Tag Archives: Meagan Kimberly

Meagan Kimberly reviews Gender Flytrap by Zoe Estelle Hitzel

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Gender Flytrap by Zoe Estelle Hitzel

For National Poetry Month I chose to read this collection I’d picked up from Sundress Publications, an independent press. It’s a fascinating collection of poems about the interconnected nature of gender, sexuality, sex, and identity.

The poems’ forms start as stanzas and lines written in fragments, but as the speaker gains a greater sense of clarity of who they are, the images and statements become more solid. A few in between bolly back and forth between this fragmented style and coherent thoughts.

It seems as though the purpose of this structure is to literally indicate the speaker’s growing anxieties and uncertainness about their gender, sex, and identity. Hitzel shows an adept hand in using and creating structure that works perfectly in conjunction with the language and emotions of each individual poem.

While the poems’ structures vary between fragmented and complete, the word choice always creates a precise and purposeful rhythm and sound. It gives the feeling that even in the most turbulent of moments of doubt, the speaker knows for certain who they are and where they stand, somewhere beneath the insecurity and anxiety.

Hitzel delivers heartbreaking lines in the simplest language, like this one:

“the television showed what it was capable of showing
and my father heard what he was capable of hearing…”

Lines like the two above depict the common way discussions and discourse about transitioning and transgender individuals are often perceived and treated. The speaker throughout the poems often analyzes and talks about others’ perceptions about their identity, and how those perceptions affect their perceptions of themselves.

In another poem, “Dial-up Internet — Diagnosis” Hitzel delivers a gut punch of emotion that anyone who’s ever questioned their identity has felt. The speaker’s tone approaches the subject from an analytical perspective but still manages to send a shock of pain to the heart.

Hitzel excels at this juxtaposition of using a neutral tone of rationale to describe the turmoil of feelings on the subject matter. The poem “Math Problem” is another standout piece that takes an analytical eye to the topic of transitioning.

The titular poem is another standout piece in the collection as the speaker delineates all the different labels and names she’s been given. Its ending line packs so much in such a matter-of-fact statement: “I appreciate how the silence calls me nothing.”

There are so many poems to choose from with powerful lines and emotional messages. It’s easy to keep flipping from one piece to the next and savoring each word. Sometimes a second and third read is necessary to fully appreciate Hitzel’s brilliant use of language and lyricism.

Meagan Kimberly reviews From A Shadow Grave by Andi C. Buchanan

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From A Shadow Grave by Andi C. Buchanan

This paranormal fantasy novella follows “you,” who is Phyllis Avis Symons. She’s a young girl living in New Zealand in the early 1930s, in the years leading up to World War II. Her contentious relationship with her parents leads her to run away and fall in love with an abusive man that becomes her downfall.

It’s hard to give a concise summary, as Phyllis lives multiple lives throughout the novella. But her first life takes up the majority of the story’s space. This book can’t be discussed as a linear narrative or in terms of character relationships and development. That doesn’t mean it was a bad book. Far from it.

From A Shadow Grave is a compelling array of connected stories told through the second-person point of view, putting the reader in Phyllis’ shoes. This perspective creates a matter-of-fact tone, giving a degree of emotional distance despite the subject matter. No matter what events occur and all the bad things that happen to the main character, the point of view puts it in a voice that indicates this is just how things are.

Phyllis’ relationships with George, Aroha, and others throughout her various lives indicates she is on the bi/pan spectrum. But it’s never explicitly stated. However, she does give voice to her hesitation and fear, as she recognizes the feelings she has for women and how it’s unacceptable in the society she lives in during the 1930s.

But that “you” perspective once more creates a factual tone, showing how Phyllis presumes life is just what it is, and there’s no use getting attached or worked up about anything. It’s her defense mechanism.

One aspect that pops up throughout is her learning disability. She’s written as someone with dyslexia, but because of the time she lives in, she’s deemed a stupid girl. What really breaks the reader’s heart is how she believes that’s true and accepts that as fact and reality.

Phyllis is also described as someone living with mental health issues. One sentence, in particular, stands out: “You were born with demons in your head, an unexplainable wish to self-destruct…” It’s especially fascinating as a description as the story takes place with a paranormal aspect, so the main character deals with magical demons as well as metaphorical ones.

The paranormal powers that exist in this world are never explained. They are accepted at face value and considered a normal part of everyday life for Phyllis and Aroha. It makes the narrative structure easier to accept, as the audience never needs to be told when another life jump has been made. It just is. This is strengthened once more by the second-person point of view.

The biggest detriment to the shortness of the novella and “you” perspective was a lack of depth in secondary characters. There were scattered details hinting that Aroha is a woman of color, but it’s not obvious that she’s an indigenous woman of New Zealand, Maori, until near the end of the book.

It’s difficult to give a specific analysis of this story without spoiling it. So many of the events and relationships are tied up in the plot, and it’s a great plot to enjoy on a first read without spoilers from a review. The best summary to give is it’s a ghost story, a love story, and a series of fragments of one person living multiple lives.

Meagan Kimberly reviews Starfall Ranch by California Dawes

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Starfall Ranch by California Dawes

Shiloh “Shy” Kerridan moved off-planet to Sirona to start a new life five years before. Thisbe Vandergoss just escaped Earth to Sirona to elude the clutches of her evil parents. She left behind a life of wealth and privilege for the freedom she craved. Thisbe applied to be a mail-order bride for a rancher by the name of Sean Kerridan, but she ended up on the wrong side of the planet and met Shy instead. Shenanigans ensue.

It takes a long time for the story to really take off. A short chapter is spent on introducing Shy’s character, but then several chapters take up Thisbe’s story as she contends with her parents’ dastardly plans to force her into a medical procedure she does not want to do. It’s not until Thisbe accidentally ends up at Starfall Ranch and meets Shy that the story starts. Everything before the meet-cute is set up.

The misunderstandings that occur as Shy and Thisbe meet and interact are cliche, but they work. It creates a compelling relationship that makes the reader invested in their romance. It’s the perfect formula for the rom-com genre. Shy and Thisbe are such a stark contrast of one another on the surface, and that’s what gives them chemistry. For anyone that fantasized about a relationship between Tahani and Eleanor on The Good Place, this comes close.

But the character development did leave something to be desired. After a certain point, it became hard to distinguish the main characters’ voices from one another. In real life, there’s a certain crossover that occurs when people develop close relationships, but the way Thisbe and Eleanor both spoke began to blur the line between who was who. It especially didn’t fit with Thisbe’s background.

Thisbe’s characterization felt all over the map. She was raised in a wealthy society, but she spoke like someone from a middle-class background. There are a few details that tell the reader she rebelled against her parents’ manipulative upbringing, but it doesn’t totally explain her tone and word choice when she speaks. Not to say that rich people can’t cuss, but the way she was described didn’t jive with the way she acted and spoke. There was a lot of dissonance with her character.

Shy’s character remains a mystery throughout most of the novel. It’s clear she has some demons of her own to contend with, but the audience doesn’t even get a glimpse of them until nearly the end of the book. Close to the end, Shy tells Thisbe her background story, implying her survival of sexual assault. The narrative doesn’t go into detail, but it doesn’t have to. That’s not the point of her sharing her story. It’s meant to build trust with Thisbe.

It does feel like Shy’s story should come up sooner. An earlier introduction of her issues in the narrative would have made the impact of Thisbe’s perceived betrayal much more impactful. Regardless, the reader is still invested in their reunion after the fallout.

There is a scene that stands out as problematic, based on Thisbe’s word choice. She is at dinner with the slimy, straight male character in the story, purely out of espionage and survival. But of course, Shy happens upon them just at the wrong time and thinks the worst. Shy thinks the two are romantically involved, and Thisbe’s reaction is not great. She states, “I’m going to pretend like you didn’t just insinuate I’m secretly straight…”

What makes that dialogue problematic is that it erases the spectrum of queerness. To imply that the only right way for a woman to be queer is to be a lesbian who is only interested in women. It erases bisexuality and other queer identities. It’s an angry statement made in the heat of the moment, but it implies that interest in a man makes queer women less queer. There’s no room for nuance.

The book counts as a sci-fi romance because it takes place on a whole other planet, but that setting is wasted in this story. Starfall Ranch and its surrounding communities have enough in common with Earth that only the names of different fruits and plants distinguish it. More than that, the focus was solely on the relationship and romance between Shy and Thisbe.

The story could have taken place anywhere and it wouldn’t have affected their relationship. The use of an off-planet setting merely worked as a tool for Thisbe to put distance between her and her parents. She could have done that by moving to the other side of the world, not to another planet.

Dawes’ novel includes a non-binary character that never gets explained, and that is a refreshing change of pace. It’s made clear they’re non-binary because Wallis strictly goes by they/them pronouns. The characters around them accept it without question and no one ever feels compelled to give a vocabulary lesson. It’s clear this is meant for a knowledgeable audience and never meant to make those who are not in the know comfortable.

Overall, it’s a fun romance story and it keeps the reader interested enough to have an investment in the characters’ happily ever after.

Meagan Kimberly reviews Perspective by Monica McCallan

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Perspective by Monica McCallan

Campbell St. Claire is a best-selling author whose novel is being produced for a film led by Sloane Murphy, a former friend from college. But the two haven’t spoken since an incident one night that left Campbell brokenhearted. Reunited, Campbell learns what happened that night with Sloane and the two reconcile. But misunderstandings ensue, and the two are once more at odds. It’s an uphill battle to get to their happily ever after.

For readers seeking a fun yet angst-filled romance novel, this is one to pick up. The character dynamic between Sloane and Campbell sizzles and burns as they orbit around one another, constantly coming together and pulling away. Miscommunications and mishaps cause their tug of war love affair as they decide what they mean to each other.

Both women suffer from insecurities that lead to their miscommunications. Campbell’s writing slump gives her a bout of impostor syndrome as she wonders if she’ll have another hit novel after her current gig. That impostor syndrome extends to how she sees herself and her worth. She considers Sloane totally out of her league and thinks the glamorous actress made her feelings clear long ago in college.

Sloane has a natural distrust of everyone as she created a career in the film industry. But her rough upbringing, which is kept vague, also influences how she views others. She believes the worst in people without knowing the full story. She guards her heart, but it’s a lonely life living in constant distrust.

The romance between Sloane and Campbell is built with care and compassion. While Campbell has been out and proud since college, Sloane did not come to peace with her sexuality until Campbell returned into her life. It’s a sweet relationship where Sloane wants to explore her feelings and Campbell helps her, but never pushes her. Their flirting is teasing, but never mean. It’s clear that although they have a great deal of sexual tension and physical fun, their relationship has always been based in friendship.

It’s a romance novel, so of course there are hot and steamy scenes throughout. But unlike many other romances, the sex doesn’t happen every other page. As Campbell guides Sloane through her journey of coming out as a lesbian, there’s more moments of tension than sex on the page. McCallan is adept at describing the sensuality of intimacy, especially in a budding romance between two women who take great care with their hearts.

When they do have sex, McCallan pulls all the stops. From start to finish, Sloane and Campbell’s intimate moments leave the readers and characters alike breathless. As they engage in their first time together, and Sloane’s first time with a woman, Campbell is incredibly careful about consent and boundaries.

Campbell always made sure to check in, but it never ruined the moment. The details in the scene depicted a positive experience for both women as they finally brought their burgeoning romance to its inevitable next level.

The one characterization that felt lacking was Sloane’s past with her mother. Details were dropped here and there indicating that the relationship was strained and that her childhood was traumatic. But it was all kept vague, making it hard to understand Sloane’s distrust in others. However, it can be argued that the point of leaving out Sloane’s difficult past and childhood was purposeful so as not to be voyeuristic.

One of the defining moments between Sloane and Campbell is when Campbell reaches out to Sloane after the actress’s mother gives the tabloids a tell-all. But Campbell never reads the story, because she knows that’s not what Sloane wants. Campbell is so considerate and respectful of Sloane’s boundaries that it’s what makes the actress drop her guard and give in to the love she has for the author.

There are a few supporting characters that round out the story and create a connection between the protagonists when they are circling each other. Riley the screenwriter befriends Campbell on set as the author stayed on as a consultant for the movie adaptation of her book. She also took a liking to Sloane, who had no choice but to keep her on as a friend. Riley is the kind of personality that doesn’t give others much choice in accepting her friendship.

Campbell’s younger sister Val plays a fleeting role. She acts more like a tool for the development of Campbell’s communication skills. She isn’t really given a chance to be her own character. Still, the love between the sisters is clear and sweet. In a story that’s mostly about Sloane and Campbell, it’s hard to add more of Val without digressing.

As with any good romance, the characters get their HEA. For any readers like myself who don’t usually gravitate toward the genre, this is a great book to give romance a chance. It keeps you turning the page and hoping for the best for everyone.

Meagan Kimberly reviews The Names We Take by Trace Kerr

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The Names We Take by Trace Kerr

The Names We Take is a young adult dystopian novel set in Spokane, Washington after an epidemic called the One Mile Cough wipes out a huge chunk of the population. Pip, the protagonist, is an intersex trans girl just trying to survive.

But a group of bounty hunters has a different idea as they seek women and children to gather for a supposed safe haven called Thistle Hill Orchard. When Pip takes charge of a girl named Iris, she must keep the child safe and do what’s best for their newfound family.

The novel moves at a good pace as the action keeps its momentum going forward while the moments of peace allow the characters and reader to breathe. Kerr is adept at unraveling details about the characters throughout the narrative without falling into info dump traps. While the character development shines, the plot development fell a bit by the wayside.

The premise is that a plague hit Spokane’s population, but the One Mile Cough disease isn’t given much page time other than to say that’s how they got into this post-apocalypse world. Its origins or spread are never detailed, and the reader doesn’t know for sure how far it hit. It’s assumed the whole United States at least, as the citizens of Spokane have been left to fend for themselves. But the narration never confirms that guess.

As Pip goes through the new world after civilization has crumbled, she faces a great deal of the same prejudice and bigotry as she did before the world ended. She gets misgendered constantly and experiences violence at the hands of men. It’s a brutal pill to swallow as she continues to assert her existence as her true self, fighting narrow-minded bigots and righteous zealots who feel they know best for her.

But Pip finds reprieve in her relationships. Whistler, a survivor of One Mile Cough with PTSD, is her protector. Iris becomes the little sister she must guide and protect. Fly is the beautiful girl she falls for in the middle of the chaos around her. The dynamics between the protagonist and supporting cast are what make this book such a fascinating read. It’s the story of the family forged when people take a stand and fight for who they are.

The most interesting development in Pip’s character is her demeanor toward Iris. It’s clear that Pip doesn’t lack compassion, but she does lack patience. Running around with a twelve-year-old girl who is prone to pouting and eye-rolling, even in the apocalypse, teaches her a great deal of patience and love.

Another delightful aspect of the novel is its inclusion of periods. Post-apocalypse stories are notorious for staying away from the subject of menstruation, but it’s a problem that should be addressed, because it’s an unavoidable fact of life for people who menstruate. Kerr doesn’t shy away from the topic and details how Pip gathers pads and teaches Iris what to do when the young girl gets her first period.

The language around Pip’s gender and sexual orientation is careful and precise. It’s explained that she was born intersex and that her parents chose male for her at birth, but when she hits puberty and gets her first period, that’s when she finds out she was born intersex. As she grows, she becomes sure she wants to be a girl and takes steps to make her body appear as her true identity.

Throughout the novel, the audience sees her struggling when she’s called a boy or questioned about her gender. She clearly still holds insecurity and body dysmorphia over her masculine appearance in many ways. But Iris accepts Pip as a girl, even if the others in Thistle Hill don’t. Pip also reveals she is bisexual when she starts developing a crush on Fly. Her feelings fill her with fear, but Fly assures her it’s okay, as does another friend at the sanctuary.

The Names We Take is set to be published by Ooligan Press in May 2020 but is available for pre-order now from the author. Be on the lookout for it!

Meagan Kimberly reviews Remember, November by Cameron Darrow

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Remember, November by Cameron Darrow

Remember, November follows Millie, Elise, Victoria, and their coven of witches as they learn their powers in the aftermath of World War I. The coven is under the employment of The Allied Directorate for Alternative Means (ADAM), a government-sanctioned operation that wants to use magic to fight wars.

On Christmas night, Victoria goes missing. The split point of view narration reveals that she has lost her memory and doesn’t know she’s a witch. After a series of strange mishaps that seem impossible, she submits herself to the mercy of a psychiatric hospital, hoping to find answers. But the kind doctor and hospital are not all they appear to be. It’s up to Millie and Elise to rescue their lost friend.

The mysterious plot combined with historical fiction and a bit of romance between Millie and Elise make this novel a delightful read. It’s easy to keep turning the pages as the action never gets bogged down in too much detail. The moments of character development give the reader an opportunity to breathe and get inside the characters’ heads.

Each character has a strong, distinct voice that makes readers want to get to know each one on their own. But that doesn’t mean their relationships with one another fall by the wayside. The bond that is created between the three new witches as well as their mistresses, ancient witches who are mentoring the new generation, comes through clearly as they do anything and everything to protect one another.

While the writing is strong and compelling, it’s not particularly tight. There are moments where the story is hard to follow because typos and convoluted grammar make it hard to follow. It felt like the book needed more effective editing before going to publication. But the narrative is still strong enough to keep readers wanting more.

Darrow’s writing ability shines through during moments of introspection. Each main character is developed within their own thoughts. As Millie and Victoria navigate their world and consider their relationships with other characters, their voices are clear and distinct, making them complete and rounded-out people. It’s an impressive feat with Victoria, as for most of the book she is without her memory.

The novel establishes Elise and Millie’s romantic relationship early on. But for fans of a slow burn, their pining makes up a great deal of this romance. Everything about their feelings always feels genuine and organic. Millie’s characterization is especially sweet as her demeanor softens when she’s around Elise, whereas with others she tends to be sarcastic.

As the story unravels and readers go along for the ride, there are clues and details that may lead them to certain conclusions. That’s why the plot twist with how Victoria lost her memory packs a powerful punch. It’s a possibility that doesn’t pop up at the top of the list of answers to the question, “What happened?”

One aspect I wish had been explored more was the correlation between science and magic. Darrow touches upon the relation between two seemingly opposing concepts with Elise and Victoria, but the idea never blooms further than a few buds. The story could have been made richer with a deeper dive into how science and magic go hand in hand.

Meagan Kimberly reviews The Athena Protocol by Shamim Sarif

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The Athena Protocol by Shamim Sarif

Jessie Archer is an agent of Athena, a secret women’s organization that does the government’s dirty work of bringing down bad guys without the red tape. But even Athena has its rules, and Jessie is a loose cannon. When she’s fired from the only work she’s ever known, Jessie takes matters into her own hands and goes on a mission to bring down Gregory Pavlic, a Serbian politician known for human trafficking. Along the way, she falls for Paulina, the forbidden love interest and daughter of the enemy. Jessie must earn her old team’s trust and work with them to save Gregory’s victims from a grisly fate.

Jessie is a hard protagonist to like and cheer for. She’s immature and impatient, causing her to make the same mistakes over and over again. She messes up and expects immediate forgiveness as soon as she shows remorse, never allowing her loved ones the time and space they need to heal from the hurt she caused.

She also has a righteous complex that is obnoxious. Jessie falls into the “not like other girls” trap and considers such women who engage in what are considered narcissistic activities as beneath her. She also tends to lean toward a colonizer’s savior complex, which is especially poignant when she talks to her friend Hala, a woman she brought into the fold after helping her seek asylum in England when Hala was accused of being a terrorist.

Being unlikeable doesn’t make her a bad character, though. It just makes her a frustrating one. However, her inner dialogue reveals her reasons behind her actions and adds a layer of sympathy for readers to latch onto. Jessie recognizes that while Athena’s vigilante missions do good, they can’t pretend they don’t ever do bad in the process. It makes up the hero’s internal conflict throughout the novel. Jessie constantly questions how much bad Athena can do for the sake of good before they themselves become the bad guys.

The pacing and action of the story keep it moving, making the book a quick read. The fight scenes are exciting and keep the reader hooked, wondering what comes next and if the hero will escape certain death. Jessie’s computer and tech skills are also a point of appreciation. Her technical prowess makes her a formidable agent of good, as she offers both brain and brawn.

Ultimately, the action and pace are what keep the novel going. The character development and dynamics don’t delve deep enough for readers to create an attachment to the people and their conflicts. There was potential for rich relationships, but the writing only scratched the surface with Jessie and her comrades.

The most interesting character dynamic was Jessie and Paulina, as their roles created a star-crossed lovers scenario. With Jessie being on the side of good and Paulina being the daughter of the villain, it seemed like readers could tell where that relationship was going. But the twist at the end came as a surprise and made for a satisfying bit of character growth.

Aside from this relationship though, the characters felt shallow. Especially with Jessie, it felt like a great deal of the emotions and behaviors were unexplained or unearned. Most of what her character did felt out of left field.

The way Jessie’s queer identity is handled seemed odd at the end. Throughout the novel, she’s not exactly shy about the way she feels about Paulina. She’s not running around the streets yelling it at the top of her lungs, but she doesn’t run away from the bond they create either.

So in the end, when her mother, Kit, reveals that she didn’t know Jessie liked women, it was confusing. Jessie’s sexuality is never explicitly discussed between her and the other characters, so it felt like it was common knowledge and accepted. Kit’s revelation indicates otherwise though.

The best part of the book is its diverse cast of characters. Athena is made of women from various backgrounds, from British to Arabic to American and Black. Its founder is an Asian woman who reads like a Bruce Wayne or Tony Stark type, using her billions and tech company to fund the espionage organization.

Overall, the premise and characters had a lot of potential, but I don’t think Sarif reached it. It is still a fun and fast read for anyone looking for an action-packed book with kick-butt ladies.

Meagan Kimberly reviews The Labyrinth’s Archivist by Day Al-Mohamed

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The Labyrinth’s Archivist by Day Al-MohamedThe following review contains spoilers!

The Labyrinth’s Archivist, the first in the Broken Cities series, follows Azulea, the daughter of the Head Archivist and granddaughter of the former Head Archivist. The Labyrinth contains winding paths and hallways with gates to other worlds, and the Residence, where the Archive is housed, is a safe way station for passing travelers and traders. But when Azulea’s Amma dies unexpectedly, she suspects foul play. It’s up to Azulea and her friends to solve the murder mystery before more Archivists are lost to the killer.

Al-Mohamed creates a rich and diverse world with her multi-species cast of characters and delightful sci-fi setting. It’s never stated whether or not this world is set on the Earth as we know it, but enough clues make it sound like it’s off planet. The bustling marketplace life with its many beings from different planets and worlds will make the story strongly resonate with fans of the Star Wars franchise.

Though that is the case, it is clear that Middle Eastern culture heavily influences the makeup of this world. The marketplace, where a majority of the story takes place, is referred to as the souq, giving readers just enough detail to know this world is inspired by an Arabic or Middle Eastern society and culture. Details abound about the food people eat, like aish, and the use of spices like cumin and cardamom, common in South Asian and Arabic cuisine, indicate these cultures as the foundation for the Residence’s world.

My favorite aspect of the whole story is Azulea’s character. She is a queer woman of color with a disability; she is blind. In the Archivist tradition, individuals should be self-sufficient and able to complete the tasks the job entails without assistance. Azulea challenges those traditions though by enlisting the help of her best friend and cousin, Peny, who is coded as having a learning disability. Together, they can be Archivists. While Azulea is the mind that processes and analyzes information quickly, Peny is the eyes that can see and draw the maps Azulea describes.

The Archivist society’s views of people with disabilities can be interpreted as a commentary on how our own real-world society treats the differently-abled. Azulea proves that, given the proper tools and resources to even the playing field, she is just as capable of getting the job done as an able-bodied person.

But Azulea isn’t the only one proving this. Peny also defies expectations by supplying the main character with the skills she lacks, as well as by learning the trade despite her learning disabilities. Another character named Handsome Dan is portrayed as an amputee with a symbiotic tentacle as his “prosthetic” leg. The novella is rife with people with disabilities, and they are all full, complex characters, capable, competent, intelligent, and independent spirits. The fact that they need assistance doesn’t make them any less so.

Azulea’s mother is stubborn and rooted in the old ways, but her Amma always believed she could follow in their footsteps. That’s why when her grandmother dies under suspicious circumstances, Azulea charges forward with the task of finding her killer, despite the doubts coming from her community and even her own mother. It’s this persistence to succeed in a world that favors the able-bodied that makes Azulea such a great character to root for.

The queer romance did not dominate the story, but it added another element to the sci-fi murder mystery arc. Azulea and Melehti have a history, and as events unfold, that chemistry returns and can’t be ignored. It’s stated that their relationship didn’t work out because Azulea felt that accepting Melehti’s help made her dependent, and as a blind woman, she didn’t want to lean on anyone’s help for too long.

This aspect of the story brings another layer to Azulea’s characterization, as it shows that even she suffers from her society’s mentality of disabilities. In a world that deems the disabled as incapable, Azulea has put herself through so many hoops to prove she isn’t, often to her detriment.

Overall, the biggest weakness of the novella is just that: it’s a novella. There were so many places that felt like they needed a deeper dive and more room to breathe, which could have been accomplished if the story had been written as a full-length novel.

Even the Labyrinth that’s in the title barely gets explored throughout the story. It never details where the Labyrinth came from, how a city came to be built around it, and the role it plays in their world. Much time is spent on its Archivists and how they interact with it, but apart from the Residence, not much is known about the Labyrinth itself, which makes the story feel like it’s missing something, considering the novella’s title.

That being said, it is still an excellent read and highly recommended. I know I want to read the rest of the series.

Meagan Kimberly reviews The Sanctuary of Themyscira by Leila Hedyth

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The Sanctuary of Themyscira by Leila Hedyth

In the first of the Amazons series by Hedyth, Kylla is rescued from imprisonment and thrown into an otherworldly adventure on the mythical island of Themyscira, home of the legendary Amazonian women. However, the paradise of a land ruled by women, away from the patriarchal world, is not all it seems. Kylla soon learns the history of the Amazons, as well as their secrets and regrets, and what role she plays in it all.

I had a hard time getting into this book, as the language felt awkward and out of place, not only in the dialogue, but in the exposition. I do recognize though that this was written in translation, so it could simply be a matter of that. It seems like such a small detail to nitpick, but the constant repetition of certain words, like “grandiose” to describe everything that left Kylla in awe or “piercing” to describe everyone’s eyes, is distracting when trying to follow the story.

The language also felt stilted and unnatural, as if the author/translator tried to create a lofty voice for the Amazons. The problem this creates is one in which not a single Amazon is discernible from another. Even the main character sounds like this, but she comes from what can only be described as “the real world,” so there isn’t a clear reason as to why she speaks this way.

There’s a lack of setup for the world Kylla lives in before she’s rescued and taken to Themyscira. It’s a vague context of an overly patriarchal world that uses and abuses women, but not enough time is spent developing that world to show why Kylla is whisked away to safety and refuge. Throughout her time on the island, there are a few details sprinkled about her clan, giving the reader the idea she might come from indigenous people, but it’s never made clear.

As the story unfolds, more and more characters are introduced. There are the Amazons Ines, Cynthia, Lorelei, Re’gan, Johanne, the Queen Iris, and so many more. There is such a wide cast of characters that the reader never has enough time to get to know any one in particular. In fact, it’s even hard to remember that Kylla, the main character of the novel, is indeed the main character. She fades too easily into the background of what’s going on around her, never making a lasting impression.

Because of this lack of character and relationship development, the stakes fail to land and leave a meaningful impact. By the time the reader gets to the end of the book, they’re left wondering why they should care. Between the overwhelming number of characters and fast pace of sequence of events, it’s easy to tune out while reading and miss so many details. It felt like the author tried to make one book out of two or three.

The story doesn’t focus on any specific w|w pairing, but there are a couple main ones that take place throughout the novel. But again, there was such a lack of development between the characters that these romances fell short of the potential they had to bloom and depict a healthy, loving example of queer women relationships. This underdevelopment is detrimental to the inclusion of people of color among the characters as well. Brief, surface descriptions when a new character is introduced are the only indicators that this world even has black and/or brown women. Their ethnic, cultural, and racial backgrounds are so minimally important that it reads more like the author was working off a checklist of diversity.

The most compelling content in the novel is the second section, which goes into the history of the Amazons. For those familiar with Greek mythology and the mythos of the Amazons, this part of the story holds strong. It relies so much on familiarity with the myths, that without it, the novel as a whole could not stand on its own. However, within the section about the Amazons’ history, there is a standout character named Phoebe. Her story and her character are by far the most developed in the book, which keeps the reader engaged and interested to see how it all ties together.

Overall, I’d rate the book somewhere between 2.5 and 3 stars. There are moments that kept me reading and intrigued, but on the whole, I felt it needed more development.

Meagan Kimberly reviews “Every Exquisite Thing” by Cassandra Clare and Maureen Johnson

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Every Exquisite Thing by Cassandra Clare and Maureen Johnson

This story is part of a collection called Ghosts of the Shadow Market, another installment that takes place in Clare’s Shadowhunter universe. For those unfamiliar with this world, the short version is this: A race of people with angel blood running through their veins, known as children of the Nephilim, keep demons at bay working as Shadowhunters. They are raised in this way of life, and their purpose is to protect the mundane world from getting taken over by evil.

Okay, now that you have a little background, let’s dive into the story proper. Warning, there be spoilers ahead!

It’s 1901 in London, and Anna Lightwood is learning how to be a Shadowhunter, along with her brother and cousins. When she’s training, she gets to wear comfortable, sensible clothing that allows her the movement a warrior needs to properly fight off demons. It’s when she’s made to wear ladies’ clothing among civilized company that she feels misplaced.

Anna spends many hours stealing her brother’s old clothes, dressing up as a dapper young woman, and pretending to dazzle the ladies in the privacy of her room, where no one knows her secret. When I say dapper, I mean, seriously, just look at that book cover!

Then one fateful day, the Inquisitor (a high-standing political position in the Shadowhunter world) visits with his daughter, Ariadne. Anna is immediately smitten, and so it seems is Ariadne. Now when Anna pretends to dance with an imaginary young lady in her room, she takes on the image of Ariadne.

Anna is more than enthusiastic and happy when Ariadne suggests they begin training together. Still, with the thrill of growing so close to her new crush, Anna worries about her family’s and society’s reaction to her true feelings: that she will never want to marry a man.

It’s never explicitly stated how Anna identifies in terms of gender. She doesn’t object to being called she, but in her imaginary dancing with Ariadne, the fantasy version of the girls tells Anna she is “the most handsome person I have ever known.” In Anna’s own make believe world, the girl she has a crush on doesn’t identify her by any specific gendered term. Readers could interpret Anna as nonbinary or genderqueer.

One night, her cousin, Matthew Fairchild, invites Anna to a night on the town, as he seeks the company of a fellow mischief maker. Anna is all too happy to don the stolen suit she sewed up to fit her and take it for a spin to a notorious club in Soho.

Never once does Matthew object to his cousin wearing men’s clothes. In fact, he even offers her one of his own ascots, as he states, “I could never let a lady go out in inferior menswear.” The acceptance of one of her peers gives Anna a confidence she’s always longed for.

During their escapades, Anna and Matthew stumble upon trouble in the form of a warlock woman named Leopolda Stain. They don’t quite know just how much trouble she is until Anna invites Ariadne out to the same club a week later, when events take a turn for the worse.

Once more in the menswear that makes her feel confident and comfortable, Anna introduces Ariadne to the London nightlife of poets, writers, and artists that her cousin had shown her. The two young ladies’ flirting gets cut short when the warlock Leopolda is found leading a demon summoning.

Anna and Ariadne are first and foremost Nephilim, so they do what they do best. They jump into action to put a stop to the danger and rescue the mundanes in the club. In the midst of their battle, Anna realizes how in love she is with Ariadne. That’s when she sustains a terrible wound and Ariadne must come to her rescue.

It’s an absolute treat getting to see two bad babes fight back to back and then take care of each other. Back in Ariadne’s bedroom, where she took Anna to recover, the girls finally have their moment of truth and share a sweet and passionate kiss that turns into an adorable scene of cuddling.

Anna leaves back home, her family none the wiser to the night’s escapades. The way Johnson and Clare describe Anna’s joy at finding someone who reciprocates her feelings is absolutely genuine. It’s that sweet and warm, fuzzy feeling of a first love that every reader of YA can appreciate. But that sweetness is short-lived, as the next day Anna returns to Ariadne’s house to find her parents have arranged a marriage for her to another: Matthew’s brother Charles.

Anna begs Ariadne to buck with tradition and societal expectations, and to be with her instead. Ariadne though feels her only choice is to marry a man she will never love, so as not to cause any ripples or bring dishonor to her family.

Though Ariadne will not see Charles again for another year and tells Anna they can share their secret happiness for that time, Anna turns away, knowing that she no longer wants to keep hiding behind the mask that society has chosen for her.

The end of the story is really what made me tear up. Upon learning the truth of Anna and Ariadne, Anna’s mother Cecily shows nothing but support and acceptance for her daughter. Cecily, it turns out, has always known that Anna had no interest in men, but she never wanted to push her daughter to speak before she was ready.

When Anna laments that she will never be allowed to marry another woman, Cecily reminds her that many marriages in their family were said to be forbidden, but that they found ways, despite what society and Shadowhunter laws expected.

Anna’s mother further shows her support in presenting Anna with a new suit designed specifically for her. She knew all along that Anna had been stealing her brother’s old suit, and decided she needed a proper men’s suit of her own. Taking courage and strength from her mother’s support, Anna takes a knife to her hair and cuts it down to a masculine style.

When she joins her family at a picnic in her new attire and hairstyle, her father, Gabriel Lightwood (a familiar face to fans of The Infernal Devices series), hints that the blue waistcoat was his idea. To the haircut, her mother simply remarks it is more sensible for battle. Her brother merely smiles his acceptance of her.

Though Anna is still heartbroken over Ariadne, she is finally free of the invisible restraints of society now that she knows she has her family’s unconditional love and acceptance. It’s this ending that makes the story of a broken heart so worthwhile. While the two female leads didn’t get to live happily ever after, Anna got something more: a newfound sense of self that won’t be shaken.

For those that only want to read this story or don’t have access to the full collection, it is available as its own ebook through Amazon.