4. Symbiont – Mira Grant
Problematically, in the second book of this trilogy, Sal does not magically become more interesting. Damn it. Grant also gives Sal a blank-as-hell brother character and a Harley Quinn-type that pops up to be confused, crazy, beloved by the other characters, and cause some trouble. I am honestly quite annoyed at how closely Tansy of the Parasitology trilogy, a fresh take on the zombie apocalypse… resembles Foxy of the Newsflesh trilogy, a fresh take on the zombie apocalypse. It just makes it seem like not enough time was taken in between writing these trilogies. Parasitology should not be Newsflesh take two, now with less incest and corporate instead of political intrigue. Barely anything happens in Symbiont, it feels like 499 pages of stalling when we could be on our way to a breakneck finish of someone helping Sal learn something while not driving too fast.
Grant’s books are very easy to read and involve some pop science and that’s how I will probably end up reading the last of the trilogy. I’ll be hoping for some of the characters to become realistic or fully fleshed out – three four hundred plus page books are enough space to flesh out characters, right? Right? This is probably another losing battle for me. Why do I expect fully fleshed out characters when I’m 1009 pages into a trilogy? WHY?
Murderface, displaying her level of plot-twist vigilance.
19. The Price – Alexandra Sokoloff
Politics and hospitals and disease and babies, Crack houses and sleeplessness and self-vict-im-izing, Sacrificial bunnies and corrupted ghost nuns, These are a few of my favorite, um, things… That does not rhyme, sorry. Anyway, The Price’s plot was probably totally spoiled by my attempt to link it to The Sound of Music. Sorry again.
Now that I’ve read four books by Alexandra Sokoloff I have to say that I prefer the two with heroines to the two with heroes. There’s just something about how the female protagonists in her books figure things out that appeals to me more. It’s a little quieter, maybe, that’s probably not what the reason is but that’s all that’s coming to mind. Maybe it’s because if you’re in their heads, you don’t have to hear about the male gaze and how all the female characters look. There’s just so much staring involved in the male gaze, and I know, what a shocker that is. Total revelations over here. It’s just that the wife character in this book and the sexy witch character from Book of Shadows were so one-dimensional. The wife is willing to give anything up for her child – ever heard of a mother like that before? Hell, I would have made a deal with hospital-dwelling Satan if it would have kept my piggies alive and healthy for many, many years but he wasn’t there when I needed him and so no deals will ever be made.
Bottom line is, if any of Sokoloff’s books were TV movies I’d totally watch them on TNT. And I know she’s a screenwriter, so I guess it makes sense that many of her characters tend to be people I’d only want to spend a decently enjoyable two hours with as opposed to being fully fleshed out imaginary people. It looks like she’s continuing on the whole dude-writing perspective thing in her latest novel, so perhaps she doesn’t want to flesh anyone out completely. I guess that’s okay. Forget it, Morty. It’s genre fiction.
Who needs Satan when you have a bag of hay? Mortemer doesn’t need to make a deal.