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robinainthood's reviews
28 reviews
The Day of the Door by Laurel Hightower
dark
emotional
mysterious
reflective
sad
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
2.0
Ugh. I wanted to like this. I really wanted to like this, but it's another one of those that had a lot of potential and a lackluster execution. I was so excited to see how the promised "haunting as a metaphor for trauma/possession as a metaphor for mental illness" theme panned out, but it ended up doing nothing interesting with those concepts at all and, if anything, took a turn for the worst when it undermined its own message in the end.
As a child of a narcissistic parent, I found Stella to be a cartoonish imitation of one. She was impossible to take seriously as an antagonist, and more bothersome was the fact that she lacked any complexity or depth in how her narcissism manifested. Mine abused us, yes, but was also there for us in more ways than one. He was a present father, but unpredictable. He could be funny and cool one minute, then cruel and hurtful the next. He could offer comfort and safety then rip it away at the smallest slight. On top of it all, no one outside the confines of our home would suspect for a second that he was capable of these things because he cared most about how others perceived him (in other words, that they believed he was nothing but a loving, doting father).
These back and forths are what make a relationship with an abusive narcissist so scary and so exhausting, and I went into this expecting to feel all of those conflicting emotions about Stella and maybe confront some of those feelings in myself along the way. I went in expecting to have to reckon with this idea that people can hurt you and still be worthy of empathy, can somehow still manage to hold space in your heart despite all they've done to damage it, all while maintaining that those who cause harm are not exempt from accountability simply because they're mentally ill, but these nuances, while partially present, seem to start and end with further stigmatizing NPD despite itself.
I appreciate the attempt, I really do, but it's a book that fails to convince you of its own themes and, more insultingly, doesn't trust the reader enough to come to the conclusions it insists on beating relentlessly into your head with that dreaded metal bat.
As a child of a narcissistic parent, I found Stella to be a cartoonish imitation of one. She was impossible to take seriously as an antagonist, and more bothersome was the fact that she lacked any complexity or depth in how her narcissism manifested. Mine abused us, yes, but was also there for us in more ways than one. He was a present father, but unpredictable. He could be funny and cool one minute, then cruel and hurtful the next. He could offer comfort and safety then rip it away at the smallest slight. On top of it all, no one outside the confines of our home would suspect for a second that he was capable of these things because he cared most about how others perceived him (in other words, that they believed he was nothing but a loving, doting father).
These back and forths are what make a relationship with an abusive narcissist so scary and so exhausting, and I went into this expecting to feel all of those conflicting emotions about Stella and maybe confront some of those feelings in myself along the way. I went in expecting to have to reckon with this idea that people can hurt you and still be worthy of empathy, can somehow still manage to hold space in your heart despite all they've done to damage it, all while maintaining that those who cause harm are not exempt from accountability simply because they're mentally ill, but these nuances, while partially present, seem to start and end with further stigmatizing NPD despite itself.
I appreciate the attempt, I really do, but it's a book that fails to convince you of its own themes and, more insultingly, doesn't trust the reader enough to come to the conclusions it insists on beating relentlessly into your head with that dreaded metal bat.
Icebreaker by A.L. Graziadei
emotional
funny
reflective
sad
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
Sometimes you need a wholesome queer romance to break up your classics/lit-fic streak and, my goodness, did this hit the spot! It was so cute and so much more than I'd anticipated getting out of it. My only grievance is that it's not a series T-T
Endgame by Samuel Beckett
Beckett manages to mimic in this play precisely what it aims to represent: the absurdity, the comedy, the tragedy, the nihilism, the frustration of living, and of finding meaning in it all. The play itself is feverish and confusing, but moreover immensely frustrating - why can't they (won't they) leave, be better to each other, why do they continue their charade, why don't they just END IT. Why is it so challenging to make out what this story is about? Is it post-apocalyptic? What happened to everyone else? Is there anyone else? Does Hamm represent God? Are they alive, or dead?
All these questions with no answers, as Beckett himself had refused to offer any, and by design. Because the asking and the searching is itself absurd - that is the point. Endgame seems to drag you into the same lines of questioning and sentiments of longing for The End, as if there you'll find the answers you seek, or at the very least some closure. This is even more effective on stage because, unlike the physical book, you can't flip the pages back to the beginning and try again. It's the End, and your useless search for meaning will have to end with it (or go on without it).
challenging
dark
funny
mysterious
reflective
tense
5.0
"Yes, it's like the funny story we have heard too often, we still find it funny, but we don't laugh anymore."
Beckett manages to mimic in this play precisely what it aims to represent: the absurdity, the comedy, the tragedy, the nihilism, the frustration of living, and of finding meaning in it all. The play itself is feverish and confusing, but moreover immensely frustrating - why can't they (won't they) leave, be better to each other, why do they continue their charade, why don't they just END IT. Why is it so challenging to make out what this story is about? Is it post-apocalyptic? What happened to everyone else? Is there anyone else? Does Hamm represent God? Are they alive, or dead?
All these questions with no answers, as Beckett himself had refused to offer any, and by design. Because the asking and the searching is itself absurd - that is the point. Endgame seems to drag you into the same lines of questioning and sentiments of longing for The End, as if there you'll find the answers you seek, or at the very least some closure. This is even more effective on stage because, unlike the physical book, you can't flip the pages back to the beginning and try again. It's the End, and your useless search for meaning will have to end with it (or go on without it).
The Pigeon by Patrick Süskind
funny
tense
fast-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Flaws of characters a main focus? Yes
5.0
There are many ways to interpret this little story, but as someone with a debilitating phobia, diagnosed generalized anxiety disorder, and who has been described by loved ones as "agoraphobic" and "the most anti-social person" they've ever met, Jonathan's spiral speaks to me on a level I hate to admit.
It's comical and outlandishly dramatic, but it's a great representation of how someone with anxiety walks through the world. It's also the same for those who struggle or altogether refuse to step outside of their comfort zone, who don't know how to exist in the world without crumbling at every unexpected turn.
I'm in this picture and I don't like it!
It's comical and outlandishly dramatic, but it's a great representation of how someone with anxiety walks through the world. It's also the same for those who struggle or altogether refuse to step outside of their comfort zone, who don't know how to exist in the world without crumbling at every unexpected turn.
I'm in this picture and I don't like it!
We Have Always Lived in the Castle by Shirley Jackson
dark
funny
mysterious
tense
medium-paced
- Plot- or character-driven? Character
- Loveable characters? Yes
- Flaws of characters a main focus? Yes
4.0
What a clever and charming read! I definitely need to give this a second pass at some point.
All I can say is the best thing Jackson could've done was write this from Mary Katherine's perspective; sweet, poor Merricat. It's claustrophobic, absurd, sinister, unsettling; all while managing to make me laugh at the right times (and the wrong ones). It's being stuck in the past, it's refusing to let go, it's being the ghost that haunts the house and being the house itself. It's about sacrifice, insanity, and above all: fear.
And the dialogue! What a joy to read - it may have been my favorite element.
All I can say is the best thing Jackson could've done was write this from Mary Katherine's perspective; sweet, poor Merricat. It's claustrophobic, absurd, sinister, unsettling; all while managing to make me laugh at the right times (and the wrong ones). It's being stuck in the past, it's refusing to let go, it's being the ghost that haunts the house and being the house itself. It's about sacrifice, insanity, and above all: fear.
And the dialogue! What a joy to read - it may have been my favorite element.
Tender Is the Flesh by Agustina Bazterrica
dark
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
2.0
It's amazing how far an interesting premise, cool cover, and TikTok buzz can carry you.
Perfume: The Story of a Murderer by Patrick Süskind
dark
funny
mysterious
reflective
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
5.0
God, this was brilliant. I've fallen in utter Love with Süskind's writing style and, as I read, couldn't shake the feeling that it was written exactly to my taste. And what a ride it was! It's one of those I wish I could experience for the first time, again...
I struggled at first with describing this book and why I adore it so much. I'd seen it categorized as a horror novel on many occasions, and while the book certainly does have elements of horrific morbidity, I wouldn't call it a bonafide horror (especially when recommending it, because that title is misleading). It's also not really a fantasy either, nor a mystery, nor is it merely historical fiction.
Then it hit me. If this book is anything, it's a philosophical exploration of a strange young man's obsession with scent in pursuit of self; it's a character study.
Anyone who knows anything about me knows that character studies are my bread and butter, so I was bound to love this novel. If you go into Perfume expecting graphic depictions of murder from beginning to end, a cat-and-mouse chase to uncover and apprehend a murderer, or endless descriptions of a sick man's twisted thoughts, you're setting yourself up for disappointment. Instead, understand that this is about obsession, identity, desire, indulgence, morbid curiosity, humanity; but understand it's about all of these in small, understated doses.
Understand, above all, that it's about Jean-Baptiste Grenouille and scent. Only then can you begin to appreciate the lyrical genius taking place within these odd 260 pages.
This won't be for everyone; some will find it offputting or dull, and that's fair enough, but those whose taste is acquired to what Perfume has to offer will soak it up until they've had too much, and will still want more and more until they're sick with it. Read it, and discover precisely what that's like.
I struggled at first with describing this book and why I adore it so much. I'd seen it categorized as a horror novel on many occasions, and while the book certainly does have elements of horrific morbidity, I wouldn't call it a bonafide horror (especially when recommending it, because that title is misleading). It's also not really a fantasy either, nor a mystery, nor is it merely historical fiction.
Then it hit me. If this book is anything, it's a philosophical exploration of a strange young man's obsession with scent in pursuit of self; it's a character study.
Anyone who knows anything about me knows that character studies are my bread and butter, so I was bound to love this novel. If you go into Perfume expecting graphic depictions of murder from beginning to end, a cat-and-mouse chase to uncover and apprehend a murderer, or endless descriptions of a sick man's twisted thoughts, you're setting yourself up for disappointment. Instead, understand that this is about obsession, identity, desire, indulgence, morbid curiosity, humanity; but understand it's about all of these in small, understated doses.
Understand, above all, that it's about Jean-Baptiste Grenouille and scent. Only then can you begin to appreciate the lyrical genius taking place within these odd 260 pages.
This won't be for everyone; some will find it offputting or dull, and that's fair enough, but those whose taste is acquired to what Perfume has to offer will soak it up until they've had too much, and will still want more and more until they're sick with it. Read it, and discover precisely what that's like.
Content Warnings
Graphic: Animal death, Child abuse, Child death, Cannibalism, Stalking, and Murder