Emo Nemo

Mily

Sarah

Shaidrian Rios

Jimmy Beans

miCCwatreSSop

Julie Wynne - videos

Kapuster

Nicky Tallon

Harini Sen

Vastralaya

Evan Shively (Perseus271)

Lowry's book is a piece of nationalist propaganda, using oversimplification, emotional appeals, and dualistic morality to shut down her readers' minds. More troubling is that it is aimed at children, who don't yet have the critical faculties to defend themselves from such underhanded methods.Unsurprisingly, Lowry adopts the structure of the monomyth, equating a spiritual journey with a moral one. Her Christ-figure uses literal magic powers to rebel against his society. This rebellion and the morality behind it are presented as 'natural', to contrast with the 'abnormal morality' around him.Lowry doesn't seem to understand that we get our morality from our culture, it isn't something in-born that we 'lose'. This is the first hint of Lowry's misunderstanding of the human mind. She assumes her own morality is correct, and then builds her story to fit it.She also makes the character act and think like a modern person would, despite never adequately explaining how he came up with such unusual notions. It's the same trick many historical fiction authors use, leaving us scratching our heads as to why a Fourteenth Century French peasant speaks like a second-wave feminist. I'd suggest that Lowry falls to this fault for the same reason they do: she has no talent for imagining how others might think differently.Lowry's book ends with the standard nonspecific transgressive spiritual event that marks any overblown monomyth. Since the book is not a progressive presentation of ideas, it does not suggest any conclusion. Instead, the climax is a symbolic faux-death event (symbolic of what, none can say). Confusingly, Lowry later redacts the ending in the sequels, undermining the pseudo-spiritual journey she created.Though some call this book 'Dystopian', it's closer to the truth to say Lowry borrows elements from the Dystopian authors, attempting to combine the spiritual uplift of the monomyth with the political and social deconstruction of the Dystopia. What she doesn't recognize is that the faith of the one conflicts with the cynicism of the other. She draws on ideas and images from many other authors: Bradbury, Huxley, Orwell, Burgess, but doesn't improve upon them.These authors created novels that reflected the world around them. They based them on the political events of the times, presented with realism and careful psychology. Though they presented the struggle between the individual and the society, they portrayed morality as grey, and suffering as the result of individual human faults, not political systems. Lowry doesn't realize that the best way to critique Fascism or Communism is not to present it as 'evil', but to simply present it as it was.But Lowry's world is not based in reality, it is symbolic and hyperbolic. Instead of writing about how poverty makes the world seem small and dull, she has the characters magically unable to experience life. Instead of an impersonal government, she presents a sort of evil hippy commune. The only political system it resembles is a school, which is a neat little trick to get the kids interested. The idea that 'school=unfeeling totalitarian hell' is not an uncommon one, but it's one I'm surprised teachers would support. The book also suggests a creche, but lacking similarity to any real-world system, it doesn't work as a political criticism.Lowry creates this artificial world to suit her purposes, but it is not a symbolic exercise like 'Animal Farm'. We understand that the pigs of animal farm are symbolic, because there are no talking pigs. Lowry's world is more insidious, since its oversimplification is hidden. She builds an artificial world to support the dualist morality that she's pushing. She presents the same knee-jerk fears about euthanasia and abortion that people use against Women's Rights or Health Care.Worse than these Straw Man arguments is the fact that she never deals with the economic causes of totalitarianism. Tyrants don't just rise up and take control by their own force of will, they come into power because of the socioeconomic situations that surround them. Lean times produce strong, fascist leaders while profitable times produce permissive, liberal societies.Strong, centralized leadership simply doesn't self-propagate in cultures where everyone is clothed, fed, and housed. The Holocaust was socially about some ideal of 'change' and 'purity', but it was economically about the transmission of wealth from Jews, Poles, and Catholics to Germans (and more specifically, to those Germans who had elected the new ruling party).The atrocities of war are, for the most part, committed by normal people on other normal people. By presenting the power structure as 'amoral' and 'inhuman', Lowry ignores the fact that people will willingly cause others to suffer. Painting the enemy as 'evil' and 'alien' is just an unsophisticated propagandist method.She contrasts her 'evil' with the idealized 'goodness' of emotion, beauty, and freedom. This is nothing more than the American dream of 'specialness' that Mr. Rogers was pushing for so many years. We are all special, we are all good, we all deserve love and happiness. Sure, it sounds good, but what does it mean?Where does this 'specialness' come from? If it is just the 'sanctity of human life', then it's not really special, because it's all-encompassing. If all of us are special, then none of us are. There's nothing wrong with valuing life, but when Lowry presents one mode of life as valuable and another as reprehensible, she ceases to actually value humanity as a whole. Instead, she values a small, idealized chunk of humanity. 'People are good, except the ones I don't like' is not a moral basis, nor is it a good message to send to kids.If the specialness is only based on fitting in with a certain moral and social guideline, then Lowry isn't praising individuality, she's praising herd behavior. The protagonist is only 'special' because he has magic powers. His specialness is not a part of his character, it is an emotional appeal.The idea of being a special individual is another piece of propaganda, and its one kids are especially prone to, because kids aren't special: they are carefully controlled and powerless. Giving a character special powers and abilities and then using that character to feed a party line to children is not merely disingenuous, it's disturbing.There is also a darker side to universal specialness: giving a child a sense of importance without anything to back it up creates egotism and instability. Adults noticed that children with skills and friends had high self-esteems, but instead of teaching their children social skills and knowledge, they misunderstood the causal relationship and tried to give them self-worth first.Unfortunately, the moment unsupported self-worth is challenged, the child finds they have nothing to fall back on. Their entitlement didn't come from their skills or experiences, and so they have nothing to bolster that sense of worth. Instead, any doubt sends them down a spiral of emotional instability.A single book like this wouldn't be the cause of such a state in a child, but it does act as part of the social structure built to give a sense of worth without a solid base for that worth. People like to believe they are special, kids especially so, but being a remarkable person is not a result of belief but of actions. If the book had informed them, then it would leave them better off, but giving them a conclusion based on emotional appeals does nothing to build confidence or character.Many people have told me this book is good because it appeals to children, but children often fall for propaganda. Children develop deep relationships with pop stars, breakfast cereals, and Japanese monsters. This does not make them good role models for children.Feeding 'specialness' to kids along with a political message is no better than the fascist youth programs Lowry intends to criticize. The obsession with individuality is just another form of elitism. It's ironic that people in America most often describe themselves as individuals when pointing out the things they do to align themselves with groups.But banding together in a community is not a bad thing. For Lowry and other 'Red Scare' children, any mention of 'communal' can turn into a witch hunt, but we all give up some personal rights and some individuality in order to live in relatively safe, structured societies. There are benefits to governmental social controls and there are drawbacks, and it's up to us to walk the line between the two. Anarchy and Totalitarianism never actually exist for long: we are social animals.It's not difficult to understand why Lowry is so popular, especially amongst educators. The message she gives aligns perfectly with what they were taught as kids, from Red Scare reactionism to the hippy-dippy 'unique snowflake' mantra. These ideas aren't entirely misguided, either. It's good to recognize the benefits of difference and the dangers of allowing other to control our lives.If a reader believes that fascism and socialism are inherently wrong and that their own individuality is their greatest asset, they will likely sympathize with Lowry's work. However, this doesn't make the book honest, nor beneficial. One of the hardest things we can do as readers is disagree with the methods of authors we agree with ideologically.It makes us feel good to find authors who agree with us, but this is when we should be at our most skeptical. Searching the world for self-justification is not a worthwhile goal, it simply turns you into another short-sighted, argumentative know-it-all. 'Yes men' never progress.Lowry is toeing the party line. She does not base her book around difficult questions, like the Dystopian authors, but around easy answers. She doesn't force the reader to decide for themselves what is best, she makes it clear what she wants us to think. Her book is didactic, which means that it instructs the reader what to believe.Even if her conclusions about Individuality vs. Community are correct, she doesn't present arguments, she only presents conclusions. Like rote memorization or indoctrination, she teaches nothing about the politics, social order, economics, or psychology of totalitarianism or individuality. The reader is not left with an understanding, just an opinion.The baseless 'individuality' of the book lets the reader imagine that they are rebels--that they are bucking the system even as they fall into lock-step. By letting the reader think they are already free-thinking, Lowry tricks them into forgetting their skepticism.She is happy to paint a simple world of black and white, and this is likely the world she sees. I doubt she is purposefully creating an insidious text, she just can't see past her own opinions. She writes this book with a point to make, and makes it using emotional appeals and symbolism. She doesn't back it up with arguments because she doesn't seem to have developed her opinions from cogent arguments.In the end, she doesn't show us that the structure of this society is wrong, she says nothing poignant about individuality vs. community; instead, she relies on threats to the life of an innocent infant. Yet nowhere does she provide an argument for why communal living or the sacrifice of freedoms for safety must necessarily lead to infanticide.In politics, making extreme claims about the opposing side is called mud-slinging, it is an underhanded and dishonest tactic. It works. Arguing intelligently is difficult, accusing is easy, so that's what Lowry does.She is another child of WWII and the Cold War who hasn't learned her lesson. She quickly condemns the flaws of others while failing to search out her own. Even after the Holocaust, there are many racist, nationalist, violent Jews; conflict rarely breeds a new understanding.America condemned the faceless communal life of the Second World, and yet America created The Projects. We critiqued strong governmental controls, but we still have the bank bailout, socialized medicine, socialized schooling, and socialized charity. America condemned the Gulags and Work Camps, and yet we imprison one out of every hundred citizens; far more than Stalin ever did. Some are killed, all are dehumanized.As a little sci fi adventure, the book isn't terrible. It's really the pretension that goes along with it. Lowry cobbles together religious symbolism and Dystopic tropes and then tries to present it as something as complex and thoughtful as the authors she copied. Copying isn't a crime, but copying poorly is.Like Dan Brown or Michael Crichton, she creates a political pamphlet of her own ideals, slaps a pretense of authority on it, and then waits for the money and awards to roll in--and they did. Many people I've discussed this book with have pointed to those awards as the surest sign of this book's eminent worth.Award committees are bureaucratic organizations. Their decisions are based on political machinations. This book is a little piece of Nationalism, and so it was lauded by the political machine that Lowry supports. The left hand helps the right. If awards are the surest sign of worth, then Titanic is a better movie than Citizen Kane.What surprises me is how many of those who brought up the award as their argument were teachers. If a politically-charged administrative committee is the best way to teach children, then why do you take umbrage when the principal tells you that bigger class sizes (and fewer benefits) are fine? Listen to him: doesn't he have award plaques?The other argument is usually that 'kids like it'. I usually respond that kids also like candy, so why not teach that? Some people also get angry at me for analyzing a book written for children:"Of course it's not a great book, it's for kids! If you want a good book, go read Ulysses!"I prefer to give children good books rather than pieces of political propaganda (even if they agreed with me). Children can be as skeptical, quick-witted, and thoughtful as adults if you give them the chance, so I see no excuse for feeding them anything less. Kids aren't stupid, they just lack knowledge, and that's a fine distinction. It's easy for adults to take advantage of their naivete, their emotionality, and their sense of worth. Just because it's easier for the teacher doesn't mean it's better for the child.When we show children something that is over-simplified, presenting an idealized, crudely moralizing world, we aren't preparing them for the actual world. If you give a child a meaningless answer to repeat, he will repeat it, but he won't understand why. Why not give the child a book that presents many complex ideas, but no rote answers, and let them make up their own minds? If they don't learn how to separate the wheat from the chaff and form their own opinions early, in a safe, nurturing environment, what chance will they have on their own as adults?In all the discussions and research regarding this book, I have come across very little analysis. It's especially surprising for a book with such a strong following, but there aren't many explanations of why the book is supposed to be useful or important.This lack of argument makes sense from a political standpoint, since there is no reason to analyze the worth of propaganda: its worth is that it agrees with society and indoctrinates readers. Analyzing it would defeat the purpose; political diatribes do not stand up to thoughtful attention.Perhaps someday someone will create a thoughtful, textual analysis of this book that will point out its merits, its structure and its complexity. I've gradually come to doubt it. I never expected when I wrote my original review of this book that it would garner this much attention.I still welcome comments and thoughts, but if your comment looks roughly like this: "You should read this book again, but this time, like it more. You think you're smart but you aren't. You're mean. Lowry is great. This book won awards and kids like it. It's meant for kids anyways, why would you analyze what its about? I bet you never even read the sequels. Go read 'Moby Dick' because you are full of yourself."I've heard that one before. If you do want to comment though, you might check out this article; I find it helps me with presenting my ideas.

From three of the organisers of the International Women's Strike US: a manifesto for when 'leaning in' is not enough.Recent years have seen the emergence of massive feminist mobilizations around the world, offering an alternative to the liberal feminism that has become the handmaiden of capitalism and of Islamophobia. These new movements have taken aim at neoliberalism's economic violence, the violence of xenophobic migratory policies, as well as the violence of imperialist military interventions and of environmental disasters.In this short book, three of the organisers of the international women's strike in the US lay out a manifesto for an alternative. Looking to women mobilizing in Argentina, Brazil, Mexico, Poland, Italy, Spain, Turkey, and other countries, who have recast feminist, anti-racist, environmentalist struggles in creative ways, the authors lay out a compelling set of demands. It is a manifesto that seeks to retrieve a radical and subversive feminism, for the emergence of an international anticapitalist feminist network.Against the 'Lean In' corporate feminism of Hilary Clinton and Sheryl Sandberg, - a feminism that is useful only for the women of the 1% - this manifesto outlines a feminism for the rest of us: a feminism for the 99%.

The unhappy inhabitants of planet Krikkit are sick of looking at the night sky above their heads–so they plan to destroy it. The universe, that is. Now only five individuals stand between the killer robots of Krikkit and their goal of total annihilation.They are Arthur Dent, a mild-mannered space and time traveler who tries to learn how to fly by throwing himself at the ground and missing; Ford Prefect, his best friend, who decides to go insane to see if he likes it; Slartibartfast, the indomitable vice president of the Campaign for Real Time, who travels in a ship powered by irrational behavior; Zaphod Beeblebrox, the two-headed, three-armed ex-president of the galazy; and Trillian, the sexy space cadet who is torn between a persistent Thunder God and a very depressed Beeblebrox.How will it all end? Will it end? Only this stalwart crew knows as they try to avert “universal” Armageddon and save life as we know it–and don’t know it!

alternate covers for this ISBN can be found here and hereThe story of THE HITCH-HIKER’S GUIDE TO THE GALAXY continues"Good Evening ladies and gentlemen, I am your host for tonight, Max Quordlepleen, and I have just come straight from the other end of time where I have been hosting a show at the Big Bang Burger Bar and I will be your host for this historic occasion - the End of History itself."If you've done six impossible things this morning why not round it off with breakfast, lunch or dinner at Milliway's, The Restaurant at the End of the Universe...--back coverCover illustration by Chris Moore

My mother pursed her lips. “I’m telling you that … you’re getting too old for me to tell you what to do. I’m telling you that I’ll support you, even if what you decide to do is dangerous.”And this kind of settles in which direction this third book is heading. If you’re already familiar with Percy Jackson (which I’m pretty certain you are, because otherwise you wouldn’t read this review, right? *lol*) you know that the first two books were fun and had a lot of jokes in them. The third one? Not so much. Whilst it’s true that “The Titan’s Curse” was very entertaining and full of Uncle Rick’s trademark adventures I still have to point out that it was way more serious than its predecessors. ”It’s cool. No sword. See? No sword. Calm thoughts. Sea grass. Mama cows. Vegetarianism.”Yes, we still have Percy’s funny remarks but just like the Harry Potter series this series is growing as well. The characters get older and their quests get more dangerous and grim. The stakes are higher and our characters are forced to realize that not everyone can be saved by a hero. For instance we’re barely a few chapters into the book when Annabeth disappears with the enemy. There’s no trace of her left and for all they know she even might be dead. Not that Percy would consider such an outcome! He has to save Annabeth because he just knows that she’s still alive! ;-) So what to do when you’re stranded on a cliff? Right, you call for the sun gods help to hitch a ride. XD”Wow,” Thalia muttered. “Apollo is hot.”“He’s the sun god,” I said.“That’s not what I meant.” I totally agree with Thalia btw! *lol* I loved that Apollo was a recurring part of this book and I can’t wait to read his series! He seems to be such a fun guy and I was more than just intrigued by his character. &lt;3 Artemis and her Hunters were a great addition to the cast as well, and the Di Angelo twins? I think we’ll read more about them in future books! ;-) I’m really looking forward to this because I already like little Nico and took him to my heart! The true star of this story is Bessie the cow serpent though and if you don’t know who that is you better read the book and find out! *lol*”This is why I don’t use mortals,” Luke said. “They are unreliable.”“They are weak-minded, easily bought, and violent,” the General said. “I love them.” But of course there need to be real enemies in “The Titan’s Curse” as well and this time around they are pretty decent and smart. Next to Luke we have to face the General and this adversary is as dangerous and cunning as they come. Knowing my myths I wasn’t surprised about the story behind the man, but as a kid I probably would have been shocked. *lol* (view spoiler)[I mean the book is named “The Titan’s Curse” and Annabeth and Artemis have to hold up a mountain. Does this ring a bell? If you paid attention at school you must have figured out that the General is Atlas so that big revelation didn’t hit me as hard as it would have when I was younger. Who knew education could take away some of your enjoyment? *lol* (hide spoiler)]

In the aftermath of a colossal battle, the future of the Seven Kingdoms hangs in the balance—beset by newly emerging threats from every direction. In the east, Daenerys Targaryen, the last scion of House Targaryen, rules with her three dragons as queen of a city built on dust and death. But Daenerys has thousands of enemies, and many have set out to find her. As they gather, one young man embarks upon his own quest for the queen, with an entirely different goal in mind.Fleeing from Westeros with a price on his head, Tyrion Lannister, too, is making his way to Daenerys. But his newest allies in this quest are not the rag-tag band they seem, and at their heart lies one who could undo Daenerys’s claim to Westeros forever.Meanwhile, to the north lies the mammoth Wall of ice and stone—a structure only as strong as those guarding it. There, Jon Snow, 998th Lord Commander of the Night’s Watch, will face his greatest challenge. For he has powerful foes not only within the Watch but also beyond, in the land of the creatures of ice.From all corners, bitter conflicts reignite, intimate betrayals are perpetrated, and a grand cast of outlaws and priests, soldiers and skinchangers, nobles and slaves, will face seemingly insurmountable obstacles. Some will fail, others will grow in the strength of darkness. But in a time of rising restlessness, the tides of destiny and politics will lead inevitably to the greatest dance of all.

Percy Jackson isn't expecting freshman orientation to be any fun. But when a mysterious mortal acquaintance appears at his potential new school, followed by demon cheerleaders, things quickly move from bad to worse.In this fourth installment of the blockbuster series, time is running out as war between the Olympians and the evil Titan lord Kronos draws near. Even the safe haven of Camp Half-Blood grows more vulnerable by the minute as Kronos's army prepares to invade its once impenetrable borders. To stop the invasion, Percy and his demigod friends must set out on a quest through the Labyrinth - a sprawling underground world with stunning surprises at every turn.

Crows will fight over a dead man's flesh, and kill each other for his eyes.Bloodthirsty, treacherous and cunning, the Lannisters are in power on the Iron Throne in the name of the boy-king Tommen. The war in the Seven Kingdoms has burned itself out, but in its bitter aftermath new conflicts spark to life.The Martells of Dorne and the Starks of Winterfell seek vengeance for their dead. Euron Crow's Eye, as black a pirate as ever raised a sail, returns from the smoking ruins of Valyria to claim the Iron Isles. From the icy north, where Others threaten the Wall, apprentice Maester Samwell Tarly brings a mysterious babe in arms to the Citadel.Against a backdrop of incest and fratricide, alchemy and murder, victory will go to the men and women possessed of the coldest steel and the coldest hearts.

A comet the color of blood and flame cuts across the sky. Two great leaders—Lord Eddard Stark and Robert Baratheon—who hold sway over an age of enforced peace are dead, victims of royal treachery. Now, from the ancient citadel of Dragonstone to the forbidding shores of Winterfell, chaos reigns. Six factions struggle for control of a divided land and the Iron Throne of the Seven Kingdoms, preparing to stake their claims through tempest, turmoil, and war. It is a tale in which brother plots against brother and the dead rise to walk in the night. Here a princess masquerades as an orphan boy; a knight of the mind prepares a poison for a treacherous sorceress; and wild men descend from the Mountains of the Moon to ravage the countryside. Against a backdrop of incest and fratricide, alchemy and murder, victory may go to the men and women possessed of the coldest steel...and the coldest hearts. For when kings clash, the whole land trembles.Here is the second volume in George R.R. Martin magnificent cycle of novels that includes A Game of Thrones and A Storm of Swords. As a whole, this series comprises a genuine masterpiece of modern fantasy, bringing together the best the genre has to offer. Magic, mystery, intrigue, romance, and adventure fill these pages and transport us to a world unlike any we have ever experienced. Already hailed as a classic, George R.R. Martin stunning series is destined to stand as one of the great achievements of imaginative fiction.

At last in paperback in one complete volume, here are the five novels from Douglas Adams's Hitchhiker series. "The Hitchhiker's Guide to the Galaxy"Seconds before the Earth is demolished for a galactic freeway, Arthur Dent is saved by Ford Prefect, a researcher for the revised Guide. Together they stick out their thumbs to the stars and begin a wild journey through time and space."The Restaurant at the End of the Universe"Facing annihilation at the hands of warmongers is a curious time to crave tea. It could only happen to the cosmically displaced Arthur Dent and his comrades as they hurtle across the galaxy in a desperate search for a place to eat."Life, the Universe and Everything"The unhappy inhabitants of planet Krikkit are sick of looking at the night sky- so they plan to destroy it. The universe, that is. Now only five individuals can avert Armageddon: mild-mannered Arthur Dent and his stalwart crew."So Long, and Thanks for All the Fish"Back on Earth, Arthur Dent is ready to believe that the past eight years were all just a figment of his stressed-out imagination. But a gift-wrapped fishbowl with a cryptic inscription conspires to thrust him back to reality. So to speak."Mostly Harmless"Just when Arthur Dent makes the terrible mistake of starting to enjoy life, all hell breaks loose. Can he save the Earth from total obliteration? Can he save the Guide from a hostile alien takeover? Can he save his daughter from herself?Also includes the short story "Young Zaphod Plays It Safe".

I've read all of the Anita Blake series (I have Hit List on my shelf but I've not gotten to it). And I've been mourning the early Anita and wanted to do a re-read of the early books. I love the artwork in the graphic novels so I decided to mix the two; artwork and the early Anita by reading Guilty Pleasures graphic novel.The graphic novel follows the story line in the book version of Guilty Pleasures but the amazing artwork makes it even better this time around. The vampires are much scarier in the graphic novel than the book. After experiencing Anita in this media I will defiantly check out the others in the series.I give the story a rating of 3 stars but the artwork gets 5 stars. If you are an Anita fan you should try reading her in this format.

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  Welcome to the Death of a Series\
Once upon a time there was a girl. She liked to read. A lot. She especially liked to read about books with paranormal alternate realities in them because the real world had lost its magic to things like “Reality” TV, male-dominated debates about women’s reproductive rights and vacuous celebrity worship. One day she stumbled upon a book titled Guilty Pleasures and though both the title and the cover seemed rather cheesy she figured she’d give it a try. Enter one imperfect, stubborn, narrow-minded but somehow highly lovable main character named Anita Blake. The girl had never met such a bad ass chick. Anita didn’t take shit from anyone, never compromised her beliefs because of the opinions of others and never looked to anyone else to get herself out of an impossible situation. The girl was intrigued. Did she like this wise-cracking hard ass? Or was her personality too strong and grating at times? With the arrival of one Jean Claude, master vampire and sex-on-legs love interest, the girl knew that she’d stick around to see where the series went. Who could resist such chemistry? Who could resist such an original and detailed paranormal world? Then came book two, The Laughing Corpse, and with it the progression of Anita as a character. The girl watched this stubborn MC learn from her mistakes, adjust her behavior and her mindset as she gained more and more knowledge of the preternatural crowd into which she had been drawn. The necromancer's mind began to open, just a little, but it was enough that the girl could see the character growth and could tell that there was more to this MC than the tough outer layer she’d been shown. Following this was Circus of the Damned and the girl was treated to more undead “Ma Petite” filled angst, an intriguing mystery and…the introduction of a love triangle. In The Lunatic Café the girl realized that though she abhorred most love triangles this one was executed in such a way that she could actually tolerate it. Not only that, but she could see no clear “winner”. Neither of the men seemed the obvious choice for the heroine, in fact, the girl herself couldn’t even make up her mind! She was also shown the detailed inner workings of a werewolf pack and though she would have preferred another murder-mystery she somehow didn’t mind that this book focused more on monster politics. Three books later the love triangle ended in such a way that the girl began to get nervous. Choosing a man because you fear him less than the other? Because he seems the more human of the two??? Should she stop? Could she go on? Yes. To both. By book ten the girl noticed that sex was beginning to become more prevalent than plotline. She wondered why the MC couldn't make up her mind and how she was able to love so many men at once. Why was the character she once respected turning into a misogynistic bitch? And what was with her raging lady boner for double standards and hypocrisy??? By book 12 the girl...fuck it, we all know it's me. By book 12 I wondered what happened to that character progression I had so looked forward to. It seemed if anything, my beloved Anita was moving backwards in her beliefs and was becoming unable to own up to her actions, blaming them on things like The Ardeur and even other people. She became whiny and overly combative and…unlikeable. I was also incredibly disturbed that Anita’s va-jay-jay was beginning to resemble a preternatural black hole. Why was one man not enough? Why were five not enough???Oh and lets not forget the bestiality. *shudders*By book fifteen I hated almost every character and began to question my sanity. I wondered if watching The Jersey Shore was a better use of my time.After reading the synopsis for Blood Noir as well as a few of the reviews I decided to bag up all the previous books I owned in the series and donate them to my father's skeet shooting club in the hopes that they'd serve better for target practice than they did as "literature". I then sought a hypnotist to erase the memory of this series from my mind. So far that hasn't panned out...This review can also be found at The Alliterates.

"RAISING THE DEAD IS EASY. LOVE IS HARD..." There are lots of reasons to raise the dead-some private, some public. In this case, the feds have a witness who died before he could speak on the record. They want him raised so his testimony can be taken. So here I am, on a plane to Philadelphia, flying off to do my job. But I'm not alone. Micah is with me. Micah, head of the St. Louis wereleopard pard. King to my Queen. The only one of my lovers who can stir my blood with just a glance from his chartreuse cat's eyes. I was happy to have him at my side. Until he mentioned that this will be our first time alone together. No Master Vampire. No Alpha Werewolf. Just me and Micah. And all my fears and doubts...

In the latest New York Times bestselling Anita Blake, Vampire Hunter series, Anita's life is more complicated than ever, as she is caught between her obligations to the living and the undead. A vampire serial killer who preys on strippers is on the loose. Called in to consult on the case, Anita fears her judgment may be clouded by a conflict of interest. For she is, after all, the consort of Jean-Claude, the ever-intoxicating Master Vampire of the City. Surrounded by suspicion, overwhelmed by her attempts to control the primal lusts that continue to wrack her, Anita does something unprecedented: she calls for help.

I am Meredith Gentry, P.I., solving cases in Los Angeles, far from the peril and deception of my real home–because I am also Princess Meredith, heir to the darkest throne faerie has to offer. The Unseelie Court infuses me with its power. But at what price does such magic come? How much of my human side will I have to give up, and how much of the sinister side of faerie will I have to embrace? To sit on a throne that has ruled through bloodshed and violence for centuries, I might have to become that which I dread the most.Enemies watch my every move. My cousin Cel strives to have me killed even now from his prison cell. But not all the assassination attempts are his. Some Unseelie nobles have waited centuries for my aunt Andais, Queen of Air and Darkness, to become weak enough that she might be toppled from her throne. Enemies unforeseen move against us–enemies who would murder the least among us.The threat will drive us to allow human police into faerie for the first time in our history. I need my allies now more than ever, especially since fate will lead me into the arm of Mistral, Master of Storms, the queen’s new captain of her guard. Our passion will reawaken powers long forgotten among the warriors of the sidhe. Pain and pleasure await me–and danger, as well, for some at that court seek only death.I will find new joys with the butterfly-winged demi-fey. My guards and I will show all of faerie that violence and sex are as popular among the sidhe as they are among the lesser fey of our court. The Darkness will weep, and Frost will comfort him. The gentlest of my guards will find new strength and break my heart. Passions undreamed of await us–and my enemies gather, for the future of both courts of faerie begins to unravel.From the Hardcover edition.

I sincerely dislike this series. I don't particularly like Anita, the amount of time she spends obsessing over guns and weapons tires me, she seems like a person I would not like if I met her. I don't like being in her head, I don't like the way she frequently treats people, I don't like the way she speaks to them, none of it. There is nothing appealing to me about Anita.The were and vampire subculture is full of exploitation and torment and pain and I don't enjoy that. Much of the pain is sexual, and I REALLY don't enjoy that. Doesn't help that I don't find a single damn thing about Jean-Claude attractive. When he's described, all I get is uncomfortable. He sways his hips when he walks so Anita will look at his ass, he unbuttons his shirts down to his navel so his nipples peek out, and his face is constantly being framed by his hair - these are just not elements that I find attractive, so every time they're lustfully described I have another moment of total disassociation. And "ma petite"? Maybe that's regional, but he uses it all the time and the italics are getting to me. He strikes me as a cheap Anne Rice knockoff, dressed up like he's about to do theme porn. So between a protagonist who seems to actually repulse me, a love/sex interest who is about as alluring to me as Fabio, and scenes that make me want to peel off my own skin, this is not my series. It's like the dark side of the Sookie Stackhouse coin - those I'll read often, but Anita Blake I tried for the first 10 and then finally had to throw up my hands and accept it was only getting worse and I should stop being so stubborn. When I arrange my Darkover bonfire, this series is also going right into the flames.

When a fifteen-year-old girl is abducted by vampires, it's up to U.S. Marshal Anita Blake to find her. And when she does, she's faced with something she's never seen before: a terrifyingly ordinary group of people - kids, grandparents, soccer moms - all recently turned and willing to die to avoid serving a master. And where there's one martyr, there will be more...But even vampires have monsters that they're afraid of. And Anita is one of them...

The #1 New York Times bestselling author's short story collection-including an all-new Anita Blake, Vampire Hunter story. From a woman who marries into a family of volatile wizards to a couple fleeing a gang of love-hungry cupids, from a girl who seeks sanctuary in the form of a graceful goose to the disgruntled superhero Captain Housework, readers will revel in the many twists and turns of fortune in these fantastical fairy tales and lush parables. Even hardened vampire hunter and zombie animator Anita Blake gets blindsided by the disturbing motives of her clients in the new "Those Who Seek Forgiveness" and in "The Girl Who Was Infatuated with Death."

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Carol Danvers becomes one of the universe's most powerful heroes when Earth is caught in the middle of a galactic war between two alien races.

A woman, accidentally caught in a dark deal, turns the tables on her captors and transforms into a merciless warrior evolved beyond human logic.

In the high-stakes world of political power-brokers, Elizabeth Sloane is the most sought after and formidable lobbyist in D.C. But when taking on the most powerful opponent of her career, she finds winning may come at too high a pric

The retelling of France's iconic but ill-fated queen, Marie Antoinette. From her betrothal and marriage to Louis XVI at 15 to her reign as queen at 19 and to the end of her reign as queen, and ultimately the fall of Versailles.

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An antisocial maverick doctor who specializes in diagnostic medicine does whatever it takes to solve puzzling cases that come his way using his crack team of doctors and his wits.

Three sisters discover their destiny, to battle against the forces of evil, using their witchcraft. They are the Charmed Ones.

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A young woman, destined to slay vampires, demons and other infernal creatures, deals with her life fighting evil, with the help of her friends.

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After a serial killer imitates the plots of his novels, successful mystery novelist Richard "Rick" Castle receives permission from the Mayor of New York City to tag along with an NYPD homicide investigation team for research purposes

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Diana Bishop, historian and witch, accesses Ashmole 782 and knows she must solve its mysteries. She is offered help by the enigmatic Matthew Clairmont, but he's a vampire and witches should never trust vampires.

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A group of ambitious law students and their brilliant criminal defense professor become involved in a twisted murder plot that promises to change the course of their lives.

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As Alfred the Great defends his kingdom from Norse invaders, Uhtred - born a Saxon but raised by Vikings - seeks to claim his ancestral birthright.

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The Adventures of Sindbad across the seven seas in a brand new version. Sindbad and his shipmates encounter a numerous strange and dangerous situations on their journey but they always find their way out. No mythical creature or blac

The vampire Angel, cursed with a soul, moves to Los Angeles and aids people with supernatural-related problems while questing for his own redemption.

In Victorian England, the young and beautiful Alice tells a tale of a strange new land that exists on the other side of a rabbit hole.

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