Critiques et Commentaires

An enjoyable space opera: the characters aren't too cliche (but well, dyke pirates are always a bit cliche)(which is fine, really), the world-building is pretty coherent and original, the dose of humour is just right and more importantly, the writing is really fine. I got a bit lost at the very end when a lot is revealed but it doesn't make it less enjoyable. I also appreciated that it wasn't the beginning of some intricate quadrilogy—it's pretty much a standalone pirate heist.

Ce n'est pas juste l'expérience de la rue qui est racontée ici, c'est aussi une tranche de vie du gauchisme (sans sens péjoratif) du début des années 70 et au delà, une réflexion sur l'engagement, le combat contre l'extrême droite et la violence révolutionnaire. Enfin, Chalandon nomme un certain nombre de victimes du racisme de ces années, assassinées par l'extrême droite, un rappel salutaire.

Une réflexion sensible sur le journalisme de guerre, la manière dont on aborde ses origines et son héritage, et comment on s'immisce dans la vie des autres pour la raconter.

The most fascinating aspect of this novel is the way the narrator in the first part explores the past —our present— dissecting our societies, our complacency, our selfishness, in a striking but not unkind way. The future imagined by the author takes place after the catastrophes, in a much reduced and difficult world, but not the post-apocalyptic setting that's become so boring and cliche, and by framing it this way, McEwan is able to question a lot. Yet, the fundamental question is in the title, what can we know? And what can we do with that?

Still fun but I enjoyed the first two better. Oh well.

A mesmerizing novel, where several voices and stories are connected with each other and the disappearance of a middle-aged nurse on the Appalachian Trail in Maine. It's about getting lost, finding oneself again and trying to survive. And also about motherhood (so, also getting lost and trying to survive basically). It has the tension of a thriller and the poetry of contemplative literature.

In this second mystery in the series, our two sleuths investigate a murder in a traveling circus. It gives big Carnivale vibes (if you know, you know) and there's plenty of action and humour to keep it entertaining.

A classic whodunit with more modern undertones, it was fast-paced, fun and queer. Precisely what was needed on a dark December evening.

Superbly written (well, duh, Pulitzer winner and all), this is a story with multiple layers and voices, each different, each with a different aim, until the truth unfolds. It's a rare treat to read a book so well written, so thoughtfully constructed, and where nothing is evident or predictable. It is also a reflection on the stories we tell (ourselves and others) and how extreme wealth gives the power to shape them.

A book built with vignettes that weaves the perceptions and thoughts of the narrator, navigating through the anguish of the climate catastrophe, her marriage, and her demanding brother. This could be quite grim quite fast, fortunately the author has the wit and dry humor to carry it through.

I had high expectations after "This is how you lose the time war", and even though this is completely different, the writing is beautiful and poetic. The story is quite short, I wouldn't have minded if it had been a full novel actually.

I think I liked it? But maybe not all of the time? There are moments of sheer brilliance, but then there are moments when I was quite confused, wondering if I should push through. I'm glad I did, but I don't know what to make of it.

The Dawnhounds is full of things: magic, pirates, flawed characters, strange gods, mysterious voices, a good measure of horror, priests and cops, political intrigue... it does feel a bit much at times, yet it works and hopefully, more is explained in the #2 of the trilogy.