To all the books I’ve loved before: I’m sorry. Really. But it’s over. We’re done. We just can’t see each other any more. It’s not because of you, honestly. It’s because of me. Because I’ve read something else, something special, and I just can’t forget it anymore. Never. I’ll never stop loving you, but it’s just not the same. I’m really, really sorry, but we’re done. I’ll never forget you, but Dorothy Dunnett’s „A Game of Kings“ is just perfect. We can still stay friends, though.
I’m late to the party: this is my first V.E. Schwab novel. And guess what? I’m now a steadfast Schwabista for life. ‚The Invisible Life of Addie LaRue‘ was my most anticipated new release-read of the year, not only because it was released on my birthday, and it was even better than I hoped. Schwab has writen an epic story full of heartbreak, love and cleverness that is carried by its extraordinary protagonist: Addie LaRue is a character you’ll – most ironically – never forget.
The first one where Voldy doesn’t show up at all. Who cares, because Gryffindor finally win the Quidditch Cup! YEAH! YOU GO, OLIVER WOOD!
Oh, you were waiting for a review for „Pawn in Frankincense“? Ask me any time, I could gush about it all day. So here it comes.
Joe Abercrombie’s ‚The Blade Itself‘ is an action-packed, fast-paced, grim-dark introduction into his ‚First Law‘ trilogy that is above average and yet somewhat disappointing. It has interesting characters and fascinating world-building, but suffers from a number of problems that often come with first books in a trilogy.
Das Buch, in dem Rowling (Oh Joanne, hör auf, so schlimme Dinge zu sagen. Ruiniere mir nicht meine Kindheit!) langsam den großen Konflikt ihrer magischen Welt einführt: während es in ‚Stein der Weisen‘ einfach nur kindgerecht „Gut gegen Böse“ war, verrät sie uns hier, was „Du-weißt-schon-wen“ so böse macht. Er ist nicht bloß ein hässlicher, sadistischer Bastard. Nein Freunde, hier geht es außerdem um Rassismus. Voldy und seine sympathischen Gefolgsleute glauben, dass sich der Wert einer Wert einer Person daran bemisst, wer ihre Vorfahren waren.
The one where Rowling (Oh Joanne, why do you say all these terrible things? Please stop destroying my childhood) slowly introduces the grand reason of conflict in her world: while in Philosopher’s Stone it was just good vs. evil, now we get to know what that evil is, what makes He-Who-Must-Not-Be-Named so very dark.
Time to finally start with all those eagerly awaited autumn reads…
This is where everything changes: from the last chapters of this volume onwards, Harry Potter gets dark and stops being a series of childrens‘ books. This is the last book where the wizarding world is most of all a place of wonder and fascination and not a world threatened by darkness. And this is the book where Harry himself stops being a child.
What’s even greater than the stories and the hilarious shenanigans of the Gentleman Bastards are the characters, the plot twists and the dialogues.