Son of a Witch
SON OF A WITCH (Gregory Maguire) - Three Stars
This was another book I had a real hard time rating. This sequel to Wicked (a book I gave four stars) isn't quite as good as that book. Indeed, I would rate most of my four-star books above Son of a Witch. On the other hand, the book does have its moments, and I'd rate it above most of my three-star books.
The story, involving the Wicked Witch's maybe-son Liir after her death, was less engaging than that of Wicked. This is mostly compensated for by Maguire's growth and improvement as an author: his writing style is much tighter and better sculpted in this novel. The use of heavy-handed metaphors (which plagued Wicked) is completely gone, and the florid intellectual musings of the first book have now been suitably toned down to a much more subtle, insinuating nature.
The biggest problem I had with Son of a Witch was that it ended just as soon as it was beginning. The novel is only 334 pages, and I didn't think it really hit its stride until about page 250. Maguire introduces numerous characters and plot threads, as if he's working this up to be an epic novel; indeed, I would've been fine with another 250 pages, because the pacing of the novel is exceptional and held my interest. Instead, it ends in sort of a rush and many of the subplots are left hanging. Indeed several of the subplots I thought vital to the story (the fate of the maunts of the Cloister of Saint Glinda, Trism and Liir's relationship, Candle and Liir's relationship and, the driving plot of the entire story, the quest for Nor) are left hanging in thin air when the book ends, and of the three subplots that are wrapped up, one is satisfying (the fate of Princess Nastoya), one is completely and utterly worthless (the Council of the Birds; seriously, what purpose did that whole subplot serve?), and one should not have been wrapped up at all (the truth about Elphaba and Liir, an aspect that I felt would have served the story better if it had been left an open-ended mystery).
This is half of a great novel that should have been twice as long as it is.
This was another book I had a real hard time rating. This sequel to Wicked (a book I gave four stars) isn't quite as good as that book. Indeed, I would rate most of my four-star books above Son of a Witch. On the other hand, the book does have its moments, and I'd rate it above most of my three-star books.
The story, involving the Wicked Witch's maybe-son Liir after her death, was less engaging than that of Wicked. This is mostly compensated for by Maguire's growth and improvement as an author: his writing style is much tighter and better sculpted in this novel. The use of heavy-handed metaphors (which plagued Wicked) is completely gone, and the florid intellectual musings of the first book have now been suitably toned down to a much more subtle, insinuating nature.
The biggest problem I had with Son of a Witch was that it ended just as soon as it was beginning. The novel is only 334 pages, and I didn't think it really hit its stride until about page 250. Maguire introduces numerous characters and plot threads, as if he's working this up to be an epic novel; indeed, I would've been fine with another 250 pages, because the pacing of the novel is exceptional and held my interest. Instead, it ends in sort of a rush and many of the subplots are left hanging. Indeed several of the subplots I thought vital to the story (the fate of the maunts of the Cloister of Saint Glinda, Trism and Liir's relationship, Candle and Liir's relationship and, the driving plot of the entire story, the quest for Nor) are left hanging in thin air when the book ends, and of the three subplots that are wrapped up, one is satisfying (the fate of Princess Nastoya), one is completely and utterly worthless (the Council of the Birds; seriously, what purpose did that whole subplot serve?), and one should not have been wrapped up at all (the truth about Elphaba and Liir, an aspect that I felt would have served the story better if it had been left an open-ended mystery).
This is half of a great novel that should have been twice as long as it is.
"These times," she continued, "so righteous! Everyone so much more moral! Put some clothes on your nakedness, girl, or the vice squad'll be down our throats. Or down your throat, anyway, if you look at 'em like that..."
"You got to hold on to your values, if you can still reach them," said the chanteuse. "Buy some values, rent 'em, steal 'em if you have to. Sell 'em for a profit when tastes change. Whatever works. Is this a crock, or what?"
posted by Kevin at 10:38 PM
4 Comments:
...I'm waiting for the "April fools"
No "April Fools," but I think I have a half-dozen more "indeed"s that I somehow failed to shoehorn into that entry.
In "Flowers for Algernon",Daniel Keyes used a particular form of writing style that enhanced the story. What are the chances that the author is doing the same thing here. Teens and young adults tend to live at break neck speed, without direction, and many times they start things that end up going no where. Is it possible that is how the author wanted you to feel as you were reading the book? (i tried to post this idea a bit back, and it just aint working from my office, i think they have it blocked ).
A valid enough idea, but if so, it makes for poor reading. Unresolved plot threads can be done successfully, but by no means is that easy to do.
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