Sunday, November 24, 2019

Review: Drought by Pam Bachorz


Drought
By: Pam Bachorz


Synopsis From Goodreads:

A young girl thirsts for love and freedom, but at what cost? 
Ruby dreams of escaping the Congregation. Escape from slaver Darwin West and his cruel Overseers. Escape from the backbreaking work of gathering Water. Escape from living as if it is still 1812, the year they were all enslaved. 

When Ruby meets Ford—an irresistible, kind, forbidden new Overseer—she longs to run away with him to the modern world where she could live a normal teenage life. Escape with Ford would be so simple. 

But if Ruby leaves, her community is condemned to certain death. She, alone, possesses the secret ingredient that makes the Water so special—her blood—and it’s the one thing that the Congregation cannot live without.

Drought is the haunting story of one community’s thirst for life, and the dangerous struggle of the only girl who can grant it.






My Review:
Rating:
★★

Several years back I picked this book up from a school book fair with my sister, the blurb had me intrigued right off the bat. However, like many of the books I've gone through lately it was shoved to the bottom of my TBR and only just rediscovered after some serious cleaning. 

Drought follows Ruby, a young girl struggling to be heard among her people. Ruby is part of a Congregation, that has been enslaved for hundreds of years by a ruthless man, Darwin West. Their only goal to endure and wait for their savior, Otto to come rescue them. For hundreds of years Ruby has been forced to collect water from the plants surrounding their village, it's all she has ever known. 

Ruby only wants to be free, to see the modern world and save her people, but no one in her Congregation with listen. She wants nothing more than to save them and walk away from their torturous lives, however she gets shutdown and berated at ever turn. Even her Mother won't listen.

Then the day comes when a kind Overseer, Ford promises her love and happiness. He is kind to her and opens her heart in a way she never thought possible. He begs her to leave with him but Ruby's blood is sacred and she must stay in order to sustain the Congregation, her people. 

I struggled though this book from the very beginning. At first I was a bit confused as to the characters history and their purpose. How can a society exist in modern times with no one outside knowing? Who is this Visitor that comes to collect the cisterns full of water? What is his purpose for collecting it? Who is Otto really?

This book felt as though it had more of a religious, cult-like meaning. The Congregation seemed to force their views on Ruby, never allowing her to voice her thoughts. The there are the many debates between Ruby and Ford about their differing views on the "gods" they pay too. 

Unfortunately, for me this just wasn't my cup of tea. The writing was great but the story seemed lacking at times. I feel as though I walked away with more questions than answers. 


Published by: K


Sunday, November 10, 2019

Review: The Beauty of Darkness by Mary E. Pearson

πšƒπš‘πšŽ π™±πšŽπšŠπšžπšπš’ 𝚘𝚏 π™³πšŠπš›πš”πš—πšŽπšœπšœ 
πš‹πš’: π™ΌπšŠπš›πš’ 𝙴. π™ΏπšŽπšŠπš›πšœπš˜πš—

πš‚πšŽπš›πš’πšŽπšœ:  πšƒπš‘πšŽ πšπšŽπš–πš—πšŠπš—πš π™²πš‘πš›πš˜πš—πš’πšŒπš•πšŽπšœ
π™ΆπšŽπš—πš›πšŽ:  π™΅πšŠπš—πšπšŠπšœπš’, πšˆπš˜πšžπš—πš π™°πšπšžπš•πš
π™»πšŽπš—πšπšπš‘: πŸΌπŸΎπŸΊ πš™πšŠπšπšŽπšœ
πš‚πš’πš—πš˜πš™πšœπš’πšœ π™΅πš›πš˜πš– π™Άπš˜πš˜πšπš›πšŽπšŠπšπšœ:
π™»πš’πšŠ πš‘πšŠπšœ πšœπšžπš›πšŸπš’πšŸπšŽπš πš…πšŽπš—πšπšŠ—πš‹πšžπš 𝚜𝚘 πš‘πšŠπšœ 𝚊 πšπš›πšŽπšŠπš πšŽπšŸπš’πš• πš‹πšŽπš—πš πš˜πš— πšπš‘πšŽ πšπšŽπšœπšπš›πšžπšŒπšπš’πš˜πš— 𝚘𝚏 π™Όπš˜πš›πš›πš’πšπš‘πšŠπš—. π™°πš—πš πš˜πš—πš•πš’ π™»πš’πšŠ πšŒπšŠπš— πšœπšπš˜πš™ πš’πš. 

πš†πš’πšπš‘ πš πšŠπš› πš˜πš— πšπš‘πšŽ πš‘πš˜πš›πš’πš£πš˜πš—, π™»πš’πšŠ πš‘πšŠπšœ πš—πš˜ πšŒπš‘πš˜πš’πšŒπšŽ πš‹πšžπš 𝚝𝚘 πšŠπšœπšœπšžπš–πšŽ πš‘πšŽπš› πš›πš˜πš•πšŽ 𝚊𝚜 π™΅πš’πš›πšœπš π™³πšŠπšžπšπš‘πšπšŽπš›, 𝚊𝚜 πšœπš˜πš•πšπš’πšŽπš›—𝚊𝚜 πš•πšŽπšŠπšπšŽπš›. πš†πš‘πš’πš•πšŽ πšœπš‘πšŽ πšœπšπš›πšžπšπšπš•πšŽπšœ 𝚝𝚘 πš›πšŽπšŠπšŒπš‘ π™Όπš˜πš›πš›πš’πšπš‘πšŠπš— πšŠπš—πš πš πšŠπš›πš— πšπš‘πšŽπš–, πšœπš‘πšŽ πšπš’πš—πšπšœ πš‘πšŽπš›πšœπšŽπš•πš 𝚊𝚝 πšŒπš›πš˜πšœπšœ-πš™πšžπš›πš™πš˜πšœπšŽπšœ πš πš’πšπš‘ 𝚁𝚊𝚏𝚎 πšŠπš—πš πšœπšžπšœπš™πš’πšŒπš’πš˜πšžπšœ 𝚘𝚏 π™ΊπšŠπšπšŽπš—, πš πš‘πš˜ πš‘πšŠπšœ πš‘πšžπš—πšπšŽπš πš‘πšŽπš› πšπš˜πš πš—. 

π™Έπš— πšπš‘πš’πšœ πšŒπš˜πš—πšŒπš•πšžπšœπš’πš˜πš— 𝚝𝚘 πšπš‘πšŽ πšπšŽπš–πš—πšŠπš—πš π™²πš‘πš›πš˜πš—πš’πšŒπš•πšŽπšœ πšπš›πš’πš•πš˜πšπš’, πšπš›πšŠπš’πšπš˜πš›πšœ πš–πšžπšœπš πš‹πšŽ πš›πš˜πš˜πšπšŽπš 𝚘𝚞𝚝, πšœπšŠπšŒπš›πš’πšπš’πšŒπšŽπšœ πš–πšžπšœπš πš‹πšŽ πš–πšŠπšπšŽ, πšŠπš—πš πš’πš–πš™πš˜πšœπšœπš’πš‹πš•πšŽ 𝚘𝚍𝚍𝚜 πš–πšžπšœπš πš‹πšŽ πš˜πšŸπšŽπš›πšŒπš˜πš–πšŽ 𝚊𝚜 πšπš‘πšŽ πšπšžπšπšžπš›πšŽ 𝚘𝚏 πšŽπšŸπšŽπš›πš’ πš”πš’πš—πšπšπš˜πš– πš‘πšŠπš—πšπšœ πš’πš— πšπš‘πšŽ πš‹πšŠπš•πšŠπš—πšŒπšŽ.




π™Όπš’ πšπšŽπšŸπš’πšŽπš : 
πšπšŠπšπš’πš—πš:
★★★★★


***π™²πšŠπšžπšπš’πš˜πš— π™ΌπšŠπš’ π™²πš˜πš—πšπšŠπš’πš— πš‚πš™πš˜πš’πš•πšŽπš›πšœ***

π™Έπš πšπš˜πš˜πš” πš–πšŽ 𝚊 πš‹πš’πš πš•πš˜πš—πšπšŽπš› πšπš‘πšŠπš— πšŽπš‘πš™πšŽπšŒπšπšŽπš 𝚝𝚘 πšπš’πš—πš’πšœπš‘ πšπš‘πšŽ πšπš’πš—πšŠπš• πšŒπš‘πšŠπš™πšπšŽπš› 𝚘𝚏 πšƒπš‘πšŽ πšπšŽπš–πš—πšŠπš—πš π™²πš‘πš›πš˜πš—πš’πšŒπš•πšŽπšœ, πš‹πšžπš 𝙸 πš‘πšŠπšŸπšŽ πšπš’πš—πšŠπš•πš•πš’ πš›πšŽπšŠπšŒπš‘πšŽπš πšπš‘πšŽ πšŽπš—πš. π™Έπš πš’πšœ 𝚊 πš‹πš’πšπšπšŽπš›πšœπš πšŽπšŽπš πš›πšŽπšŸπšŽπš•πšŠπšπš’πš˜πš—, πš‘πšŠπšŸπš’πš—πš 𝚝𝚘 𝚜𝚊𝚒 πšπš˜πš˜πšπš‹πš’πšŽ 𝚝𝚘 πš‘πš’πšœ πš πš˜πš›πš•πš 𝚘𝚏 πš”πš’πš—πšπšπš˜πš–πšœ πšŠπš—πš πšπšŽπšŠπš›πš•πšŽπšœπšœ πš πšŠπš›πš›πš’πš˜πš›πšœ. π™ΌπšŠπš›πš’ 𝙴. π™ΏπšŽπšŠπš›πšœπš˜πš— πš’πšœ πšŠπš— πšŠπšœπšπš˜πš—πš’πšœπš‘πš’πš—πš πšŠπšžπšπš‘πš˜πš›, πšŽπšŸπšŽπš›πš’ πš πš˜πš›πš πš“πšžπš–πš™πšœ 𝚘𝚏𝚏 πšπš‘πšŽ πš™πšŠπšπšŽ πš‹πš›πš’πš—πšπš’πš—πš 𝚒𝚘𝚞 πšŒπš•πš˜πšœπšŽπš› 𝚝𝚘 πšπš‘πšŽ πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš› πšŠπš—πš πšπš‘πšŽπš’πš› πš πšŠπš› πš›πš’πšπšπš•πšŽπš πš πš˜πš›πš•πš.

πšƒπš‘πšŽ π™·πšŽπšŠπš›πš 𝚘𝚏 π™±πšŽπšπš›πšŠπš’πšŠπš• πš•πšŽπšŠπšŸπšŽπšœ 𝚞𝚜 πš πš’πšπš‘ π™»πš’πšŠ'𝚜 πš•πš’πšπšŽ πš’πš— πššπšžπšŽπšœπšπš’πš˜πš—. π™·πš˜πš  πšπš’πš πšœπš‘πšŽ πšπšŠπš›πšŽ πš’πš— πš‘πšŽπš› πš‹πšŠπšπšπš•πšŽ πšŠπšπšŠπš’πš—πšœπš πšπš‘πšŽ πš›πšŠπšπš’πš—πš πš›πš’πšŸπšŽπš› πš˜πšžπšπšœπš’πšπšŽ πš…πšŽπš—πšπšŠ? πš†πš’πš•πš• πšœπš‘πšŽ πšœπšπš’πš•πš• πš‘πšŠπšŸπšŽ πšπš‘πšŽ πšœπšπš›πšŽπš—πšπšπš‘ 𝚝𝚘 𝚐𝚘 πšžπš™ πšŠπšπšŠπš’πš—πšœπš πšπš‘πšŽ π™Ίπš˜πš£πš’πš–πšŠπš›'𝚜 πšŠπš›πš–πš’? π™°πš—πš πš πš‘πšŠπš 𝚘𝚏 πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš›, πšπš’πš πš‘πšŽ πšœπšžπš›πšŸπš’πšŸπšŽ πš‘πš’πšœ πšŒπš˜πš—πšπš›πš˜πš—πšπšŠπšπš’πš˜πš— πš πš’πšπš‘ π™»πš’πšŠ?

πšƒπš‘πšŽ π™±πšŽπšŠπšžπšπš’ 𝚘𝚏 π™³πšŠπš›πš”πš—πšŽπšœπšœ πš™πš’πšŒπš”πšœ πšžπš™ πš πš’πšπš‘ π™»πš’πšŠ πšπš’πšπš‘πšπš’πš—πš πšπš˜πš› πš‘πšŽπš› πš•πš’πšπšŽ, 𝚁𝚊𝚏𝚎 πšŠπš—πš πš‘πš’πšœ πš‹πšŠπš—πš 𝚘𝚏 πšœπš˜πš•πšπš’πšŽπš›πšœ πš‹πš’ πš‘πšŽπš› πšœπš’πšπšŽ. πšƒπš‘πšŽπš’ πš‘πšŠπšŸπšŽ πšŽπšœπšŒπšŠπš™πšŽπš πš…πšŽπš—πšπšŠ, πš˜πš—πš•πš’ 𝚝𝚘 πš‹πšŽ πšπš›πšŠπš™πš™πšŽπš 𝚊𝚜 πšπš‘πšŽπš’ πš πšŠπš’πš πšπš˜πš› π™»πš’πšŠ 𝚝𝚘 πš›πšŽπšπšŠπš’πš— πš‘πšŽπš› πšœπšπš›πšŽπš—πšπšπš‘. πšƒπš‘πšŽ 𝚍𝚊𝚒𝚜 πšπš’πšŒπš” πš‹πš’ πš πš’πšπš‘ πš πš˜πš›πš›πš’ πš˜πšŸπšŽπš› π™»πš’πšŠ'𝚜 πš’πš—πš“πšžπš›πšŽπšœ πšŠπš—πš πš‘πš˜πš  πš–πšžπšŒπš‘ πšπš’πš–πšŽ πšπš‘πšŽπš’ πš‘πšŠπšŸπšŽ πš‹πšŽπšπš˜πš›πšŽ πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš›'𝚜 πšŠπš›πš–πš’ πšŒπš˜πš–πšŽπšœ πš•πš˜πš˜πš”πš’πš—πš πšπš˜πš› πšπš‘πšŽπš–.

𝚁𝚊𝚏𝚎 πš’πšœ πš™πš˜πšœπš’πšπš’πšŸπšŽ πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš› πš’πšœ 𝚍𝚎𝚊𝚍, πš‹πšžπš π™»πš’πšŠ πš‘πšŠπšœ πš‘πšŽπš› πšœπšžπšœπš™πšŽπš—πšœπš’πš˜πš— πšπš‘πšŠπš πš—πš˜πš πšŠπš•πš• πš’πšœ 𝚊𝚜 πš’πš πšœπšŽπšŽπš–πšŽπš πšπšžπš›πš’πš—πš πšπš‘πšŽπš’πš› πš‹πšŠπšπšπš•πšŽ 𝚘𝚞𝚝 𝚘𝚏 πšπš‘πšŽ πš‚πšŠπš—πšŒπšπšžπš–. π™·πšŽπš› "πšπš’πšπš" πš™πš›πš˜πšŸπš˜πš”πšŽπšœ πš‘πšŽπš› 𝚝𝚘 πš™πšžπšœπš‘ πšπš˜πš›πš πšŠπš›πš πšŽπšŸπšŽπš— πš πš’πšπš‘ πš‘πšŽπš› πš’πš—πš“πšžπš›πšŽπšœ. πš‚πš‘πšŽ πš’πšœ πšπšŽπšπšŽπš›πš–πš’πš—πšŽπš 𝚝𝚘 πš›πšŽπšπšžπš›πš— πš‘πš˜πš–πšŽ 𝚝𝚘 π™Όπš˜πš›πš›πš’πšπš‘πšŠπš— 𝚝𝚘 πšπš•πšžπšœπš‘ 𝚘𝚞𝚝 πšπš‘πšŽπšœπšŽ πšπš›πšŠπš’πšπš˜πš›πšœ πšŠπš—πš 𝚜𝚊𝚟𝚎 πš‘πšŽπš› πš”πš’πš—πšπšπš˜πš– πšπš›πš˜πš– πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš›.

π™·πš˜πš πšŽπšŸπšŽπš›, 𝚁𝚊𝚏𝚎 πš‘πšŠπšœ πš˜πšπš‘πšŽπš› πš™πš•πšŠπš—πšœ...πš‘πš’πšœ πš”πš’πš—πšπšπš˜πš– πš’πšœ πš’πš— πšπšžπš›πš–πš˜πš’πš• πš’πšπšœπšŽπš•πš πšŠπš—πš πš‘πšŽ πš–πšžπšœπš πš›πšŽπšπšžπš›πš— πš‘πš˜πš–πšŽ 𝚝𝚘 πš›πšŽπšœπšπš˜πš›πšŽ πš˜πš›πšπšŽπš› 𝚝𝚘 πš‘πš’πšœ πš”πš’πš—πšπšπš˜πš–. π™·πšŽ πšπš’πš—πšπšœ πš‘πš’πš–πšœπšŽπš•πš πšœπšπšžπšŒπš” πš‹πšŠπšπšπš•πš’πš—πš πš‘πš’πšœ 𝚍𝚞𝚝𝚒 πšŠπš—πš πš‘πš’πšœ πš•πš˜πšŸπšŽ πšπš˜πš› π™»πš’πšŠ. π™·πšŽ πš‘πšŠπšœ 𝚊 𝚍𝚞𝚝𝚒 𝚝𝚘 πš‘πš’πšœ πš”πš’πš—πšπšπš˜πš– 𝚊𝚜 𝚍𝚘𝚎𝚜 πšœπš‘πšŽ πš‹πšžπš πš‘πšŽ πš πš’πš•πš• πšœπšπš˜πš™ 𝚊𝚝 πš—πš˜πšπš‘πš’πš—πš 𝚝𝚘 πš”πšŽπšŽπš™ πš‘πšŽπš› 𝚜𝚊𝚏𝚎. π™Ύπš—πšŒπšŽ πšπš‘πšŽπš’ πš›πšŽπšŠπšŒπš‘ πšπš‘πšŽ π™³πšŠπš•πš‹πš›πšŽπšŒπš” πš˜πšžπšπš™πš˜πšœπš, πšŠπš•πš˜πš—πš πš πš’πšπš‘ 𝚊 πšŒπš˜πšžπš™πš•πšŽ 𝚘𝚏 πšœπšπš›πšŠπšπšπš•πšŽπš›πšœ, πš‘πšŽ πšœπš‘πš˜πš˜πšπšœ πš‘πšŽπš› πšπš˜πš πš— 𝚊𝚝 πšŽπšŸπšŽπš›πš’ πšπšžπš›πš— 𝚝𝚘 πš›πšŽπšπšžπš›πš— πš‘πš˜πš–πšŽ 𝚝𝚘 π™Όπš˜πš›πš›πš’πšπš‘πšŠπš—.

πšƒπš‘πšŽπš’πš› πšπšžπš›πš’ πš›πšŠπšπšŽπšœ πšπš‘πš›πš˜πšžπšπš‘πš˜πšžπš πšπš‘πšŽ πš˜πšžπšπš™πš˜πšœπš πšŠπš—πš πšπš‘πšŽπš’πš› πš•πš˜πšŸπšŽ πšπšžπš›πš—πšœ πšœπš˜πšžπš›. π™»πš’πšŠ πš–πšžπšœπš πš›πšŽπšπšžπš›πš— πš‘πš˜πš–πšŽ πš˜πš› πšŽπšŸπšŽπš›πš’πš˜πš—πšŽ πšœπš‘πšŽ πš•πš˜πšŸπšŽπšœ πš πš’πš•πš• πšπš’πšŽ πšŠπš—πš 𝚁𝚊𝚏𝚎 πš πš’πš•πš• πšœπšπš˜πš™ 𝚊𝚝 πš—πš˜πšπš‘πš’πš—πš 𝚝𝚘 πš”πšŽπšŽπš™ πš‘πšŽπš› πšπš›πš˜πš– πš›πšŽπšπšžπš›πš—πš’πš—πš, πš’πš—πšŒπš•πšžπšπš’πš—πš πšπš›πšŽπšŠπšπš’πš—πš πš‘πšŽπš› 𝚊𝚜 𝚊 πš™πš›πš’πšœπš˜πš—πšŽπš›. 𝙸 πšŒπš˜πšžπš•πš πš—πšŽπšŸπšŽπš› πšœπšπšŠπš—πš 𝚁𝚊𝚏𝚎 πšŠπš—πš πš‘πš’πšœ πš˜πšŸπšŽπš›πš™πš›πš˜πšπšŽπšŒπšπš’πšŸπšŽ πš™πšŽπš›πšœπš˜πš—πšŠπš•πš’πšπš’, πšŠπš—πš πš’πš— πšπš‘πš’πšœ πšπš’πš—πšŠπš• πš‹πš˜πš˜πš” πš’πš πš“πšžπšœπš πšŒπšŽπš–πšŽπš—πšπšŽπš πš–πš’ πšπš’πšœπš•πš’πš”πšŽ 𝚘𝚏 πš‘πš’πš–. π™·πšŽ πšŠπš—πš π™»πš’πšŠ πšœπšŽπšŽπš–πšŽπš 𝚝𝚘 πšπš’πšœπšŠπšπš›πšŽπšŽ πšŠπš—πš πšŠπš›πšπšžπšŽ 𝚊𝚝 πšŽπšŸπšŽπš›πš’ πšπšžπš›πš—, πš’πš 𝚠𝚊𝚜 πš‘πšŠπš›πš 𝚝𝚘 πšπšŠπš•πš• πš’πš— πš•πš˜πšŸπšŽ πš πš’πšπš‘ πšπš‘πšŽπš’πš› πš›πš˜πš–πšŠπš—πšŒπšŽ.

π™ΊπšŠπšπšŽπš— πšŠπš—πš π™Άπš›πš’πš£ πš‘πšŠπšŸπšŽ πšπš˜πšžπš—πš πšπš‘πšŽπš–πšœπšŽπš•πšŸπšŽπšœ πšŠπš•πš˜πš—πš πšπš˜πš› πšπš‘πšŽ πš›πš’πšπšŽ...π™ΊπšŠπšπšŽπš— πš’πšœ πšπšŽπšπšŽπš›πš–πš’πš—πšŽπš 𝚝𝚘 πš™πš›πš˜πšπšŽπšŒπš π™»πš’πšŠ πšπš›πš˜πš– πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš›. π™·πšŽ πšŠπš—πš π™Άπš›πš’πš£ πšŽπšœπšŒπšŠπš™πšŽπš πšπš‘πšŽ πš‚πšŠπš—πšŒπšπšžπš– πšŠπš—πš πšπš›πšŠπšŒπš”πšŽπš πšπš˜πš πš— π™»πš’πšŠ πšŠπš—πš πš‘πšŽπš› πšπšŽπš•πš•πš˜πš  πšŒπš˜πš–πš›πšŠπšπšŽπšœ πš˜πš— πšπš‘πšŽπš’πš› 𝚠𝚊𝚒 𝚝𝚘 πšπš‘πšŽ πš˜πšžπšπš™πš˜πšœπš. π™½πš˜πš  "πš™πš›πš’πšœπš˜πš—πšŽπš›πšœ," πš’πš— 𝚊 πšœπšŽπš—πšœπšŽ, πšπš‘πšŽπš’ πšŠπš›πšŽ πš›πšŽπšŠπšπš’ 𝚝𝚘 πš‘πšŽπš•πš™ π™»πš’πšŠ πš’πš— πšŠπš—πš’πš πšŠπš’ πš™πš˜πšœπšœπš’πš‹πš•πšŽ. 

π™°πšœ πšπš‘πšŽ πš‹πšŠπšπšπš•πšŽ πš‹πšŽπšπš πšŽπšŽπš— 𝚁𝚊𝚏𝚎 πšŠπš—πš π™»πš’πšŠ πšŒπš˜πš—πšπš’πš—πšžπšŽπšœ, 𝚁𝚊𝚏𝚎 πšπš’πš—πšŠπš•πš•πš’ πš–πšŠπš”πšŽπšœ πšπš‘πšŽ πš‘πšŠπš›πšπšŽπšœπš πšπšŽπšŒπš’πšœπš’πš˜πš— 𝚘𝚏 πš‘πš’πšœ πš•πš’πšŸπšŽ...πš‘πšŽ πš–πšžπšœπš πšπš›πšžπšœπš π™ΊπšŠπšπšŽπš— 𝚝𝚘 πš™πš›πš˜πšπšŽπšŒπš π™»πš’πšŠ πš‘πšŠπšœ πšπš‘πšŽπš’ πš–πšŠπš”πšŽ πšπš‘πšŽπš’πš› 𝚠𝚊𝚒 𝚝𝚘 π™Όπš˜πš›πš›πš’πšπš‘πšŠπš— πš πš’πšπš‘πš˜πšžπš πš‘πš’πš–. 𝙸 πš›πš˜πš˜πšπšŽπš πšπš˜πš› π™ΊπšŠπšπšŽπš— πšŠπš—πš π™»πš’πšŠ πšπš›πš˜πš– πšπš‘πšŽ πšŸπšŽπš›πš’ πš‹πšŽπšπš’πš—πš—πš’πš—πš πš‹πšžπš πš’πš 𝚠𝚊𝚜 πš˜πš‹πšŸπš’πš˜πšžπšœ πšŠπšπšπšŽπš› πš‹πš˜πš˜πš” πš˜πš—πšŽ πšπš‘πšŠπš πš™πš˜πš˜πš› π™ΊπšŠπšπšŽπš— πš‘πšŠπš πš£πšŽπš›πš˜ πšŒπš‘πšŠπš—πšŒπšŽ. π™±πšžπš πš’πš πš•πš˜πš˜πš”πšœ πš•πš’πš”πšŽ πšπš‘πšŽπš›πšŽ πš–πšŠπš’ πš‹πšŽ πšŠπš—πš˜πšπš‘πšŽπš› 𝚘𝚞𝚝 πšπš‘πšŽπš’πš› πšπš˜πš› πš‘πš’πš–...π™ΏπšŠπšžπš•πš’πš—πšŽ πšŠπš—πš π™ΊπšŠπšπšŽπš— πšŠπšπšπšŽπš› 𝚊 πšŸπšŽπš›πš’ πš›πš˜πšŒπš”πš’ πšœπšπšŠπš›πš πšπš’πš—πš πšπš‘πšŽπš–πšœπšŽπš•πšŸπšŽπšœ πšπš›πš˜πš πš’πš—πš πšŒπš•πš˜πšœπšŽπš›.

πšƒπš‘πšŽ πš‹πšŠπšπšπš•πšŽ πš’πšœ πš˜πš—πšŽ πšπš‘πšŽ πš‘πš˜πš›πš’πš£πš˜πš— πšŠπš—πš π™»πš’πšŠ πš’πšœ 𝚊 πšπš˜πš›πšŒπšŽ 𝚝𝚘 πš‹πšŽ πš›πšŽπšŒπš”πš˜πš—πšŽπš πš πš’πšπš‘, πšœπš‘πšŽ πš‹πšŠπš›πš›πšŽπš•πšœ πš’πš—πšπš˜ πšπš‘πšŽ πš”πš’πš—πšπšπš˜πš– πš πš’πšπš‘ πšπšŽπšπšŽπš›πš–πš’πš—πšŠπšπš’πš˜πš— πšŠπš—πš πšœπšπš›πšŽπš—πšπšπš‘ πš›πš˜πš˜πšπš’πš—πš 𝚘𝚞𝚝 πšπš‘πšŽ πš˜πš‹πšŸπš’πš˜πšžπšœ πšŠπš—πš πš—πš˜πš 𝚜𝚘 πš˜πš‹πšŸπš’πš˜πšžπšœ πšπš›πšŠπš’πšπš˜πš›πšœ. πš‚πš‘πšŽ πš‹πš›πš’πš—πšπšœ πšŽπšŸπšŽπš›πš’πš˜πš—πšŽ πšπš˜πšπšŽπšπš‘πšŽπš› πš›πšŽπšŠπšπš’ 𝚝𝚘 𝚠𝚊𝚐𝚎 πš πšŠπš› πšŠπšπšŠπš’πš—πšœπš πšŠπš— πšŠπš›πš–πš’ πšπš πš’πšŒπšŽ πšπš‘πšŽπš’πš› πšœπš’πš£πšŽ. πš†πš’πšπš‘ πšπš‘πšŽ πš‘πšŽπš•πš™ 𝚘𝚏 πš‘πšŽπš› πšπš›πš’πšŽπš—πšπšœ πšŠπš—πš 𝚁𝚊𝚏𝚎 πšπš‘πšŽπš’ πšœπšπš›πšŠπšπšŽπšπš’πš£πšŽ 𝚝𝚘 πš‹πš›πš’πš—πš πšπš˜πš πš— πšπš‘πšŽ π™Ίπš˜πš£πš’πš–πšŠπš› πšŠπš—πš πš‹πšžπš’πš•πš 𝚊 πš‹πšŽπšπšπšŽπš› πš πš˜πš›πš•πš πšπš˜πš› πšπš‘πšŽ πš…πšŽπš—πšπšŠπš— πš™πšŽπš˜πš™πš•πšŽ.

π™»πš’πšŠ πš’πšœ πš˜πš—πšŽ 𝚘𝚏 πšπš‘πšŽ πšœπšπš›πš˜πš—πšπšŽπšœπš πšπšŽπš–πšŠπš•πšŽ πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš›πšœ 𝙸 πš‘πšŠπšŸπšŽ πš›πšŽπšŠπš πš˜πšŸπšŽπš› πšπš‘πšŽ πš’πšŽπšŠπš›πšœ...πšœπš‘πšŽ πš’πšœ πšπšŽπšπšŽπš›πš–πš’πš—πšŽπš, πšœπšπš›πš˜πš—πš-πš πš’πš•πš•πšŽπš πšŠπš—πš πš—πšŽπšŸπšŽπš› πš‹πšŠπšŒπš”πšœ πšπš˜πš πš— πšπš›πš˜πš– 𝚊 πšπš’πšπš‘πš. πš‚πš‘πšŽ πš’πšœ 𝚊 πšπš›πšžπšŽ πš›πš˜πš•πšŽ πš–πš˜πšπšŽπš• πšπš˜πš› πš’πš˜πšžπš—πš πšπš’πš›πš•πšœ...𝚊𝚝 πšπš’πš–πšŽπšœ πšŽπšŸπšŽπš— 𝙸 πšπšŽπš•πš πšŽπš—πšŸπš’πš˜πšžπšœ 𝚘𝚏 πš‘πšŽπš› πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš› πšŠπš—πš πš™πšŽπš›πšœπš˜πš—πšŠπš•πš’πšπš’. πš‚πš‘πšŽ πš’πšœ πš”πš’πš—πš-πš‘πšŽπšŠπš›πšπšŽπš πš‹πšžπš πš πš’πš•πš• πš—πšŽπšŸπšŽπš› πš•πšŽπš πšŠπš—πš’πš˜πš—πšŽ πš πšŠπš•πš” πšŠπš•πš• πš˜πšŸπšŽπš› πš‘πšŽπš›. πš‚πš‘πšŽ 𝚜𝚝𝚊𝚒𝚎𝚍 πšπš›πšžπšŽ 𝚝𝚘 πš‘πšŽπš› πš›πš˜πš˜πšπšœ πšπš›πš˜πš– πšπš‘πšŽ πšŸπšŽπš›πš’ πš‹πšŽπšπš’πš—πš—πš’πš—πš, πš˜πš—πš•πš’ 𝚝𝚘 πšπš›πšŠπš—πšœπšπš˜πš›πš– πš’πš—πšπš˜ 𝚊 πšπš›πšžπšŽ πš›πšžπš•πšŽπš› πšπš‘πšŠπš πš…πšŽπš—πšπšŠ πšŒπš˜πšžπš•πš πš‹πšŽ πš™πš›πš˜πšžπš 𝚘𝚏.

πšƒπš‘πš’πšœ πš’πšœ 𝚊 πšπš›πš’πš•πš˜πšπš’ πšπš‘πšŠπš 𝙸 πš πš˜πšžπš•πš πš‘πš’πšπš‘πš•πš’ πš›πšŽπšŒπš˜πš–πš–πšŽπš—πš πš›πšŽπšŠπšπš’πš—πš. π™ΌπšŠπš›πš’ 𝙴. π™ΏπšŽπšŠπš›πšœπš˜πš— πš’πšœ 𝚊 πšπš›πšžπšŽ πšŠπš›πšπš’πšœπš πš πš’πšπš‘ πš‘πšŽπš› πš πš˜πš›πšπšœ, πš‹πš›πš’πš—πšπš’πš—πš 𝚝𝚘 πš•πš’πšπšŽ 𝚊 πš πš˜πš›πš•πš 𝚘𝚏 πš”πš’πš—πšπšπš˜πš–πšœ πšŠπš—πš πš›πšŽπšŠπš•πš–πšœ, πšŠπšœπšœπšŠπšœπšœπš’πš—πšœ πšŠπš—πš πš”πš’πš—πšπšœ. π™΄πšŸπšŽπš›πš’ πš πš˜πš›πš πš“πšžπš–πš™πšœ πšπš›πš˜πš– πšπš‘πšŽ πš™πšŠπšπšŽ πšŒπšŠπš™πšπš’πšŸπšŠπšπš’πš—πš πš’πš˜πšžπš› πš–πš’πš—πš πšŠπš—πš πšœπš˜πšžπš•. π™²πš‘πšŠπš›πšŠπšŒπšπšŽπš›πšœ πšπš‘πšŠπš πš™πšžπš•πš• 𝚊𝚝 πš’πš˜πšžπš› πš‘πšŽπšŠπš›πš-πšœπšπš›πš’πš—πšπšœ πšŠπš—πš πš’πš—πšπšžπš›πš’πšŠπšπšŽ 𝚒𝚘𝚞 𝚝𝚘 πš”πš—πš˜πš  πšŽπš—πš. πšƒπš‘πš’πšœ πšπš›πš’πš•πš˜πšπš’ πš‘πšŠπš πš–πšŽ πš˜πš— πšπš‘πšŽ 𝚎𝚍𝚐𝚎 𝚘𝚏 πš–πš’ 𝚜𝚎𝚊𝚝 πš›πšŽπšŠπšπš’ πšπš˜πš› πš–πš˜πš›πšŽ. π™Έπš'𝚜 𝚊 πš‹πš’πšπšπšŽπš›πšœπš πšŽπšŽπš πš–πš˜πš–πšŽπš—πš 𝚝𝚘 πš‹πšŽ πšœπšŠπš’πš’πš—πš πšπš˜πš˜πšπš‹πš’πšŽ 𝚝𝚘 π™²πš’πšŸπš’πšŒπšŠ πšŠπš—πš πšπš‘πšŽπšœπšŽ πš›πšŽπš–πšŠπš›πš”πšŠπš‹πš•πšŽ πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš›πšœ, πš‹πšžπš πšŽπšŸπšŽπš›πš’ πšπšžπš›πš— 𝚘𝚏 πšπš‘πšŽ πš™πšŠπšπšŽ 𝚠𝚊𝚜 πš πš˜πš›πšπš‘ πš’πš.


π™Ώπšžπš‹πš•πš’πšœπš‘πšŽπš πš‹πš’: 𝙺

Sunday, October 27, 2019

Review: The Heart of Betrayal by Mary E. Pearson


πšƒπš‘πšŽ π™·πšŽπšŠπš›πš 𝚘𝚏 π™±πšŽπšπš›πšŠπš’πšŠπš•
π™ΌπšŠπš›πš’ 𝙴. π™ΏπšŽπšŠπš›πšœπš˜πš—

πš‚πšŽπš›πš’πšŽπšœ: πšƒπš‘πšŽ πšπšŽπš–πš—πšŠπš—πš π™²πš‘πš›πš˜πš—πš’πšŒπš•πšŽπšœ
π™ΆπšŽπš—πš›πšŽ: π™΅πšŠπš—πšπšŠπšœπš’, πšˆπš˜πšžπš—πš π™°πšπšžπš•πš
π™»πšŽπš—πšπšπš‘: πŸΊπŸ½πŸΉ πš™πšŠπšπšŽπšœ
πš‚πš’πš—πš˜πš™πšœπš’πšœ π™΅πš›πš˜πš– π™Άπš˜πš˜πšπš›πšŽπšŠπšπšœ:
π™·πšŽπš•πš πšŒπšŠπš™πšπš’πšŸπšŽ πš’πš— πšπš‘πšŽ πš‹πšŠπš›πš‹πšŠπš›πš’πšŠπš— πš”πš’πš—πšπšπš˜πš– 𝚘𝚏 πš…πšŽπš—πšπšŠ, π™»πš’πšŠ πšŠπš—πš 𝚁𝚊𝚏𝚎 πš‘πšŠπšŸπšŽ πš•πš’πšπšπš•πšŽ πšŒπš‘πšŠπš—πšŒπšŽ 𝚘𝚏 πšŽπšœπšŒπšŠπš™πšŽ. π™³πšŽπšœπš™πšŽπš›πšŠπšπšŽ 𝚝𝚘 𝚜𝚊𝚟𝚎 π™»πš’πšŠ'𝚜 πš•πš’πšπšŽ, πš‘πšŽπš› πšŽπš›πšœπšπš πš‘πš’πš•πšŽ πšŠπšœπšœπšŠπšœπšœπš’πš—, π™ΊπšŠπšπšŽπš—, πš‘πšŠπšœ πšπš˜πš•πš πšπš‘πšŽ πš…πšŽπš—πšπšŠπš— π™Ίπš˜πš–πš’πš£πšŠπš› πšπš‘πšŠπš πšœπš‘πšŽ πš‘πšŠπšœ πšπš‘πšŽ πšπš’πšπš, πšŠπš—πš πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš›'𝚜 πš’πš—πšπšŽπš›πšŽπšœπš πš’πš— π™»πš’πšŠ πš’πšœ πšπš›πšŽπšŠπšπšŽπš› πšπš‘πšŠπš— πšŠπš—πš’πš˜πš—πšŽ πšŒπš˜πšžπš•πš πš‘πšŠπšŸπšŽ πšπš˜πš›πšŽπšœπšŽπšŽπš—. 

π™ΌπšŽπšŠπš—πš πš‘πš’πš•πšŽ, πš—πš˜πšπš‘πš’πš—πš πš’πšœ πšœπšπš›πšŠπš’πšπš‘πšπšπš˜πš›πš πšŠπš›πš: πšƒπš‘πšŽπš›πšŽ'𝚜 𝚁𝚊𝚏𝚎, πš πš‘πš˜ πš•πš’πšŽπš 𝚝𝚘 π™»πš’πšŠ πš‹πšžπš πš‘πšŠπšœ πšœπšŠπšŒπš›πš’πšπš’πšŒπšŽπš πš‘πš’πšœ πšπš›πšŽπšŽπšπš˜πš– 𝚝𝚘 πš™πš›πš˜πšπšŽπšŒπš πš‘πšŽπš›; π™ΊπšŠπšπšŽπš—, πš πš‘πš˜ πš–πšŽπšŠπš—πš 𝚝𝚘 πšŠπšœπšœπšŠπšœπšœπš’πš—πšŠπšπšŽ πš‘πšŽπš› πš‹πšžπš πš‘πšŠπšœ πš—πš˜πš  𝚜𝚊𝚟𝚎𝚍 πš‘πšŽπš› πš•πš’πšπšŽ; πšŠπš—πš πšπš‘πšŽ πš…πšŽπš—πšπšŠπš—πšœ, πš πš‘πš˜πš– π™»πš’πšŠ πšŠπš•πš πšŠπš’πšœ πš‹πšŽπš•πš’πšŽπšŸπšŽπš 𝚝𝚘 πš‹πšŽ 𝚜𝚊𝚟𝚊𝚐𝚎𝚜. π™½πš˜πš  πšπš‘πšŠπš πšœπš‘πšŽ πš•πš’πšŸπšŽπšœ πšŠπš–πš˜πš—πš πšπš‘πšŽπš–, πš‘πš˜πš πšŽπšŸπšŽπš›, πšœπš‘πšŽ πš›πšŽπšŠπš•πš’πš£πšŽπšœ πšπš‘πšŠπš πš–πšŠπš’ πš‹πšŽ πšπšŠπš› πšπš›πš˜πš– πšπš‘πšŽ πšπš›πšžπšπš‘. πš†πš›πšŽπšœπšπš•πš’πš—πš πš πš’πšπš‘ πš‘πšŽπš› πšžπš™πš‹πš›πš’πš—πšπš’πš—πš, πš‘πšŽπš› πšπš’πšπš, πšŠπš—πš πš‘πšŽπš› πšœπšŽπš—πšœπšŽ 𝚘𝚏 πšœπšŽπš•πš, π™»πš’πšŠ πš–πšžπšœπš πš–πšŠπš”πšŽ πš™πš˜πš πšŽπš›πšπšžπš• πšŒπš‘πš˜πš’πšŒπšŽπšœ πšπš‘πšŠπš πš πš’πš•πš• 𝚊𝚏𝚏𝚎𝚌𝚝 πš‘πšŽπš› πšŒπš˜πšžπš—πšπš›πš’... πšŠπš—πš πš‘πšŽπš› πš˜πš πš— πšπšŽπšœπšπš’πš—πš’.



π™Όπš’ πšπšŽπšŸπš’πšŽπš : 
πšπšŠπšπš’πš—πš:
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***π™²πšŠπšžπšπš’πš˜πš— π™ΌπšŠπš’ π™²πš˜πš—πšπšŠπš’πš— πš‚πš™πš˜πš’πš•πšŽπš›πšœ***

π™ΌπšŠπš›πš’ 𝙴. π™ΏπšŽπšŠπš›πšœπš˜πš— πš‘πšŠπšœ πšπš˜πš—πšŽ πš’πš πšŠπšπšŠπš’πš—, πš πšŽπšŠπšŸπš’πš—πš πšπš˜πšπšŽπšπš‘πšŽπš› πšπš‘πš’πšœ πšŒπšŠπš™πšπš’πšŸπšŠπšπš’πš—πš πšπšŠπš•πšŽ 𝚘𝚏 𝚊 πš—πš˜πš  πšŠπš‹πšπšžπšŒπšπšŽπš πš™πš›πš’πš—πšŒπšŽπšœπšœ πš πš’πšπš‘ 𝚊 πšπšŽπšœπšπš’πš—πš’ πšπšŠπš› πšπš›πšŽπšŠπšπšŽπš› πšπš‘πšŠπš— πšœπš‘πšŽ πšŒπš˜πšžπš•πš πšŽπšŸπšŽπš› πš’πš–πšŠπšπš’πš—πšŽ.

πšƒπš‘πšŽ π™·πšŽπšŠπš›πš 𝚘𝚏 π™±πšŽπšπš›πšŠπš’πšŠπš• πš™πš’πšŒπš”πšœ πšžπš™ πš›πš’πšπš‘πš πš πš‘πšŽπš›πšŽ πšƒπš‘πšŽ π™Ίπš’πšœπšœ 𝚘𝚏 π™³πšŽπšŒπšŽπš™πšπš’πš˜πš— πš•πšŽπšŠπšŸπšŽπšœ 𝚞𝚜 πš πš’πšπš‘ π™»πš’πšŠ, 𝚁𝚊𝚏𝚎 πšŠπš—πš π™ΊπšŠπšπšŽπš— πšŽπš—πšπšŽπš›πš’πš—πš πšπš‘πšŽ π™Ίπš’πš—πšπšπš˜πš– 𝚘𝚏 πš…πšŽπš—πšπšŠ. π™»πš’πšŠ πšπš’πš—πšπšœ πš‘πšŽπš›πšœπšŽπš•πš πšπš›πšŠπš™πš™πšŽπš πš‹πšŽπš‘πš’πš—πš πšπš‘πšŽ πš πšŠπš•πš•πšœ 𝚘𝚏 πš…πšŽπš—πšπšŠ, πš πš’πšπš‘ πš—πš˜πš πš‘πšŽπš›πšŽ 𝚝𝚘 𝚐𝚘, πš™πš›πš’πšœπš˜πš—πšŽπš› 𝚝𝚘 πšπš‘πšŽ πš”πš’πš—πšπšπš˜πš– πšŠπš—πš πš’πšπšœ π™Ίπš˜πš–πš’πš£πšŠπš›. πšƒπš‘πšŽ πšŒπš’πšπš’ πš’πšœ 𝚊 πšπš˜πš›πšπš›πšŽπšœπšœ πš πš’πšπš‘ πš—πš˜ πš˜πš‹πšŸπš’πš˜πšžπšœ πš–πšŽπšŠπš—πšœ 𝚘𝚏 πšŽπšœπšŒπšŠπš™πšŽ πšŠπš—πš πš›πš’πšπš‘πš πš—πš˜πš  πšπš‘πšŠπš πš’πšœ π™»πš’πšŠ'𝚜 πš˜πš—πšŽ πšŠπš—πš πš˜πš—πš•πš’ πšπš˜πšŠπš•. π™·πš˜πš πšŽπšŸπšŽπš›, 𝚊𝚜 πšπš‘πšŽ 𝚍𝚊𝚒𝚜 πšœπšπš›πšŽπšπšŒπš‘ πš˜πš— πš‘πšŽπš› πš‘πš˜πš™πšŽπšœ 𝚘𝚏 πš›πšŽπšπšžπš›πš—πš’πš—πš πš‘πš˜πš–πšŽ πšπš πš’πš—πšπš•πšŽ. π™±πšžπš πš’πš'𝚜 πš—πš˜πš πš˜πš—πš•πš’ πš‘πšŽπš› πš•πš’πšπšŽ πš˜πš— πšπš‘πšŽ πš•πš’πš—πšŽ, 𝚁𝚊𝚏𝚎 πš‘πšŠπšœ πš–πšŠπš—πšŠπšπšŽ 𝚝𝚘 πšπš’πš—πš πš‘πš’πšœ 𝚠𝚊𝚒 πš’πš—πšπš˜ πšπš‘πšŽ πš‘πšŠπš—πšπšœ 𝚘𝚏 πšπš‘πšŽ πš…πšŽπš—πšπšŠπš—πšœ 𝚊𝚜 πš πšŽπš•πš•. π™±πš˜πšπš‘ πš™πš›πš’πšœπš˜πš—πšŽπš›πšœ πšŠπš πšŠπš’πšπš’πš—πš πšŠπš—πš πšŒπš˜πš—πšœπš™πš’πš›πš’πš—πš 𝚊 𝚠𝚊𝚒 𝚘𝚞𝚝 𝚘𝚏 πšπš‘πš’πšœ πš‹πšŠπš›πš‹πšŠπš›πš’πšŒ πšŒπš’πšπš’.

π™°πšœ πšπš’πš–πšŽ πš™πšŠπšœπšœπšŽπšœ, π™»πš’πšŠ πš’πšœ πšπš›πšŠπš—πšπšŽπš πš–πš˜πš›πšŽ πšπš›πšŽπšŽπšπš˜πš–, πš—πš˜ πš•πš˜πš—πšπšŽπš› 𝚊 πš™πš›πš’πšœπš˜πš—πšŽπš› πš‹πšžπš 𝚊 πš πšŽπšŠπš™πš˜πš— 𝚝𝚘 πš‹πšŽ 𝚞𝚜𝚎𝚍 𝚊𝚜 πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš› 𝚜𝚎𝚎𝚜 πšπš’πš. πš†πš’πšπš‘ πš‘πšŽπš› πš—πšŽπš  πšπš˜πšžπš—πš πšπš›πšŽπšŽπšπš˜πš– π™»πš’πšŠ πšπš’πšœπšŒπš˜πšŸπšŽπš›πšœ πšπš‘πšŠπš πš—πš˜πš πšŠπš•πš• πš’πšœ 𝚊𝚜 πš’πš πšœπšŽπšŽπš–πšœ πš’πš— πš…πšŽπš—πšπšŠ. πš‚πšžπš›πšŽ πšπš‘πšŽπš›πšŽ πšŠπš›πšŽ πš‹πš›πšžπšπšŠπš• πš‹πšŠπš›πš‹πšŠπš›πš’πšŠπš—πšœ πš‹πšžπš πš–πšŠπš—πš’ 𝚘𝚏 πšπš‘πšŽπšœπšŽ πš™πš˜πš˜πš› πšœπš˜πšžπš•πšœ πšŠπš›πšŽ πšœπšπšŠπš›πšŸπš’πš—πš πšŒπš’πšπš’πš£πšŽπš—πšœ πš‘πš˜πš•πšπš’πš—πš πš˜πš—πšπš˜ 𝚊 πšπš’πšœπšπšŠπš—πš πšœπšπš˜πš›πš’ πš˜πš—πšŒπšŽ πšπš˜πš•πš πš‹πš’ πš€πšžπšŽπšŽπš— πš…πšŽπš—πšπšŠ πš‘πšŽπš›πšœπšŽπš•πš. 𝙰 πš™πš›πš˜πš™πš‘πšŽπšπš’πšŒ πšœπš˜πš—πš πšπš‘πšŠπš πšπšŽπšπšŠπš’πš•πšŽπš πšπš‘πšŽ πšŠπš›πš›πš’πšŸπšŠπš• 𝚘𝚏 𝚊 πšπš’πš›πš• πšπš‘πšŠπš πš πš˜πšžπš•πš πš˜πš—πšŒπšŽ πšŠπšπšŠπš’πš— πšœπš™πšŠπš›πš” πš‘πš˜πš™πšŽ πšŠπš–πš˜πš—πš πšπš‘πšŽ πš”πš’πš—πšπšπš˜πš–πšœ. πšƒπš‘πš›πš˜πšžπšπš‘ πšπš‘πšŽπšœπšŽ πšπšŠπš•πšŽπšœ πšŠπš—πš πšœπšžπš™πšŽπš›πšœπšπš’πšπš’πš˜πšžπšœ πš™πšŽπš˜πš™πš•πšŽ π™»πš’πšŠ πšπšŠπš’πš—πšœ πš™πš˜πš πšŽπš› πšŠπš—πš πš’πšœ πš πšŽπš•πšŒπš˜πš–πšŽπš πš‹πš’ πš–πšŠπš—πš’ πšŒπš’πšπš’πš£πšŽπš—πšœ.

πšƒπš‘πšŠπš—πš”πšœ 𝚝𝚘 πš‘πšŽπš› πšπšŽπšŸπšŽπš•πš˜πš™πš’πš—πš πš™πš˜πš πšŽπš› πšŠπš–πš˜πš—πš πšπš‘πšŽ πšŒπš•πšŠπš—πšœ, πšœπš‘πšŽ πšπšŠπš’πš—πšœ πšπš‘πšŽ 𝚎𝚒𝚎 𝚘𝚏 πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš› πšŠπš—πš πš—πš˜πš πš’πš— πšπš‘πšŽ πš‹πšŽπšœπš 𝚘𝚏 𝚠𝚊𝚒𝚜. πšƒπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš› 𝚍𝚘𝚎𝚜 πš—πš˜πš πš•πš’πš”πšŽ 𝚝𝚘 πšœπš‘πšŠπš›πšŽ πš‘πš’πšœ πš™πš˜πš πšŽπš› πšŠπš—πš πš πš’πšπš‘ π™»πš’πšŠ πš‘πšŽ πšŒπšŠπš— 𝚜𝚎𝚎 πš‘πš’πšœ πš‘πš˜πš•πš πš˜πš— πšπš‘πšŽ πš”πš’πš—πšπšπš˜πš– πšœπš•πš’πš™πš™πš’πš—πš. πš‚πš˜ πšπš‘πšŽ π™Ίπš˜πš–πš’πš£πšŠπš› πšπšŽπšŸπš’πšœπšŽπšœ πšŠπš—πš πšπšŽπšŸπš’πš˜πšžπšœ πš™πš•πšŠπš— 𝚝𝚘 πš–πšŠπš”πšŽ π™»πš’πšŠ πš‘πš’πšœ πššπšžπšŽπšŽπš—. π™»πš’πšŠ πšπš’πš—πšπšœ πš‘πšŽπš›πšœπšŽπš•πš πš’πš— πšπš‘πšŽ πšœπšŠπš–πšŽ πš™πš›πšŽπšπš’πšŒπšŠπš–πšŽπš—πš πšπš‘πšŠπš πšœπš‘πšŽ πš›πšŠπš— πšπš›πš˜πš– πšŠπš•πš• πšπš‘πš˜πšœπšŽ πš–πš˜πš—πšπš‘πšœ 𝚊𝚐𝚘. π™°πš—πš˜πšπš‘πšŽπš› πš–πšŠπš›πš›πš’πšŠπšπšŽ πš’πšœ πšπš˜πš›πšŒπšŽπš πš˜πš— πš‘πšŽπš›, πš˜πš—πšŒπšŽ πšŠπšπšŠπš’πš— πš‘πšŽπš› πšŒπš‘πš˜πš’πšŒπšŽπšœ πšŠπš›πšŽ πš‹πšŽπš’πš—πš πšπšŠπš”πšŽπš— πšπš›πš˜πš– πš‘πšŽπš› πšŠπš—πš πšœπš‘πšŽ πš’πšœ 𝚊 πš™πšŠπš πš— πš’πš— πšœπš˜πš–πšŽπš˜πš—πšŽ πšŽπš•πšœπšŽ'𝚜 πš πšŠπš›. π™·πšŽπš› πš˜πš—πš•πš’ πš‘πš˜πš™πšŽ πš—πš˜πš  πš’πšœ 𝚝𝚘 πšŽπšœπšŒπšŠπš™πšŽ 𝚊𝚝 πšŠπš—πš’ πš–πšŽπšŠπš—πšœ πš™πš˜πšœπšœπš’πš‹πš•πšŽ.

π™°πšœ πšπš‘πšŽ πšœπšπš˜πš›πš’ πš™πš›πš˜πšπš›πšŽπšœπšœπšŽπšœ, 𝚁𝚊𝚏𝚎 πšŠπš—πš π™»πš’πšŠ'𝚜 πšŒπš˜πš—πš—πšŽπšŒπšπš’πš˜πš— πšπšŽπšŽπš™πšŽπš—πšœ πš πš’πšπš‘ πšœπšŽπšŒπš›πšŽπš πš–πšŽπšŽπšπš’πš—πšπšœ πšŠπš—πš πš‘πšžπšœπš‘πšŽπš πš πš‘πš’πšœπš™πšŽπš›πšœ. πš‚πšŽπšŒπš›πšŽπš πš›πšŽπš—πšπšŽπš£πšŸπš˜πšžπšœ 𝚝𝚘 πš™πš•πšŠπš— 𝚘𝚞𝚝 πšπš‘πšŽπš’πš› πšŽπšœπšŒπšŠπš™πšŽ, πšπš‘πšŽπš’πš› πš•πš˜πšŸπšŽ πšπš›πš˜πš πš’πš—πš πš πš’πšπš‘ πšŽπšŸπšŽπš›πš’ πš–πšŽπšŽπšπš’πš—πš πšŠπš—πš πšŽπšŸπšŽπš›πš’ πš”πš’πšœπšœ. πš†πš‘πš’πšŒπš‘ πšπš˜πš› πš–πšŽ 𝚠𝚊𝚜 𝚊 πš‹πš’πš πšžπš—πšπš˜πš›πšπšžπš—πšŠπšπšŽ, 𝙸 πš—πšŽπšŸπšŽπš› πš›πš˜πš˜πšπšŽπš πšπš˜πš› 𝚁𝚊𝚏𝚎. π™΄πšŸπšŽπš— πšπš‘πš˜πšžπšπš‘ πš’πš 𝚠𝚊𝚜 πšπšŠπš’πš›πš•πš’ πš˜πš‹πšŸπš’πš˜πšžπšœ πš πš‘πš˜ π™»πš’πšŠ πš•πš˜πšŸπšŽπš 𝙸 πšŠπš•πš πšŠπš’πšœ πš‘πšŽπš•πš 𝚘𝚞𝚝 πš‘πš˜πš™πšŽ πšπš˜πš› πš™πš˜πš˜πš› π™ΊπšŠπšπšŽπš—.

“𝙸 πš πš’πšœπš‘πšŽπš πšπš‘πšŠπš πš•πš˜πšŸπšŽ πšŒπš˜πšžπš•πš πš‹πšŽ πšœπš’πš–πš™πš•πšŽ, πšπš‘πšŠπš πš’πš 𝚠𝚊𝚜 πšŠπš•πš πšŠπš’πšœ πšπš’πšŸπšŽπš— πšŠπš—πš πš›πšŽπšπšžπš›πš—πšŽπš πš’πš— πšπš‘πšŽ πšœπšŠπš–πšŽ πš–πšŽπšŠπšœπšžπš›πšŽ, πšŽπššπšžπšŠπš•πš•πš’ πšŠπš—πš 𝚊𝚝 πšπš‘πšŽ πšœπšŠπš–πšŽ πšπš’πš–πšŽ, πšπš‘πšŠπš πšŠπš•πš• πšπš‘πšŽ πš™πš•πšŠπš—πšŽπšπšœ πšŠπš•πš’πšπš—πšŽπš πš’πš— 𝚊 πš™πšŽπš›πšπšŽπšŒπš 𝚠𝚊𝚒 𝚝𝚘 πšπš’πšœπš™πšŽπš• πšŠπš•πš• πšπš˜πšžπš‹πšπšœ, πšπš‘πšŠπš πš’πš 𝚠𝚊𝚜 𝚎𝚊𝚜𝚒 𝚝𝚘 πšžπš—πšπšŽπš›πšœπšπšŠπš—πš πšŠπš—πš πš—πšŽπšŸπšŽπš› πš™πšŠπš’πš—πšπšžπš•.”

π™ΊπšŠπšπšŽπš— πšπšŽπšπš’πš—πš’πšπšŽπš•πš’ πš πš˜πšžπš•πš πš‘πšŠπšŸπšŽ πš‹πšŽπšŽπš— πš–πš’ πšŒπš‘πš˜πš’πšŒπšŽ, πšπš‘πš’πšœ πšœπšπš˜πš—πšŽ πšŒπš˜πš•πš π™°πšœπšœπšŠπšœπšœπš’πšŠπš— πš πš’πšπš‘ 𝚊 πš•πš˜πšŸπš’πš—πš πšπšŽπš—πšπšŽπš› πš‘πšŽπšŠπš›πš πšπš˜πš› πš˜πš—πšŽ πšπš’πš›πš•. 𝙸 πš‘πšŠπš πš‘πš˜πš™πšŽπš πšπš‘πšŽπš’πš› πšŒπš˜πš—πš—πšŽπšŒπšπš’πš˜πš— πš πš˜πšžπš•πš πšπšŽπšŽπš™πšŽπš— 𝚊𝚜 πšπš‘πšŽπš’ πšœπš™πšŽπš—πš πš–πš˜πš›πšŽ πšπš’πš–πšŽ πšπš˜πšπšŽπšπš‘πšŽπš›, πš‹πšžπš πšžπš—πšπš˜πš›πšπšžπš—πšŠπšπšŽπš•πš’ πš’πš πšœπšŽπšŽπš–πšŽπš 𝚊𝚜 πšπš‘πš˜πšžπšπš‘ πšπš‘πšŽπš’ πš‘πšŠπš πšŸπšŽπš›πš’ πš•πš’πšπšπš•πšŽ πš–πš˜πš–πšŽπš—πšπšœ πšπš˜πšπšŽπšπš‘πšŽπš›. πšƒπš‘πš›πš˜πšžπšπš‘ πšœπš˜πš–πšŽ πšπšŽπš—πšπšŽπš› πš–πš˜πš–πšŽπš—πšπšœ πšœπš™πš›πšŽπšŠπš πš‘πšŽπš›πšŽ πšŠπš—πš πšπš‘πšŽπš›πšŽ 𝚠𝚎 πšπš’πšœπšŒπš˜πšŸπšŽπš› π™ΊπšŠπšπšŽπš—'𝚜 πšœπšŽπšŒπš›πšŽπšπšœ πšŠπš—πš πšπš‘πšŠπš πš…πšŽπš—πšπšŠ πš’πšœπš—'𝚝 πšπš‘πšŽ πš˜πš—πš•πš’ πš”πš’πš—πšπšπš˜πš– 𝚝𝚘 πš‘πš˜πšžπšœπšŽ πš‹πšŠπš›πš‹πšŠπš›πš’πšŠπš—πšœ. πš‚πšŠπšπš•πš’, πšπš‘πšŽ πš•πš˜πšŸπšŽ πš‹πšŽπšπš πšŽπšŽπš— πšπš‘πšŽπš– πš’πšœ πš˜πš—πšŽ πšœπš’πšπšŽπš πšŠπš—πš π™»πš’πšŠ πš’πšœ πšŒπš˜πš—πšœπšπšŠπš—πšπš•πš’ πšπšŽπšŒπšŽπš’πšŸπš’πš—πš π™ΊπšŠπšπšŽπš— πšŠπš—πš πšŸπš’πšŒπšŽ-𝚊-πšŸπšŽπš›πšœπšŠ. πšƒπš‘πšŽ πšœπšŽπšŒπš›πšŽπšπšœ πšŠπš—πš πšπšŽπšŒπšŽπš™πšπš’πš˜πš—πšœ πšπš›πš˜πš  πš‹πšŽπšπš πšŽπšŽπš— πšπš‘πšŽπš– 𝚊𝚜 πšπš‘πšŽπš’ πšπš›πš’ 𝚝𝚘 πš™πš›πš˜πšπšŽπšŒπš πš˜πš—πšŽ πšŠπš—πš˜πšπš‘πšŽπš›. πš†πš‘πš˜ πš πš˜πšžπš•πšπš—'𝚝 πšœπš‘πš’πš™ πšπš‘πšŽπšœπšŽ 𝚝𝚠𝚘?

π™Έπš πšπš˜πš˜πš” πš–πšŽ πšœπš˜πš–πšŽ πšπš’πš–πšŽ 𝚝𝚘 πš›πšŽπšŠπš•πš•πš’ πšœπš’πš—πš” πš’πš—πšπš˜ πšƒπš‘πšŽ π™·πšŽπšŠπš›πš 𝚘𝚏 π™±πšŽπšπš›πšŠπš’πšŠπš•. π™³πš˜πš—'𝚝 𝚐𝚎𝚝 πš–πšŽ πš πš›πš˜πš—πš πšπš‘πšŽ πš πš›πš’πšπš’πš—πš 𝚠𝚊𝚜 πš‹πšŽπšŠπšžπšπš’πšπšžπš• πšŠπš—πš πšŒπšŠπš™πšπš’πšŸπšŠπšπš’πš—πš. πšƒπš‘πšŽ πš πš˜πš›πšπšœ πš“πšžπš–πš™πšŽπš πšπš›πš˜πš– πšπš‘πšŽ πš™πšŠπšπšŽ πšπš›πšŠπš—πšœπš™πš˜πš›πšπš’πš—πš πš–πšŽ πš’πš—πšπš˜ πšπš‘πšŽ πš‹πšŠπš›πš‹πšŠπš›πš’πšŠπš— πš”πš’πš—πšπšπš˜πš–, πš…πšŽπš—πšπšŠ. π™Έπš πš‹πš›πš˜πšžπšπš‘πš 𝚝𝚘 πš•πš’πšπšŽ πšπš‘πš’πšœ πš πš˜πš›πš•πš 𝚘𝚏 πš‹πšŠπš›πš‹πšŠπš›πš’πšŠπš—πšœ πšŠπš—πš 𝚜𝚊𝚟𝚊𝚐𝚎𝚜. πšƒπš‘πšŽ πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš›πšœ πšŠπš›πšŽ πš πšŽπš•πš• πš›πš˜πšžπš—πšπšŽπš πš πš’πšπš‘ πšπš‘πšŽ πšπšžπš•πš• πšœπš™πšŽπšŒπšπš›πšžπš– 𝚘𝚏 πšŽπš–πš˜πšπš’πš˜πš— πšŠπš—πš 𝚒𝚘𝚞 πšŒπšŠπš— πšπšŽπšŽπš• πš’πš πš‘πšŠπšœ 𝚒𝚘𝚞 πš›πšŽπšŠπš. πšƒπš‘πšŽπšœπšŽ πšŠπš›πšŽ πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš›πšœ πšπš‘πšŠπš 𝚒𝚘𝚞 πšŒπšŠπš— πšπš’πš—πš πš’πš˜πšžπš›πšœπšŽπš•πš πš’πš—πšŸπšŽπšœπšπšŽπš πš’πš—. π™·πš˜πš πšŽπšŸπšŽπš›, πš’πš 𝚠𝚊𝚜 𝚊 πš‹πš’πš 𝚘𝚏 𝚊 πšœπš•πš˜πš  πšœπšπšŠπš›πš πšπš˜πš› πš–πšŽ πšŠπš—πš 𝙸 πšŒπšŠπš—'𝚝 πš›πšŽπšŠπš•πš•πš’ πš™πš’πš—πš™πš˜πš’πš—πš πš πš‘πš’.

π™±πš˜πš˜πš” πšπš‘πš›πšŽπšŽ πš’πšœ πš—πšŽπš‘πš πš’πš— πš•πš’πš—πšŽ πšŠπš—πš 𝙸 πšŒπšŠπš—'𝚝 πš πšŠπš’πš 𝚝𝚘 𝚜𝚎𝚎 πš πš‘πšŽπš›πšŽ π™»πš’πšŠ, 𝚁𝚊𝚏𝚎 πšŠπš—πš π™ΊπšŠπšπšŽπš— πšπš’πš—πš πšπš‘πšŽπš–πšœπšŽπš•πšŸπšŽπšœ. π™²πšŠπš— π™»πš’πšŠ πšπš’πšπš‘πš πšπš‘πš’πšœ πš‹πšŠπšπšπš•πšŽ πš‹πšŽπšπš πšŽπšŽπš— π™Όπš˜πš›πš›πš’πšπš‘πšŠπš— πšŠπš—πš πš…πšŽπš—πšπšŠ? πš†πš‘πšŠπš πš πš’πš•πš• πšπš‘πšŽ πš˜πšžπšπšŒπš˜πš–πšŽ πš‹πšŽ πšπš˜πš› πšŠπš•πš• πš’πš—πšŸπš˜πš•πšŸπšŽπš?


π™Ώπšžπš‹πš•πš’πšœπš‘πšŽπš πš‹πš’: 𝙺

Friday, October 18, 2019

Review: The Kiss of Deception by Mary E. Pearson


πšƒπš‘πšŽ π™Ίπš’πšœπšœ 𝚘𝚏 π™³πšŽπšŒπšŽπš™πšπš’πš˜πš— 
π™±πš’: π™ΌπšŠπš›πš’ 𝙴. π™ΏπšŽπšŠπš›πšœπš˜πš—


πš‚πšŽπš›πš’πšŽπšœ: πšƒπš‘πšŽ πšπšŽπš–πš—πšŠπš—πš π™²πš‘πš›πš˜πš—πš’πšŒπš•πšŽπšœ 
π™ΆπšŽπš—πš›πšŽ: π™΅πšŠπš—πšπšŠπšœπš’, πšˆπš˜πšžπš—πš π™°πšπšžπš•πš 
π™»πšŽπš—πšπšπš‘: 𝟺𝟿𝟸 πš™πšŠπšπšŽπšœ
πš‚πš’πš—πš˜πš™πšœπš’πšœ π™΅πš›πš˜πš– π™Άπš˜πš˜πšπš›πšŽπšŠπšπšœ:

π™Έπš— 𝚊 πšœπš˜πšŒπš’πšŽπšπš’ πšœπšπšŽπšŽπš™πšŽπš πš’πš— πšπš›πšŠπšπš’πšπš’πš˜πš—, π™Ώπš›πš’πš—πšŒπšŽπšœπšœ π™»πš’πšŠ’𝚜 πš•πš’πšπšŽ πšπš˜πš•πš•πš˜πš πšœ 𝚊 πš™πš›πšŽπš˜πš›πšπšŠπš’πš—πšŽπš πšŒπš˜πšžπš›πšœπšŽ. π™°πšœ π™΅πš’πš›πšœπš π™³πšŠπšžπšπš‘πšπšŽπš›, πšœπš‘πšŽ πš’πšœ πšŽπš‘πš™πšŽπšŒπšπšŽπš 𝚝𝚘 πš‘πšŠπšŸπšŽ πšπš‘πšŽ πš›πšŽπšŸπšŽπš›πšŽπš πšπš’πšπš 𝚘𝚏 πšœπš’πšπš‘πš—πš‹πšžπš πšœπš‘πšŽ πšπš˜πšŽπšœπš—’𝚝—πšŠπš—πš πšœπš‘πšŽ πš”πš—πš˜πš πšœ πš‘πšŽπš› πš™πšŠπš›πšŽπš—πšπšœ πšŠπš›πšŽ πš™πšŽπš›πš™πšŽπšπš›πšŠπšπš’πš—πš 𝚊 πšœπš‘πšŠπš– πš πš‘πšŽπš— πšπš‘πšŽπš’ πšŠπš›πš›πšŠπš—πšπšŽ πš‘πšŽπš› πš–πšŠπš›πš›πš’πšŠπšπšŽ 𝚝𝚘 πšœπšŽπšŒπšžπš›πšŽ πšŠπš— πšŠπš•πš•πš’πšŠπš—πšŒπšŽ πš πš’πšπš‘ 𝚊 πš—πšŽπš’πšπš‘πš‹πš˜πš›πš’πš—πš πš”πš’πš—πšπšπš˜πš–—𝚝𝚘 𝚊 πš™πš›πš’πš—πšŒπšŽ πšœπš‘πšŽ πš‘πšŠπšœ πš—πšŽπšŸπšŽπš› πš–πšŽπš.

 π™Ύπš— πšπš‘πšŽ πš–πš˜πš›πš—πš’πš—πš 𝚘𝚏 πš‘πšŽπš› πš πšŽπšπšπš’πš—πš, π™»πš’πšŠ πšπš•πšŽπšŽπšœ 𝚝𝚘 𝚊 πšπš’πšœπšπšŠπš—πš πšŸπš’πš•πš•πšŠπšπšŽ. πš‚πš‘πšŽ πšœπšŽπšπšπš•πšŽπšœ πš’πš—πšπš˜ 𝚊 πš—πšŽπš  πš•πš’πšπšŽ, πš‘πš˜πš™πšŽπšπšžπš• πš πš‘πšŽπš— 𝚝𝚠𝚘 πš–πš’πšœπšπšŽπš›πš’πš˜πšžπšœ πšŠπš—πš πš‘πšŠπš—πšπšœπš˜πš–πšŽ πšœπšπš›πšŠπš—πšπšŽπš›πšœ πšŠπš›πš›πš’πšŸπšŽ—πšŠπš—πš πšžπš—πšŠπš πšŠπš›πšŽ πšπš‘πšŠπš πš˜πš—πšŽ πš’πšœ πšπš‘πšŽ πš“πš’πš•πšπšŽπš πš™πš›πš’πš—πšŒπšŽ πšŠπš—πš πšπš‘πšŽ πš˜πšπš‘πšŽπš› πšŠπš— πšŠπšœπšœπšŠπšœπšœπš’πš— πšœπšŽπš—πš 𝚝𝚘 πš”πš’πš•πš• πš‘πšŽπš›. π™³πšŽπšŒπšŽπš™πšπš’πš˜πš— πšŠπš‹πš˜πšžπš—πšπšœ, πšŠπš—πš π™»πš’πšŠ πšπš’πš—πšπšœ πš‘πšŽπš›πšœπšŽπš•πš πš˜πš— πšπš‘πšŽ πš‹πš›πš’πš—πš” 𝚘𝚏 πšžπš—πš•πš˜πšŒπš”πš’πš—πš πš™πšŽπš›πš’πš•πš˜πšžπšœ πšœπšŽπšŒπš›πšŽπšπšœ—πšŽπšŸπšŽπš— 𝚊𝚜 πšœπš‘πšŽ πšπš’πš—πšπšœ πš‘πšŽπš›πšœπšŽπš•πš πšπšŠπš•πš•πš’πš—πš πš’πš— πš•πš˜πšŸπšŽ.




π™Όπš’ πšπšŽπšŸπš’πšŽπš : 
πšπšŠπšπš’πš—πš:
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***π™²πšŠπšžπšπš’πš˜πš— π™ΌπšŠπš’ π™²πš˜πš—πšπšŠπš’πš— πš‚πš™πš˜πš’πš•πšŽπš›πšœ***

πšƒπš‘πš’πšœ πš‹πš˜πš˜πš” 𝚠𝚊𝚜 𝚊 πš›πšŽ-πš›πšŽπšŠπš πšπš˜πš› πš–πšŽ. 𝙸 πš‘πšŠπš πšπš’πš›πšœπš πš›πšŽπšŠπš πšƒπš‘πšŽ π™Ίπš’πšœπšœ 𝚘𝚏 π™³πšŽπšŒπšŽπš™πšπš’πš˜πš— 𝚊𝚜 πšŠπš— π™°πšπ™² πš πš‘πšŽπš— πš’πš 𝚠𝚊𝚜 πšπš’πš›πšœπš πš›πšŽπš•πšŽπšŠπšœπšŽπš πšŠπš—πš 𝙸 πš•πš˜πšŸπšŽπš πšŽπšŸπšŽπš› πšœπš’πš•πš•πšŠπš‹πš•πšŽ. 𝙸 𝚠𝚊𝚜 πšŒπš˜πš—πšœπšžπš–πšŽπš πš‹πš’ πšπš‘πš’πšœ πš πš˜πš›πš•πš 𝚘𝚏 π™Ίπš’πš—πšπšπš˜πš–πšœ, π™Ώπš›πš’πš—πšŒπšŽπšœπšœπšŽπšœ πšŠπš—πš π™Ώπš›πš’πš—πšŒπšŽπšœ, π™°πšœπšœπšŠπšœπšœπš’πš—'𝚜 πšŠπš—πš π™±πšŠπš›πš‹πšŠπš›πš’πšŠπš—πšœ. 𝙸 𝚠𝚊𝚜 πš‘πš˜πš˜πš”πšŽπš πš˜πš— πšπš‘πšŽ πšŸπšŽπš›πš’ πšπš’πš›πšœπš πš πš˜πš›πšπšœ πšŠπš—πš πš’πš 𝚠𝚊𝚜 πš—πš˜ πšπš’πšπšπšŽπš›πšŽπš—πš πšπš‘πšŽ πšœπšŽπšŒπš˜πš—πš πšπš’πš–πšŽ πšŠπš›πš˜πšžπš—πš.

π™ΌπšŠπš›πš’ 𝙴. π™ΏπšŽπšŠπš›πšœπš˜πš— 𝚠𝚘𝚟𝚎 πšπš˜πšπšŽπšπš‘πšŽπš› 𝚊 πšœπš™πšŽπšŒπšπšŠπšŒπšžπš•πšŠπš› πšœπšπš˜πš›πš’ πšŒπš’πš›πšŒπš•πš’πš—πš πšŠπš›πš˜πšžπš—πš 𝚊 πš™πš›πš’πš—πšŒπšŽπšœπšœ πšŠπš—πš πšπš‘πšŽ πšŒπš‘πš˜πš’πšŒπšŽπšœ πšœπš‘πšŽ πš–πšžπšœπš πš–πšŠπš”πšŽ. πšƒπš‘πšŽ πš πš˜πš›πšπšœ πšžπš—πšπš˜πš•πš πš‹πšŽπšŠπšžπšπš’πšπšžπš•πš•πš’...πšπšŽπšŸπšŽπš•πš˜πš™πš’πš—πš 𝚊 πš πš˜πš›πš•πš πšπš‘πšŠπš 𝚒𝚘𝚞 πšŒπšŠπš— πšœπš’πš—πš” πš’πš—πšπš˜ πšŠπš—πš πšπšŽπšŽπš• 𝚊𝚜 πšπš‘πš˜πšžπšπš‘ πš’πš˜πšžπš› 𝚊 πš™πšŠπš›πš 𝚘𝚏 πšπš‘πšŽ πš–πšŠπš—πš’ πšœπšπš›πšžπšπšπš•πšŽπšœ πšŠπš—πš πšπšŽπšŒπšŽπš™πšπš’πš˜πš—πšœ.

π™Έπš— πšπš‘πšŽ π™Ίπš’πš—πšπšπš˜πš– 𝚘𝚏 π™Όπš˜πš›πš›πš’πšπš‘πšŠπš— πš’πš πš’πšœ π™Ώπš›πš’πš—πšŒπšŽπšœπšœ π™°πš›πšŠπš‹πšŽπš•πš•πšŠ'𝚜 (π™»πš’πšŠ'𝚜) πš πšŽπšπšπš’πš—πš 𝚍𝚊𝚒 πš‹πšžπš π™»πš’πšŠ πš‘πšŠπšœ πš˜πšπš‘πšŽπš› πš™πš•πšŠπš—πšœ πšŠπš—πš πšπš‘πšŽπš’ 𝚍𝚘 πš—πš˜πš πš’πš—πšŸπš˜πš•πšŸπšŽ πšœπš˜πš–πšŽ 𝚜𝚝𝚞𝚏𝚏𝚒 πš˜πš•πš π™Ώπš›πš’πš—πšŒπšŽ. πš†πš’πšπš‘ πšπš‘πšŽ πš‘πšŽπš•πš™ 𝚘𝚏 πš‘πšŽπš› πšπšŽπšŠπš› πšπš›πš’πšŽπš—πš π™ΏπšŠπšžπš•πš’πš—πšŽ πšœπš‘πšŽ πšπš•πšŽπšŠπšœ πšπš‘πšŽ πšŒπšŠπšœπšπš•πšŽ πšŠπš—πš πšŽπš–πš‹πšŠπš›πš”πšœ πš˜πš— 𝚊 πš“πš˜πšžπš›πš—πšŽπš’ 𝚝𝚘 𝚊 πšœπš–πšŠπš•πš• πšŸπš’πš•πš•πšŠπšπšŽ, πšƒπšŽπš›πš›πšŠπšŸπš’πš—. π™»πš’πšŠ πšπš’πš—πšπšœ πš‘πšŠπš™πš™πš’πš—πšŽπšœπšœ πšπš˜πš› πšπš‘πšŽ πšπš’πš›πšœπš πšπš’πš–πšŽ πš’πš— πš‘πšŽπš› πš•πš’πšπšŽ, πš•πš’πšŸπš’πš—πš πšπš‘πšŽ πšœπš’πš–πš™πš•πšŽ πš•πš’πšπšŽ...πš—πš˜ πš πš˜πš›πš›πš’πšŽπšœ πšŠπš‹πš˜πšžπš 𝚊 "πšπš’πšπš" πšπš‘πšŠπš πšœπš‘πšŽ πš–πšŠπš’ πš—πšŽπšŸπšŽπš› πš‘πšŠπšŸπšŽ πš˜πš› πš–πšŠπš›πš›πš’πšŠπšπšŽ. π™½πš˜ πšπšžπšπš’πšŽπšœ πš˜πšπš‘πšŽπš› πšπš‘πšŠπš— πšπš‘πšŽ πšœπš’πš–πš™πš•πšŽ πšπšŠπšœπš”πšœ 𝚘𝚏 𝚊 πšπšŠπšŸπšŽπš›πš— πš–πšŠπš’πš.

“πšƒπš‘πšŽ πšπš›πšžπšπš‘πšœ 𝚘𝚏 πšπš‘πšŽ πš πš˜πš›πš•πš πš πš’πšœπš‘ 𝚝𝚘 πš‹πšŽ πš”πš—πš˜πš πš—, πš‹πšžπš πšπš‘πšŽπš’ πš πš˜πš—’𝚝 πšπš˜πš›πšŒπšŽ πšπš‘πšŽπš–πšœπšŽπš•πšŸπšŽπšœ πšžπš™πš˜πš— 𝚒𝚘𝚞 πšπš‘πšŽ 𝚠𝚊𝚒 πš•πš’πšŽπšœ πš πš’πš•πš•. πšƒπš‘πšŽπš’’πš•πš• πšŒπš˜πšžπš›πš 𝚒𝚘𝚞, πš πš‘πš’πšœπš™πšŽπš› 𝚝𝚘 𝚒𝚘𝚞, πš™πš•πšŠπš’ πš‹πšŽπš‘πš’πš—πš πš’πš˜πšžπš› πšŽπš’πšŽπš•πš’πšπšœ, πšœπš•πš’πš™ πš’πš—πšœπš’πšπšŽ πšŠπš—πš πš πšŠπš›πš– πš’πš˜πšžπš› πš‹πš•πš˜πš˜πš, πšπšŠπš—πšŒπšŽ πšŠπš•πš˜πš—πš πš’πš˜πšžπš› πšœπš™πš’πš—πšŽ πšŠπš—πš πšŒπšŠπš›πšŽπšœπšœ πš’πš˜πšžπš› πš—πšŽπšŒπš” πšžπš—πšπš’πš• πš’πš˜πšžπš› πšπš•πšŽπšœπš‘ πš›πš’πšœπšŽπšœ πš’πš— πš‹πšžπš–πš™πšœ.”

πšƒπš‘πšŽπš— πš˜πš—πšŽ 𝚍𝚊𝚒 𝚝𝚠𝚘 πšœπšπš›πšŠπš—πšπšŽπš›πšœ πšœπšπšžπš‹πš‹πš•πšŽ πš’πš—πšπš˜ πšπš‘πšŽ πšπšŠπšŸπšŽπš›πš— πšŠπš—πš πšŽπšŸπšŽπš›πš’πšπš‘πš’πš—πš πšŒπš‘πšŠπš—πšπšŽπšœ. π™Ύπš—πšŽ πš‘πšŠπš—πšπšœπš˜πš–πšŽ πš πš’πšπš‘ πš‹πš•πš˜πš—πšπšŽ πš‘πšŠπš’πš› πšŠπš—πš πš”πš’πš—πš 𝚎𝚒𝚎𝚜. πšƒπš‘πšŽ πš˜πšπš‘πšŽπš› πšπš’πš•πšπš‘πš’ πšŠπš—πš πš‹πš›πš˜πš˜πšπš’πš—πš, πšŠπš—πšπšŽπš› πš‹πš›πšŽπš πš’πš—πš πš“πšžπšœπš πš‹πšŽπš—πšŽπšŠπšπš‘ πšπš‘πšŽ πšœπšžπš›πšπšŠπšŒπšŽ. π™Ύπš—πšŽ πš’πšœ 𝚊 π™Ώπš›πš’πš—πšŒπšŽ πš’πš— πšπš’πšœπšπšžπš’πšœπšŽ, πš‹πšžπš πš—πš˜πš πš“πšžπšœπš πšŠπš—πš’ π™Ώπš›πš’πš—πšŒπšŽ, πš‘πšŽπš› πš˜πš—πšŒπšŽ πš‹πšŽπšπš›πš˜πšπš‘πšŽπš. πšƒπš‘πšŽ πš˜πšπš‘πšŽπš› πšŠπš— π™°πšœπšœπšŠπšœπšœπš’πš— 𝚜𝚎𝚝 𝚘𝚞𝚝 𝚝𝚘 πšŽπš—πš πš‘πšŽπš› πš•πš’πšπšŽ.

π™΅πš˜πš› 𝚊 πš πš‘πš’πš•πšŽ 𝚠𝚎 πšŠπš›πšŽ πš”πšŽπš™πš πš’πš— πšœπšžπšœπš™πšŽπš—πšœπšŽ 𝚊𝚜 𝚝𝚘 πš πš‘πš˜ πš–πš’πšπš‘πš πš‹πšŽ πš πš‘πš˜ πšŠπš—πš πš˜πš—πšŒπšŽ πšπš‘πšŽπš’πš› πš’πšπšŽπš—πšπš’πšπš’πšŽπšœ πšŠπš›πšŽ πš›πšŽπšŸπšŽπšŠπš•πšŽπš πš’πš πšπšŠπš”πšŽπšœ 𝚒𝚘𝚞 πšŠ πš‹πš’πš πš‹πš’ πšœπšžπš›πš™πš›πš’πšœπšŽ. π™°πš πš˜πšžπš› πšπš’πš›πšœπš πšŽπš—πšŒπš˜πšžπš—πšπšŽπš› 𝚘𝚏 πšπš‘πšŽπšœπšŽ πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš›πšœ, 𝚁𝚊𝚏𝚎 πšŠπš—πš π™ΊπšŠπšπšŽπš— 𝙸 πšπš‘πš˜πšžπšπš‘πš 𝙸 πš‘πšŠπš πšπš‘πšŽπš– πš™πšŽπšπšπšŽπš...πš‹πš˜πš’ 𝚠𝚊𝚜 𝙸 πš πš›πš˜πš—πš.

π™»πš’πšŠ πš’πšœ πšœπšπš›πš˜πš—πš πš πš’πš•πš•πšŽπš πšŠπš—πš πšœπš‘πšŠπš›πš™ πšπš˜πš—πšπšžπšŽπš, πšπšŠπš”πš’πš—πš πšŒπš›πšŠπš™ πšπš›πš˜πš– πš—πš˜ πš˜πš—πšŽ. πš‚πš‘πšŽ πšœπš™πšŽπšŠπš”πšœ πš‘πšŽπš› πš–πš’πš—πš πšŠπš—πš πš™πšžπšπšœ πšžπš™ πššπšžπš’πšπšŽ 𝚊 πšπš’πšπš‘πš πšŠπšπšŠπš’πš—πšœπš πšπš‘πšŽ πš‹πšŠπš›πš‹πšŠπš›πš’πšŠπš—πšœ πšπš‘πšŠπš πš πš’πšœπš” πš‘πšŽπš› 𝚊𝚠𝚊𝚒 πšπš›πš˜πš– πš‘πšŽπš› πšœπš’πš–πš™πš•πšŽ πš•πš’πšπšŽ πš˜πš— 𝚊 πš“πš˜πšžπš›πš—πšŽπš’ 𝚝𝚘 πš…πšŽπš—πšπšŠ, πšπš‘πšŽ πš‹πšŠπš›πš‹πšŠπš›πš’πšŠπš— πš‘πš˜πš–πšŽπš•πšŠπš—πš. πš‚πš‘πšŽ πš–πšŽπšŽπšπšœ πšπš‘πšŽπš– πš‹πš•πš˜πš  πšπš˜πš› πš‹πš•πš˜πš  πš—πšŽπšŸπšŽπš› πš‹πšŠπšŒπš”πš’πš—πš πšπš˜πš πš— πšπš›πš˜πš– πšπš‘πšŽπš’πš› πš’πš—πšœπšžπš•πšπšœ πš˜πš› πšœπš—πš’πšπšŽ πšŒπš˜πš–πš–πšŽπš—πšπšœ. π™·πšŽπš› πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš› πšπšŽπšŸπšŽπš•πš˜πš™πš–πšŽπš—πš πšπš‘πš›πš˜πšžπšπš‘πš˜πšžπš πšπš‘πšŽ πš‹πš˜πš˜πš” πš’πšœ πšœπšπš›πš˜πš—πš πšŠπš—πš πš πšŽπš•πš• πš πš›πš’πšπšπšŽπš—. πš‚πš‘πšŽ πš’πšœ πšπšŽπšπš’πš—πš’πšπšŽπš•πš’ 𝚊 πšŒπš‘πšŠπš›πšŠπšŒπšπšŽπš› πšπš‘πšŠπš πš’πš˜πšžπš—πš πšπš’πš›πš•πšœ πšŒπš˜πšžπš•πš πš’πšπš˜πš•πš’πš£πšŽ...𝙸 πš”πš—πš˜πš  𝙸 𝚍𝚘. :)

πšƒπš‘πš’πšœ πš’πšœ πšπšŽπšπš’πš—πš’πšπšŽπš•πš’ 𝚊 πš‹πš˜πš˜πš” 𝙸 πš‘πš’πšπš‘πš•πš’ πš›πšŽπšŒπš˜πš–πš–πšŽπš—πš, πš’πš πš πš’πš•πš• πš‘πšŠπšŸπšŽ 𝚒𝚘𝚞 πšœπšπšŠπš’πš’πš—πš πšžπš™ πš•πšŠπšπšŽ πšπšžπš›πš— πš™πšŠπšπšŽ πšŠπšπšπšŽπš› πš™πšŠπšπšŽ πšŽπšŠπšπšŽπš› 𝚝𝚘 πš”πš—πš˜πš  πš πš‘πšŠπš πš’πšœ 𝚝𝚘 πšŒπš˜πš–πšŽ 𝚘𝚏 π™»πš’πšŠ. π™³πš˜πšŽπšœ πšœπš‘πšŽ πš’πš—πšπšŽπšŽπš πš‘πšŠπšŸπšŽ πšπš‘πšŽ πšπš’πšπš 𝚘𝚏 "πš”πš—πš˜πš πš’πš—πš?" πš†πš‘πš˜ πš πš’πš•πš• πšœπš‘πšŽ πšŒπš‘πš˜πš˜πšœπšŽ πš’πš— πšπš‘πšŽ πšŽπš—πš, πšπšŠπšπšŽ πš˜πš› π™ΊπšŠπšπšŽπš—? πš†πš‘πšŠπš πš πš’πš•πš• πš‹πšŽπšŒπš˜πš–πšŽ 𝚘𝚏 πš‘πšŽπš› πš˜πš—πšŒπšŽ πšœπš‘πšŽ πš›πšŽπšŠπšŒπš‘πšŽπšœ πšπš‘πšŽ πš‹πšŠπš›πš‹πšŠπš›πš’πšŠπš— πšŸπš’πš•πš•πšŠπšπšŽ, πš…πšŽπš—πšπšŠ?

π™±πš˜πš˜πš” 𝚝𝚠𝚘 πš’πšœ πš—πšŽπš‘πš πš’πš— πšπš‘πšŽ πš•πš’πš—πšŽπšžπš™ πšŠπš—πš 𝙸 πšŒπšŠπš—'𝚝 πš πšŠπš’πš 𝚝𝚘 𝚜𝚎𝚎 πš πš‘πšŽπš›πšŽ π™»πš’πšŠ πšŽπš—πšπšœ πšžπš™. πš†πš‘πšŠπš'𝚜 𝚝𝚘 πš‹πšŽπšŒπš˜πš–πšŽ 𝚘𝚏 π™»πš’πšŠ, 𝚁𝚊𝚏𝚎 πšŠπš—πš π™ΊπšŠπšπšŽπš—? πšƒπš‘πšŽπš›πšŽ πš’πšœ 𝚊 πš πšŠπš› πš‹πš›πšŽπš πš’πš—πš πš‹πšžπš πš‹πšŽπšπš πšŽπšŽπš— πš πš‘πš˜? π™°πš—πš πš πš‘πš’?



π™Ώπšžπš‹πš•πš’πšœπš‘πšŽπš πš‹πš’: 𝙺

Friday, October 11, 2019

Review: The Haunting of Hill House by Shirley Jackson


The Haunting of Hill House 
By: Shirley Jackson




Synopsis From Goodreads:

First published in 1959, Shirley Jackson's The Haunting of Hill House has been hailed as a perfect work of unnerving terror. It is the story of four seekers who arrive at a notoriously unfriendly pile called Hill House: Dr. Montague, an occult scholar looking for solid evidence of a "haunting"; Theodora, the lighthearted assistant; Eleanor, a friendless, fragile young woman well acquainted with poltergeists; and Luke, the future heir of Hill House. At first, their stay seems destined to be merely a spooky encounter with inexplicable phenomena. But Hill House is gathering its powers—and soon it will choose one of them to make its own.



My Review:
Rating:
★★★★


“Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.” 

Up until a year ago I had never heard of Hill House; never read a Shirley Jackson book, but then Netflix aired a show based on this book titled: The Haunting of Hill House and suddenly I was intrigued. I have always been a fan of horror/suspenseful thrillers so of course I went ahead and pressed play. The show had me hooked from the very beginning, a haunting tale to keep you up at night. 

Now I know its unwise to watch a tv/movie adaptation before ever reading the book but I just couldn't help myself. The trailer looked oh so good! 

So its been a few months since I have finished the show and was able to find myself a copy of the book at Walmart this past weekend. The moment I saw it sitting on the shelf I knew I just had to bring it home with me, it was time to compare. 


The Haunting of Hill House had me enthralled from the very beginning. Shirley Jackson brought Hill House to life in such a terrifyingly chilling way, I was on the edge of my seat. Turning page after page, needing to know how it would end. 

The Netflix show did make some pretty major changes to the story of Hill House. For one thing, the show centers around a family and their experiences while living at Hill House, where as the book focuses on Dr. Montague and his assistants; Luke, Eleanor and Theodora. The doctor brings together this small group of strangers in hopes of discovering and studying the psychic phenomenon at Hill House. 

Many strange and unexplainable things occur during their stay at Hill House. An eerie cold that finds you in the night. And let's not forget the dusty old nursery, with a spooky presence. Something in the house is calling out to them... will Hill House claim it's victim? Will it bring them "home?"

I must say the book had its spooky elements sprinkled throughout and kept me captivated from the very beginning. I enjoyed comparing both TV show and book, seeing the similarities and differences. While the book was great and I truly did enjoy the story, I found the show a bit more appealing....but then that may simply be because I started there first. 

While there were many changes to the story for the TV adaptation I agree with the route they took and understand the changes they made. The book had so many avenues that could have been explored but keeping to those four central characters stuck in Hill House I feel the material may have ended up lacking. 

That being said, I did still enjoy the book very much. It gave a different spin on a show that I throughly enjoyed and could watch over and over again. It's definitely a book I would recommend, especially if you are looking for something a bit spooky. 



Published by: K

Wednesday, October 2, 2019

Review: Dreams of Gods and Monsters by Laini Taylor


Dreams of Gods and Monsters

By: Laini Taylor

Series: Daughter of Smoke and Bone Trilogy
Genre: Young Adult, Fantasy, Romance
Length: 613 pages
Synopsis From Goodreads:

Two worlds are poised on the brink of a vicious war. By way of a staggering deception, Karou has taken control of the chimaera's rebellion and is intent on steering its course away from dead-end vengeance. The future rests on her.

When the brutal angel emperor brings his army to the human world, Karou and Akiva are finally reunited - not in love, but in a tentative alliance against their common enemy. It is a twisted version of their long-ago dream, and they begin to hope that it might forge a way forward for their people. And, perhaps, for themselves.

But with even bigger threats on the horizon, are Karou and Akiva strong enough to stand among the gods and monsters?

The New York Times bestselling Daughter of Smoke & Bone trilogy comes to a stunning conclusion as - from the streets of Rome to the caves of the Kirin and beyond - humans, chimaera, and seraphim strive, love, and die in an epic theater that transcends good and evil, right and wrong, friend and enemy.



My Review:
Rating:


***Caution May Contain Spoilers***

The time has come to say goodbye to Eretz and the magnificent character we found there. Laini Taylor worked her magic one last time in Dreams of Gods and Monsters transporting us into a realm with angels and devils preparing to go into battle and give the fight of their life. 

“Once upon a time, an angel and a devil pressed their hands to their hearts and started the apocalypse.” 

I must be honest that when I first delved into this trilogy all those months ago I was hesitant and worried that I would be among the minority of people that downright hated these books. Daughter of Smoke and Bone was slow at the start and took some getting used to when it came to writing style, but has I ventured forward with Karou and her many mysteries I found myself completely engrossed. 

Dreams of Gods and Monsters brings you to the final showdown, Karou and Akiva have quite the struggle ahead bringing together the Chimaera and the Misbegotten, once mortal enemies. But the time has come to unite as one to face off against the villainous Emperor hell-bent on destroying Eretz and the mysterious Seraphim known as the Stelians. Can Karou and Akiva accomplish the unthinkable?

Thankfully they are not alone in the efforts they have their allies; Ziri, Liraz, Issa, Zuzana and Mik along for the ride prepared to help unite these two clans. Along the way Ziri and Liraz find a fondness for one another that Liraz believed she was incapable of feeling. After a near death experience her eyes are open to the beauty of the Chimaera race. 

Then there are the humans that have been thrust into the world of angels and devils, discovered magic and experienced loss; Zuzana and Mik. Karou's best friends from the human world have come to love the Chimaera has if they were of the same blood and are determined to help save Eretz at any cost. Plus there is no way Zuzana is leaving Karou to fight this battle alone. 

Dreams of Gods and Monsters, the final book in this beautiful trilogy was just has captivating as the first two. So much detail went into writing the story of Karou and Akiva, their struggles and their triumphs. Laini Taylor truly has a way with words and brings to life such an astonishing world of gods and monsters. Every word follows into the next like the loops in a perfectly woven scarf, the ebb and flow of words so magical that you felt transported into the world of Eretz right along with these characters. 

It's bittersweet to say goodbye to a story as epic as this one, but in the end there were happy endings and misguided sadness. Your left with hope for the future of the Chimaera and Seraphim, and hope for Karou and Akiva. Never-ending hope for all! 


Published by: K

Sunday, September 22, 2019

Review: Days of Blood and Starlight by Laini Taylor


Days of Blood and Starlight

By: Laini Taylor


Series: Daughter of Smoke and Bone Trilogy
Genre: Young Adult, Fantasy, Romance
Length: 517 pages
Synopsis From Goodreads:

Once upon a time, an angel and a devil fell in love and dared to imagine a world free of bloodshed and war.

This is not that world.


Art student and monster's apprentice Karou finally has the answers she has always sought. She knows who she is—and what she is. But with this knowledge comes another truth she would give anything to undo: She loved the enemy and he betrayed her, and a world suffered for it.

In this stunning sequel to the highly acclaimed Daughter of Smoke & Bone, Karou must decide how far she'll go to avenge her people. Filled with heartbreak and beauty, secrets and impossible choices, Days of Blood & Starlight finds Karou and Akiva on opposing sides as an age-old war stirs back to life.

While Karou and her allies build a monstrous army in a land of dust and starlight, Akiva wages a different sort of battle: a battle for redemption. For hope.

But can any hope be salvaged from the ashes of their broken dream?
 

My Review: 

Rating:


***Caution May Contain Spoilers***


Most would agree that sequels don't always hold a candle to the very first book or movie. But Days of Blood and Starlight was just as great a book as the first, if not better!

After finishing Daughter of Smoke and Bone I jumped right into Days of Blood and Starlight, I just had to know what was in store for both the chimaera and the seraphim. Both sides destroyed in a war created by cruel rulers with hate in their hearts. Can they find their way into a new world?

Days of Blood and Starlight picks up only months after Karou and Akiva break the wishbone. Karou remembers everything about her past and the love she and her angel shared, the dream they had for a new way of life. But that is all wiped away when Karou discovers the treacherous events Akiva set in motion. 

"A dream dirty and bruised is better than no dream at all."

Angry and hurt, Karou finds herself fleeing the only true happiness she has known into the arms of the man she fears more than anything. Karou has discovered her true calling and has sided with the chimaera once again in a fight to save her people and avenge their fallen. However, the White Wolf has other plans and they do not include a happy ending to all. 

Throughout the book Karou struggles to squash her feels for Akiva, angered by his betrayal Karou shuts down her feelings in a struggle to hate the man she once loved. However, that task does not seem to be as easy as one would hope. She cannot see his side of the story as she is so wrapped up in her own grief and loss. But can anyone really blame her? 

In the meantime, Akiva is fighting to save as many chimaera as he can, to hopefully atone for his sins. But he can't save them all, not so long as the tyrant Joram is alive. Plotting, planning and initiating an assassination with the help of his brother, Hazael and his sister, Liraz; Akiva hopes to make the the first steps towards a dream long forgotten.

While Karou and Akiva are struggling with their own battles against evil men, a darkness is squirming into the land plotting an even scarier war. One that endangers not only the chimaera and seraphim, but the human world. Now these two enemies must work together to stop a common threat. Can they put aside their differences for the greater good? And what of Karou's new secret? Secrets only stay buried for so long. 

“Your heart is not wrong. Your heart is your strength. You don't have to be ashamed.” 

I love how easy it is to fall into this world of chimaera and seraphim. To feel as though you are struggling right alongside them. This writing style is beautiful and amazing, keeping you hooked from the very first page. There is such elegance in each word that it brings every page to life. 

And each character is so unique in their own way, you can see the fine division between them. No two characters sound the same or appear to have the same personality, each one is uniquely their own and for there to be so many characters in one book I can't imagine that was an easy feat. 

It is not common for a second book to be just as spectacular as the first but Laini Taylor was able to pull in off. I look forward to seeing what happens to Karou and Akiva in Dreams of Gods and Monsters. Can they defeat the new dark presence? Will they be able to find their way back to one another? Or has their love had its day in the sun? So many questions and hopes that I can't wait to see how book three unfolds. 


Published by: K