and vast forestry. It's frightening because to do so is to traverse what is unknowable and beyond human.
"That's how the madness of the world tries to colonize you: from the outside in, forcing you to live in its reality."
Reading Annihilation is almost like watching a documentary, only you become a part of it as it goes on, and each discovery that the biologist would stumble upon is rife with juxtapositions about her own life back before she joined the expedition. Readers will slowly get to know what an individualistic and solitary person she is in spite of being married to a man who is the complete opposite of her inclinations. Readers will recognize too that perhaps her strong stubbornness to claim to her autonomy is the reason why Area X hasn't devoured her as of yet. Her personality and overall countenance about how the world works based on ecosystems and microscopic organisms were things I was engrossed why. I share some of her inherent traits, particularly how solitary she was. It made me wonder how I would react if faced with something incomprehensible as she has that shook her core of beliefs the more she got closer and yet still remain as far from it as when the journey began.
I found her internal struggles to be relatable because of this. After losing her husband to the previous expedition, she was now caught in a battle not to lose herself to Area X. This book presented the Man vs. Nature conflict in such a deft and earnest manner of writing and delivery, whose impact haunted me significantly because its resonance was sharp and almost pitiable. The unnamed biologist resigned to her fate in the end, but not before providing readers her tales of the slow descent among herself and the other members of the crew who became all lost in their own way as soon as they reached Area X. There is no personal victory to be had in Annihilation. If the title of the book doesn't already give it way, that is. It was, however, a splendid and searing look on the general irrelevance of human life in the composition of the universe as a whole, and how us being granted consciousness may have been an evolutionary failure of our species after all. Humans, burdened with self-awareness, are the only ones plagued by the melodrama and contemplation how alone they truly are in the grander scheme of what had been, and what is yet to come.
I found her internal struggles to be relatable because of this. After losing her husband to the previous expedition, she was now caught in a battle not to lose herself to Area X. This book presented the Man vs. Nature conflict in such a deft and earnest manner of writing and delivery, whose impact haunted me significantly because its resonance was sharp and almost pitiable. The unnamed biologist resigned to her fate in the end, but not before providing readers her tales of the slow descent among herself and the other members of the crew who became all lost in their own way as soon as they reached Area X. There is no personal victory to be had in Annihilation. If the title of the book doesn't already give it way, that is. It was, however, a splendid and searing look on the general irrelevance of human life in the composition of the universe as a whole, and how us being granted consciousness may have been an evolutionary failure of our species after all. Humans, burdened with self-awareness, are the only ones plagued by the melodrama and contemplation how alone they truly are in the grander scheme of what had been, and what is yet to come.
"Has there always been someone like me to bury the bodies, to have regrets, to carry on after everyone else is dead?"
Authority by Jeff Vandermeer
July 2016
This was a polarizing installment of the Southern Reach Trilogy, and for very valid reasons. I heard such praises about this trilogy for a while, and I was very happy buying the complete series in one swoop last year. When I finally decided to start reading, I was incredibly intrigued by the atmosphere and premise of it especially with the first book Annihilation which definitely gave me someLost-esque vibes.
That being said, this next book Authority was nothing like its predecessor. There is a disparity between their length, content, tone, and overall approach to the narrative. Annihilation introduced us to a first-person perspective from the character of a biologist whose name was purposefully withheld. She was a member of the four-women twelfth expedition sent to the pristine wilderness of mystery known only as Area X. |
That first book focused on her insights about the inexplicable events happening in that remote location, as well as memories and recollections about her past with a husband who was a previous member of the eleventh expedition. The biologist had always been a loner and I rooted for her survival and remained quite invested in her personal story because something about her reminded me of my own solitude, and hers was even more heightened by the fact that she's trapped in a land that may or may not be sentient--or actively trying to either kill her, or change her into something else. With roughly only 200+ pages, the suspense was compact and precise in Annihilation. It had me glued right to the very end even if it was an ambiguous resolution.
A few people whose reviews I follow on Goodreads don't even like the first book, and therefore had no plans to go through the trilogy altogether. I was not like them. I had enjoyed Annihilation a lot because to me it was a creepy, unforgettable and well-written science fiction tale that was at times very worrying and intense; there are moments in that book I did feel essentially lost and abandoned much like its POV narrator. When I got to Authority, however, the abrupt tonal shift was rather disruptive, but I was an optimist so I didn't mind and tried my best to keep up. It was actually easy, most notably because the second installment started with a snail's pace and with double the length of its predecessor.
The biologist from the first book was still here but she was now a secondary character in hindsight, and the POV is switched to the third-person limited to the thoughts and actions of a man named John Rodriguez who fancies himself with the nickname 'Control'. He was a former counterintelligence operative and he was feeling rather out-of-place in his new work environment as the new Director for the Southern Reach Facility which is the one in charge of trying to untangle the secrets and mysteries of Area X. Much like withAnnihilation, readers get to follow the story through a character's POV but while the biologist's accounts demonstrate a sense of urgency and danger where she has to be constantly on guard, the second book tried to capture that same thing--only that it just didn't work.
This wasn't a bad book; it couldn't be considering what the critics and fans have been saying about it. However, the parts that make up the sum do leave a lot to be desired. The execution of the narrative is faulty, riddled with pages upon pages of exposition concerning office politics between John "Control" Rodriguez and the assistant director Grace. Other times it meanders on small revelations regarding how Southern Reach operates and facilitates, and certain facts about the circumstances surrounding the expeditions to Area X were presented. In doing so, however, I feel as if it robbed some of Annihilation's impact to me as a reader. When all is said and done, I think I much rather prefer the not-knowing at this point because the first book was something I thoroughly got immersed in. In this book, I got to find out that there have already been more than 12 expeditions, and that the director of SR herself was the psychologist from the first book--and she may even know the lighthouse keeper from that mystery photo that the biologist found.
At first, finding out these things were great because at least they answered the questions I may have had after finishing Annihilation. And yet as soon as I finished this book and got to go over my overall experience about reading it--those revelations seem hollow to me now. As much as Authority strove to illuminate the lies and conspiracies; about what was going on behind the scenes concerning the Southern Reach and its purpose of study with Area X, it also made me realize that whatever is happening behind the scenes WASN'T WORTH KNOWING.
Ultimately, it was pretty bland and confusing! The author seemed to purposefully kept it just as ambiguous as the last time only that it's something he can only successfully pull off once in the first installment. In this book, the trick felt entirely cheap. I really can't help but feel this was all a strategy to make the reader want to read the next book, not really to satisfy the curiosity but more so to appease whatever lingering irritation he or she may have formed after being given such a half-baked resolution.
That's exactly how I felt after finishing Authority. I read reviews about this being a slow-burning spy story, and I conditioned myself for that and I was pretty interested about it being just that. However, I seemed to have overestimated my own expectations because as soon as I was somewhere around the two-hundred seventy-plus pages, I ended up staring blankly at a paragraph I was reading going, "Wait, so that happened because of this? And this other thing is now about to happen because of that other thing--and what were those again exactly? Is that this?"
I swear that I myself can't even follow my train of thought as I read. It became a challenging mental feat to demystify myself and stay on track, and not even in the fun way that I usually like when I read literature.
As for the character I'm supposed to care about, the POV character of Control started personable enough but as soon as he started believing he was being hypnotized/brainwashed all this time, he becomes even more of an unreliable narrator. And this epiphany doesn't even happen until two-hundred plus pages! That means I endured reading through a supposedly slow-burning espionage tale whose direction seemed rather pointless especially with that pay-off at the end that happened without the kind of build-up that was supposed to act as its foundation and prepare the reader for it in some way. There was no said build-up leading to that moment, and even if there was, the author wrote far too many expositions and tons of passages of Control just reminiscing or analyzing his life and choices that I must have missed it. Looking back at all of this now, I barely remember what happened except the last sixty pages or so where finally, FINALLY some action does take place.
I don't even trust myself to rate this book objectively, but I'm giving it a six out of ten anyway because I still like the plot of this trilogy, and those action-oriented pages at the end did get me excited for a while. That being said, Authority as the second installment of the series did not live up to the established atmosphere and enigma that Annihilation was able to do, and something that kept me on my toes. I also wished this prequel was shorter and more succinct. Do I really have to know so much detail about his office politics and findings in the facility when it was revealed later on that his memories may have been implanted, and that he was never completely in control of his mental faculties since this book started? I don't even know what else to say anymore. I'm just thoroughly disappointed, but since I made a commitment to finish the trilogy, I'll be reading the last installment Acceptance. Hopefully, this series will wrap up better than its middle arc.
A few people whose reviews I follow on Goodreads don't even like the first book, and therefore had no plans to go through the trilogy altogether. I was not like them. I had enjoyed Annihilation a lot because to me it was a creepy, unforgettable and well-written science fiction tale that was at times very worrying and intense; there are moments in that book I did feel essentially lost and abandoned much like its POV narrator. When I got to Authority, however, the abrupt tonal shift was rather disruptive, but I was an optimist so I didn't mind and tried my best to keep up. It was actually easy, most notably because the second installment started with a snail's pace and with double the length of its predecessor.
The biologist from the first book was still here but she was now a secondary character in hindsight, and the POV is switched to the third-person limited to the thoughts and actions of a man named John Rodriguez who fancies himself with the nickname 'Control'. He was a former counterintelligence operative and he was feeling rather out-of-place in his new work environment as the new Director for the Southern Reach Facility which is the one in charge of trying to untangle the secrets and mysteries of Area X. Much like withAnnihilation, readers get to follow the story through a character's POV but while the biologist's accounts demonstrate a sense of urgency and danger where she has to be constantly on guard, the second book tried to capture that same thing--only that it just didn't work.
This wasn't a bad book; it couldn't be considering what the critics and fans have been saying about it. However, the parts that make up the sum do leave a lot to be desired. The execution of the narrative is faulty, riddled with pages upon pages of exposition concerning office politics between John "Control" Rodriguez and the assistant director Grace. Other times it meanders on small revelations regarding how Southern Reach operates and facilitates, and certain facts about the circumstances surrounding the expeditions to Area X were presented. In doing so, however, I feel as if it robbed some of Annihilation's impact to me as a reader. When all is said and done, I think I much rather prefer the not-knowing at this point because the first book was something I thoroughly got immersed in. In this book, I got to find out that there have already been more than 12 expeditions, and that the director of SR herself was the psychologist from the first book--and she may even know the lighthouse keeper from that mystery photo that the biologist found.
At first, finding out these things were great because at least they answered the questions I may have had after finishing Annihilation. And yet as soon as I finished this book and got to go over my overall experience about reading it--those revelations seem hollow to me now. As much as Authority strove to illuminate the lies and conspiracies; about what was going on behind the scenes concerning the Southern Reach and its purpose of study with Area X, it also made me realize that whatever is happening behind the scenes WASN'T WORTH KNOWING.
Ultimately, it was pretty bland and confusing! The author seemed to purposefully kept it just as ambiguous as the last time only that it's something he can only successfully pull off once in the first installment. In this book, the trick felt entirely cheap. I really can't help but feel this was all a strategy to make the reader want to read the next book, not really to satisfy the curiosity but more so to appease whatever lingering irritation he or she may have formed after being given such a half-baked resolution.
That's exactly how I felt after finishing Authority. I read reviews about this being a slow-burning spy story, and I conditioned myself for that and I was pretty interested about it being just that. However, I seemed to have overestimated my own expectations because as soon as I was somewhere around the two-hundred seventy-plus pages, I ended up staring blankly at a paragraph I was reading going, "Wait, so that happened because of this? And this other thing is now about to happen because of that other thing--and what were those again exactly? Is that this?"
I swear that I myself can't even follow my train of thought as I read. It became a challenging mental feat to demystify myself and stay on track, and not even in the fun way that I usually like when I read literature.
As for the character I'm supposed to care about, the POV character of Control started personable enough but as soon as he started believing he was being hypnotized/brainwashed all this time, he becomes even more of an unreliable narrator. And this epiphany doesn't even happen until two-hundred plus pages! That means I endured reading through a supposedly slow-burning espionage tale whose direction seemed rather pointless especially with that pay-off at the end that happened without the kind of build-up that was supposed to act as its foundation and prepare the reader for it in some way. There was no said build-up leading to that moment, and even if there was, the author wrote far too many expositions and tons of passages of Control just reminiscing or analyzing his life and choices that I must have missed it. Looking back at all of this now, I barely remember what happened except the last sixty pages or so where finally, FINALLY some action does take place.
I don't even trust myself to rate this book objectively, but I'm giving it a six out of ten anyway because I still like the plot of this trilogy, and those action-oriented pages at the end did get me excited for a while. That being said, Authority as the second installment of the series did not live up to the established atmosphere and enigma that Annihilation was able to do, and something that kept me on my toes. I also wished this prequel was shorter and more succinct. Do I really have to know so much detail about his office politics and findings in the facility when it was revealed later on that his memories may have been implanted, and that he was never completely in control of his mental faculties since this book started? I don't even know what else to say anymore. I'm just thoroughly disappointed, but since I made a commitment to finish the trilogy, I'll be reading the last installment Acceptance. Hopefully, this series will wrap up better than its middle arc.
Acceptance by Jeff Vandermeer
July 2016
The Southern Reach Trilogy has been a polarizing reading experience for me; mostly because of the meandering second installment Authority. That being the case, I don't think I could give this entire series a perfect grade in spite of all the overwhelmingly positive reviews it got from a lot of critics and even veteran authors like Stephen King himself.
There are, however, amazing aspects to the first and third novels that I really found myself deeply immersed in, and these deserve due credit for this review. The one thing that stopped it from becoming one of of my top favorite sci-fi novels (next to Frank Herbret's DUNE, Philip K. Dick's Do Androids Dream of Electric Sheep, and Arthur C. Clarke's Childhood's End) is most probably because of its experimental nature that was unevenly delivered and executed on paper. |
An off-beat favorite sci-fi books of mine that was not a classic like the ones aforementioned is Michael Cunningham's Specimen Days. Much like that one, The Southern Reach trilogy focused on different character perspectives for each book with varied themes and narratives. But where Specimen Days only accomplished its purpose in one book divided into three interconnected stories, this series became a trilogy--but not exactly a trifecta that I always enjoyed. The Lost-esque influence invoked the same feelings as that show did, but much like said TV show, this trilogy has problems with consistency which a less critical reader may overlook because of the many flashes of brilliance that Annihilation and Acceptance have exhibited. I was swept by those installments but Authority still left a bitter aftertaste.
But this review is about the final piece of the trilogy, and it was quite the unexpected treat. Still reeling from the unpleasantness that was my experience with the second book, I almost gave up on finishing this trilogy. The two things that prevented me from not calling it quits are (1) I always stick to my self-imposed readables and (2) I have hard copies of all of these books, and it would be a damn shame to just let the last book of the series sit there untouched from my shelf. Besides, I'm still interested in finding out about the pay-off, and if the mysteries will be solved.
The characters, actually, were the least interesting part of the trilogy for me. And that is why this sci-fi series didn't strike an emotional chord unlike with the other. I connected little with them because The Southern Reach trilogy is foremost plot-centered, and I've mentioned a lot of times that I enjoy character-centric stories and this trilogy is hardly that.
With that in mind, Acceptance came as a pleasant surprise to me. While Annihilation was supposed to be a story of the alienation one feels whilst trapped in a wilderness, and Authority was about the paranoia of losing control over one's own memories and actions, Acceptance was more or less the long-awaited finale where everything comes into focus; and the questions that the characters have asked and mulled upon in the first two books received answers that didn't exactly give them the closure they're all looking for--but it's all there is anyway.
Acceptance also had varied POVs unlike the first two books which were limited third-person perspectives of the biologist and the new director of the Southern Reach, John Rodriguez. Here, we get the two of their accounts mixed in with the psychologist/former director's second-person POV which detailed her fixations and desperate search for answers about her home that became what is now Area X, and Saul Evans' accounts, and he was known only as the lighthouse keeper who may have been Area X's first "victim".
It's quite an exercise of mental endurance to read this trilogy, honestly, especially with a meandering middle installment, but Acceptance proved for me that the journey will be worth it. I did care about the characters in some way but more as representations of deeply-rooted fears and insecurities that humans have when faced with something they could not comprehend or even co-exist properly with. Area X is viewed as a contamination, a vast of unknowable wilderness spilling into human civilization without any adequate explanation or readily understood malicious intentions. This was what was frustrating about is progress of growth as it spreads across the globe. Countless clandestine expeditions have been sent to gather data, all of them pointless, while authority figures in Southern Reach have kept the deception going even to the scientists and experts in their field who joined the expeditions. One of them was the biologist who chose to stay behind Area X and become a part of its ecosystem. She's actually the only character in this trilogy I connected with since Annihilation. Her fifty pages or so of accounts here in this book had to be my favorite.
This final installment offered so many great things for readers to chew on and enjoy because of the many different accounts that were evenly spread out across its three-hundred-plus pages of narrative. Every voice was compelling even if certain scenes or even concepts don't entirely make sense. Area X is an anomaly and is more than just an infestation growing on Earth. There must be something alien-like about it; maybe it's even a doorway leading to another dimension--no one really knows or could be absolutely certain. Being faced with the inevitability of extinction for humans will always be a disconcerting theme explored by science fiction novels but The Southern Reach trilogy takes it to a more intimate and claustrophobic level of hopelessness. Its constant mentions of a 'brightness' infiltrating a human person's vessel was quite alarming--one would think the description should be that of a darkness or a black hole that could consume someone to nothingness. But no, author VanderMeer named it as a 'brightness' that his characters cannot escape from.
This review is spoiler-free because I don't want to discuss the revelations and certain key moments in all three books if any of you did decide to read the trilogy yourselves. What I can say was that it's an uneven, inconsistent story yet endlessly engrossing and dismantling once you get to the passages that are haunted and poignant. I will always find the second installment Authority wasteful and the least interesting of the series, but it was a necessary one because it established some plot points that need exposure before we get to the finale. I could still recommend The Southern Reach trilogy. It was beautifully written because VanderMeer does have a gift for descriptive language in a way that I think elevates the genre into something poetic. What I'm only critical with, however, was that it could get self-indulgent that character development had become hollow for others, and the pacing a tad too leisurely if not entirely wasteful.
This was a great series that deserves its praise, but I caution readers to check your expectations at the door before going into exploring what this trilogy offers. You may find yourself too lost in it, whether because you are entranced by its writing and landscapes, or because you couldn't make sense of anything and therefore left disappointed in the end. Fortunately, I'm in between caught between those two receptions.
But this review is about the final piece of the trilogy, and it was quite the unexpected treat. Still reeling from the unpleasantness that was my experience with the second book, I almost gave up on finishing this trilogy. The two things that prevented me from not calling it quits are (1) I always stick to my self-imposed readables and (2) I have hard copies of all of these books, and it would be a damn shame to just let the last book of the series sit there untouched from my shelf. Besides, I'm still interested in finding out about the pay-off, and if the mysteries will be solved.
The characters, actually, were the least interesting part of the trilogy for me. And that is why this sci-fi series didn't strike an emotional chord unlike with the other. I connected little with them because The Southern Reach trilogy is foremost plot-centered, and I've mentioned a lot of times that I enjoy character-centric stories and this trilogy is hardly that.
With that in mind, Acceptance came as a pleasant surprise to me. While Annihilation was supposed to be a story of the alienation one feels whilst trapped in a wilderness, and Authority was about the paranoia of losing control over one's own memories and actions, Acceptance was more or less the long-awaited finale where everything comes into focus; and the questions that the characters have asked and mulled upon in the first two books received answers that didn't exactly give them the closure they're all looking for--but it's all there is anyway.
Acceptance also had varied POVs unlike the first two books which were limited third-person perspectives of the biologist and the new director of the Southern Reach, John Rodriguez. Here, we get the two of their accounts mixed in with the psychologist/former director's second-person POV which detailed her fixations and desperate search for answers about her home that became what is now Area X, and Saul Evans' accounts, and he was known only as the lighthouse keeper who may have been Area X's first "victim".
It's quite an exercise of mental endurance to read this trilogy, honestly, especially with a meandering middle installment, but Acceptance proved for me that the journey will be worth it. I did care about the characters in some way but more as representations of deeply-rooted fears and insecurities that humans have when faced with something they could not comprehend or even co-exist properly with. Area X is viewed as a contamination, a vast of unknowable wilderness spilling into human civilization without any adequate explanation or readily understood malicious intentions. This was what was frustrating about is progress of growth as it spreads across the globe. Countless clandestine expeditions have been sent to gather data, all of them pointless, while authority figures in Southern Reach have kept the deception going even to the scientists and experts in their field who joined the expeditions. One of them was the biologist who chose to stay behind Area X and become a part of its ecosystem. She's actually the only character in this trilogy I connected with since Annihilation. Her fifty pages or so of accounts here in this book had to be my favorite.
This final installment offered so many great things for readers to chew on and enjoy because of the many different accounts that were evenly spread out across its three-hundred-plus pages of narrative. Every voice was compelling even if certain scenes or even concepts don't entirely make sense. Area X is an anomaly and is more than just an infestation growing on Earth. There must be something alien-like about it; maybe it's even a doorway leading to another dimension--no one really knows or could be absolutely certain. Being faced with the inevitability of extinction for humans will always be a disconcerting theme explored by science fiction novels but The Southern Reach trilogy takes it to a more intimate and claustrophobic level of hopelessness. Its constant mentions of a 'brightness' infiltrating a human person's vessel was quite alarming--one would think the description should be that of a darkness or a black hole that could consume someone to nothingness. But no, author VanderMeer named it as a 'brightness' that his characters cannot escape from.
This review is spoiler-free because I don't want to discuss the revelations and certain key moments in all three books if any of you did decide to read the trilogy yourselves. What I can say was that it's an uneven, inconsistent story yet endlessly engrossing and dismantling once you get to the passages that are haunted and poignant. I will always find the second installment Authority wasteful and the least interesting of the series, but it was a necessary one because it established some plot points that need exposure before we get to the finale. I could still recommend The Southern Reach trilogy. It was beautifully written because VanderMeer does have a gift for descriptive language in a way that I think elevates the genre into something poetic. What I'm only critical with, however, was that it could get self-indulgent that character development had become hollow for others, and the pacing a tad too leisurely if not entirely wasteful.
This was a great series that deserves its praise, but I caution readers to check your expectations at the door before going into exploring what this trilogy offers. You may find yourself too lost in it, whether because you are entranced by its writing and landscapes, or because you couldn't make sense of anything and therefore left disappointed in the end. Fortunately, I'm in between caught between those two receptions.