Book Review: Bloodlines #3 – The Indigo Spell

Title: The Indigo Spell
Author: Richelle Mead
Year of Publication: 2013
Series: Bloodlines
#: 3
Goodreads Rating (Avg.): 4.43
Goodreads Rating (Mine): 4

Spoiler Warning

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Plot Description: Having kissed Adrian once, Sydney is now struggling with the realization that she might perhaps return his feelings, even as she continues to follow up on leads that hint towards corruption within her organization, the Alchemists. She also finds herself in danger thanks to a mysterious serial killer witch who is tracking down young magic users and draining them of life and power.

The Indigo Spell begins on a hilarious note:

This wasn’t the first time I’d been pulled out of bed for a crucial mission. It was, however, the first time I’d been subjected to such a personal line of questioning.

“Are you a virgin?”

“Huh?” I rubbed my sleepy eyes, just in case this was all some sort of bizarre dream that would disappear. An urgent phone call had dragged me out of bed five minutes ago, and I was having a little trouble adjusting.

My history teacher, Ms. Terwilliger, leaned closer and repeated the question in a stage whisper: “I said, are you a virgin?”

“Um, yes. . .”

I was fully awake now and glanced uneasily around my dorm’s lobby, making sure no one was around to witness this crazy exchange.

Sydney’s proficiency in spellwork is improving, as is her willingness to engage with her potential for magic. These are two reasons why Jaclyn Terwilliger pulled her out of bed in the middle of the night to help her with a spell. The third reason is her virginity.

This is possibly due to my own personal hang ups, but I hate the idea of virginity holding any special kind of power. It’s a theme that’s inescapable however, turning up in a wide range of subjects from historical virgin sacrifices to modern society’s obsession with virginity.

For one thing, the concept of virginity is highly subjective. We’re given to understand that the historical definition of virginity centres around the heteronormativity of sex – (i.e. where a man, a woman and their respective private parts are involved). This sucks for a lot of reasons – anything that’s not heterosexual is not included, for starters. Even within this narrow definition of sex, one still runs into problems, because people have been using the hymen as the designated virginity marker. And the hymen often… doesn’t exist. Or is lost in ways other than through sex. Or can remain unbroken despite intercourse due to incredible elasticity. In young women, it even shows remarkable healing qualities.

A theory I like more these days is that virginity is more psychological than physiological. If you feel like you’re a virgin, then you’re a virgin.

Whoa, I’ve gotten slightly off track. Bloodlines is not the first universe to attribute magical qualities to virginity, and I don’t doubt that it won’t be the last. Even Terry Pratchett’s Discworld makes allusions to this trope by contrasting the unmarried and virginal Granny Weatherwax against the thrice married and happily promiscuous Nanny Ogg. But yes, the idea still makes me uncomfortable – partly because of the horrendous mess ‘virginity culture’ has become, and partly because I’m afraid it might be true.

Ms. Terwilliger’s spell reveals the location of a powerful witch – one who she worries is going after young witches for their youth and power. Once again, she’s pushing for Sydney to actively learn more magic – for her own protection if nothing else.

On a much lighter note, Bloodlines provides us with happy Vampire Academy cameos in the form of a Royal Wedding (Sheesh. Does there have to be so many of those?) Queen Vasilisa Dragomir is getting married to longtime boyfriend Christian Ozera, and it’s all very cute. Of course, the Queen is still in college, but when you’re a monarch, I’m guessing such mortal concerns go out the window. Sydney is attending the wedding as part of an Alchemist contingent who are there to ensure that they don’t accidentally insult the Moroi by not turning up. Adrian manages to create quite a lot of controversy by asking her to dance – a proposition that horrifies the Alchemists, and shocks many of the Moroi (including – get this – Abe Mazur).

Ha! Got you, old man.

Sydney’s boss implies that she’s got to take one for the team because they don’t want to look ungracious (or repulsed) by declining. And so we get our first Sydrian dance.

Told you it was cute.

He was unconcerned. “You’ll make it work. You’ll change clothes or something. But I’m telling you, if you want to get a guy to do something that might be difficult, then the best way is to distract him so that he can’t devote his full brainpower to the consequences.”

“You don’t have a lot of faith in your own gender.”

“Hey, I’m telling you the truth. I’ve been distracted by sexy dresses a lot.”

I didn’t really know if that was a valid argument, seeing as Adrian was distracted by a lot of things. Fondue. T-shirts. Kittens. “And so, what then? I show some skin, and the world is mine?”

The Sydrian plotline converges neatly with the rogue witch plotline as Sydney and Adrian go roadtripping. Their objective? Track down young women in the neighbourhood who might be in danger and ask them to be on their guard.

Sydney finally manages to track down Marcus Finch, an ex-Alchemist who rebelled and has been in hiding from his former employees ever since. Marcus is the one that finally reveals the secret behind the golden lily tattoos worn by all the Alchemists. The tattoos are made with Moroi blood and have bits of compulsion infused into them, making it impossible for the Alchemists to reveal the secret of their occupation to anyone not already in the know. It also makes them compliant and unquestioning, and might even promote the revulsion for vampires that they all seem to share. The good news is, Marcus has found a way to break the compulsion in his tattoo by means of an indigo coloured ink.

The teenager subplot drags alongside the main plot, being neither so interesting as to catch my attention, nor so boring that I’d completely skip over those parts (which is what happens to me every time something romantic turns up in a James Patterson novel). A love triangle turns into a love quadrangle and eventually resolves itself to mutual satisfaction. Sort of like in A Midsummer Night’s Dream, but with gender roles reversed.

Mead’s humour and comic timing is as ever on point, which makes the occasional hiccup in her writing style so much more bearable.

It was hard for me to talk. “It’s instinct. Or something. You’re a Moroi. I’m an Alchemist. Of course I’d have a response. You think I’d be indifferent?”

“Most Alchemist responses would involve disgust, revulsion, and holy water.”

The overarching story line continues to be paced off well, with Sydney and Adrian finally taking their friendship to the level of a tentative relationship, and with the appearance of a new antagonist more powerful than any Sydney has faced up until now.

“Are we going to run off to the Keepers?” he suggested.

“Of course not,” I scoffed. “That’d be cowardly and immature. And you’d never survive without hair gel – though you might like their moonshine.”

The Indigo Spell is a comfortable middle ground for a series – ferocious action combined with cheesy and heart warming romance and serious character development. And my favourite parts about the Bloodlines series are yet to come.

Next Review: Tales of Alvin Maker #3 – Prentice Alvin

Next Review in this Series: Bloodlines #4 – The Fiery Heart

Book Review: Dark Tower #2 – The Drawing of the Three

Title: The Drawing of the Three
Author: Stephen King
Year of Publication: 1987
Series: The Dark Tower
#: 2
Goodreads Rating (Avg.): 4.21
Goodreads Rating (Mine): 3

A Few Important Spoilers Here and There

drawing of the three

Plot Description: In this sequel to The Gunslinger, Roland of Gilead must meet three strangers who will help him on his quest – the Stranger, the Lady of Shadows and the Pusher. Together with new characters Eddie Dean and Odetta Holmes, Roland journeys further along the path that he hopes will eventually lead him to the Dark Tower.

At this stage in the series, I was still pretty absorbed by the plot. This was despite the fact that the writing remained dry and cramped, and the whole time I was reading this book I felt like I was eating something completely tasteless out of some weird compulsion.

Fascination might actually be a better term for it, because in The Drawing of the Three, King actually introduces a few characters who are far more likeable and relatable than his Cowboy With An Extra Helping of Hero. The problem with Roland is that he’s presented as practically flawless – his only flaw is his singleminded determination to reach the Tower no matter what, and since that’s the whole point of the series, it’s not really considered a flaw. On the other hand, Eddie Dean and Odetta Holmes are both extremely flawed characters who must balance their personal struggles with helping Roland on his quest. This is despite the fact that both of them were pulled unwillingly out of their respective lives – lives which take place in different decades in our modern world – by Roland the Selfish Hero.

Roland was last seen waking from his conversation with his old enemy Merlin, only to find that ten years have passed since he sat down to talk to the wizard, and that the wizard is now dead. I mention these facts because they are completely out of line with the story presented in later books (plothole alert!) where it says that a hundred years passed while he was talking to Merlin, not ten, and that Merlin isn’t dead after all. As an afterthought, Merlin’s continued existence is ret-conned and we’re told he faked his death. What purpose was served by this entire rigmarole is something we readers will forever remain in the dark about, unfortunately.

Eddie Dean is the Prisoner represented in the first of the tarot cards Merlin draws for Roland during their ‘palaver’. (Old fashioned terms like this one are overused to the point of exasperation throughout this series). Eddie, it turns out, is not a conventional prisoner, but a junkie – a prisoner to heroin. Roland first encounters him as he’s endeavouring to get a couple of bags of cocaine through customs as a drug mule in 1987, and he eventually pulls Eddie out of our world and into his, where Eddie begins to experience withdrawal and is taught in the ways of being a gunslinger by Roland.

Odetta Holmes is a crippled civil rights activist from 1964 who suffers from multiple personality disorder brought on by multiple traumas in her life – including the accident which caused her to lose her legs. Odetta is educated, soft spoken and non violent, and thus the complete opposite of her alter ego, Detta Walker. Detta is extremely violent and dangerous, harbours a burning hatred for white people – especially white men, is delusional, and speaks in an exaggerated caricature of the stereotype of an uneducated Afro-American. Just as with Eddie and his drug addiction, Roland helps Odetta and Detta confront reconcile their personalities, thus creating Susannah Dean.

Both Eddie and Susannah (who have fallen in love and consider themselves married) prove to be ‘natural gunslingers’, picking up the knack of fast shooting and other gunslinger characteristics extremely quickly. This is despite the fact that neither of them have ever trained for any sort of active physical life, and considering it took Roland and his childhood friends a decade before they could be considered trained gunslingers, I find this premise unlikely (and therefore an example of shoddy and lazy writing). Eddie and Susannah are ‘natural gunslingers’ only because the plot demands it of them.

The final person Roland comes face to face with is Jack Mort, a lowlife criminal sociopath with murderous tendencies. Throughout his life, the Pusher has attempted to kill numerous people, either by dropping heavy things on them from above, or by pushing them – into traffic (as in the case of Jake Chambers) or into the path of an oncoming train (as in the case of Susannah Dean). When Roland realizes that Jack Mort is responsible both for Jake’s initial death in The Gunslinger as well as for the loss of Susannah’s legs and the development of her Multiple Personality Disorder, he kills Jack in revenge, and to prevent him from killing Jake (again). Roland’s actions here also set up for the return of an alternate version of Jake Chambers in the next book, The Waste Lands.

The vibrant and unique personalities of Eddie and Susannah Dean are what saved this book as far as I was concerned. Indeed, the further this series progressed, the more it became clear to me that of the eventual quintet, Roland was the least interesting, the least worth saving.

While The Drawing of the Three is still pretty good as far as novels go, the series is fast approaching decline, which is why I’d never recommend it to anyone. Unless they were stuck in Mid World with Roland of Gilead and had nothing better to do.

Next in this Series: The Dark Tower #3 – The Waste Lands

Next Review: Bloodlines #3 – The Indigo Spell

Book Review: Dark Tower #1 – The Gunslinger

Title: The Gunslinger
Author: Stephen King
Year of Publication: 1982
Series: Dark Tower
#: 1
Goodreads Rating (Avg.): 4
Goodreads Rating (Mine): 3

Spoilers, For The Other Books in This Series As Well

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Plot Description: A lone man trudges across a vast desert, chasing after a stranger in a brown robe. He’s Roland Deschain of Gilead, the titular Gunslinger, and he’s on a quest to find the Dark Tower – whatever that may be.

*Cue lamentation* Oh Gunslinger! How I wanted to love you! You and every character, every plotline, every single repeated phrase and cringe-worthy expression of emotion and…

Oh well. The Gunslinger opens on Roland trudging through the desert, then flashes back to the village he’d stayed in a while back, then back to Roland trudging through the desert and thinking deep thoughts, now back again to that village, and now Roland is thirsty in the present and that reminds him of how he was thirsty a while back and had come across a random farmer after he’d left the village…

The flash backwards would have been an interesting narrative device, but they get swallowed up in the vast, navel gazing desert that is The Gunslinger. The book tries to keep the mystery of Roland and his quest alive by dropping tantalizing hints – and this works, but not for too long. And all the while you’re being distracted by scenes, themes, parallels, and Easter Eggs – all the things, in short that a fan would want to see while doing a re-read.

Roland’s universe is – as far as I understood it – set far in the future. So far in the future, in fact, that the human race hit the ultimate limits of technology, surpassed it, had themselves a couple of nuclear wars and worldwide plagues, managed to find Magic in an alternate universe and marry it to technology in an attempt to keep the world alive… and then disappeared/ died out, taking their knowledge and most of their tech secrets with them. What came after (the Great Old Ones, which is what these masters of technology are called) is a mixture of the medieval era and the wild, wild west. Roland is of the line of Eld, started so many years ago by King Arthur of Eld, who was I suppose the first gunslinger. Arthur founded an order of gunslingers – legendary law enforcers and fighters, and Roland is the last of them. It is imperative, it seems, that the reader understand just how important and awesome and cool and effective Roland is.

Yeah, we get it.

The plot isn’t bad, as far as fantasy novels go. The universe is a fascinating mix of futuristic technology, the Wild West and medieval europe – a holy trifecta for fantasy readers. But then we get to the details, and I start wondering just how disturbed the mind of Stephen King is.

Don’t get me wrong. I can read smut, and crass stuff, and I’m often impressed by it. Because masterfully placed smut can jolt the reader like not much else can. But – and here’s what I think is a golden rule – smut should never be used purely for shock value. There has to be a point. It must further or enrich the plot somehow.

So hearing about a crazed religious preacher who claims the man being chased by Roland has magically impregnated her, and who then tries to kill him… is a bit confusing, to say the least. Like, what is the point of this pregnancy? Why was it mentioned? Does all of this serve to heighten the atmosphere of strangeness and occult horror, making the reader jumpy and on edge.

Yes, it sort of does. Until the reader is saturated with this nonsense and no longer feels surprised at anything not even a mutant spider-man hybrid baby that was born of two human and two supernatural parents, and whose only goal seems to have been to murder all of its parents… by eating them, and anything else that gets in its way. 

The reader is supposed to focus on Roland. Roland the man, Roland the deadly killing machine, Roland who is blindly focused on his quest, Roland who regrets killing the people he doesn’t completely hate, but can’t care enough to do anything about it.

The moment where Roland sacrifices a newly acquired travelling companion (a young boy called Jake) for the chance to face the man he was chasing is a turning point in his life. While he remains unsure of whether he’d repeat this act if he had to, I’m pretty sure he wouldn’t have. If he’d ever been faced with the choice of Tower versus the life of a loved one, Roland would pick the loved one.

Roland is so impossibly perfect (as far as gunslinging goes) in this book that you can’t help but admire him. But that’s about it for this book. The writing is sloppy, there are plot holes that you won’t notice until you get further along in the series, and the whole experience is dry and distracting, thanks to all the flashing back and forth.

Stephen King refers to this series as his magnum opus. I agree, if by magnum opus you mean the biggest story you’ve ever written. Just like with Orson Scott Card’s Alvin Maker series, the first book in the Dark Tower series is a set up. It has just enough background and slow plot to keep the reader interested, and it ends on a pause, not a stop. And just like with Alvin Maker, the Dark Tower series seems to spin rapidly out of control the further you get.

I honestly cannot decide which series is worse – the pros and cons cancel each other out – but like with Alvin Maker, this book (and by extension, this series) shouldn’t really be picked up by anyone who’s going to feel cheated by an unsatisfactory ending which comes on the heels of pages and pages of word vomit.

Next In This Series: Dark Tower #2 – The Drawing of the Three

Next Review: Bloodlines #2 – The Golden Lily

Book Review: Tales of Alvin Maker #1 – Seventh Son

Title: Seventh Son
Author: Orson Scott Card
Year of Publication: 1988
Series: Tales of Alvin Maker
#: 1
Goodreads Rating (Avg.): 3.86
Goodreads Rating (Mine): 4

Mild Spoilers, If You Can Call ‘Em That

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Plot Description: In an alternate universe version of America – back in the Frontier days – Orson Scott Card presents a world filled with magic, and a reimagining of various historical persons and places.

I recently finished both this series as well as Stephen King’s Dark Tower series, and my reaction to both of them were pretty similar, so I’m going to try and review them together.

The reaction I refer to is one of extreme annoyance coupled with my ever present compulsion to have to finish the story, to know what happens at the end – no matter how badly off the rails the whole thing is going. This is, however, a reaction one forms over the course of reading the Alvin Maker series, and Seventh Son is mostly exempt from such feelings.

The title refers to the myth of a seventh son of a seventh son being a wizard – Terry Pratchett incorporates this into his Discworld novels, and Jo Rowling gives it a nod via the Weasley family (it is implied that Arthur is a seventh son, and that Ginny is the seventh child of a seventh child).

In Card’s Frontier America, almost everybody is magical in some way or the other – magic which represents itself in the form of oddball talents called ‘knacks’. But Alvin Maker, as the seventh son of a seventh son, is extremely powerful – his knack is Making (i.e. Creation of stuff).

Because of his potential for greatness, an evil known as the Unmaker keeps trying to kill Alvin from since before he was born. It is up to Peggy, a little girl whose knack is being a Torch (or seer) to foresee the dangers the Unmaker puts in little Alvin’s way and protect him from them.

Seventh Son touches on the way of life for families on the Frontier, weaving his ideas of a magical world into an already familiar tapestry. So far, so good. He also takes on religion – the Unmaker is a parallel to the Devil, or Satan, or Lucifer or whatever we want to call him, and he’s fighting to destroy Creation. As a Maker, it’s Alvin’s job to to keep creating as a way of fighting the Unmaker, but it’s made clear that it’s not a battle he’d ever win in a definitive way. Just something he’s got to keep doing. All this is told to Alvin by Taleswapper (an alternate history version of William Blake), a wandering storyteller who collects stories – personal tales – and tells them to other people.

It is also strongly implied that organized religion is really the work of the Unmaker, promoting evil through its good intentions.

There are references to the Native American tribes and the battles of the settlers with them, but this is only properly dealt with in detail from Red Prophet (second book in the series) onwards.

There are also supposed to be a number of parallels to Mormonism, but I don’t know anything about that, so I didn’t catch any of those parallels. :/

A lot of GR reviewers have complained that this book is merely – and clearly – a set up for the rest of the series, and they would be right. Seventh Son is not a stand alone book – there is just a pause at the end, and a promise to continue the tale soon. The first book however, was interesting enough to suck me in – enough that I’d probably have hunted down the second book in the series if I didn’t already have it with me. But – and here’s the catch – the rest of the series doesn’t live up to the promise of Seventh Son (let alone surpass it), so taking up this book (and by extension the rest of the series) would, in my opinion, be a waste of time.

Next In This Series: Tales of Alvin Maker #2 – Red Prophet

Next Review: Dark Tower #1 – The Gunslinger

Book Review: The Blackcoat Rebellion #1 – Pawn

Title: Pawn
Author: Aimee Carter
Year of Publication: 2013
Series: The Blackcoat Rebellion
#: 1
Goodreads Rating (Avg.): 3.80
Goodreads Rating (Mine): 2

SO MANY SPOILERS

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Plot Description: Kitty Doe lives in a world where everyone takes a test at the age of 17 which evaluates their worth in society. She receives a 3, rather than the average 4 on her test. Just when she thinks she’s doomed to a life of menial work, she’s whisked off to be a doppelganger for the Prime Minister’s dead niece, Lila Hart. As Lila Hart, Kitty is supposed to help stop a rebellion against the current regime – a rebellion Lila had secretly been fostering.

Here’s a disclaimer: I didn’t want to read this book, but it was lying around at home and I was starved for options. Since I was going into this book with no expectations whatsoever, I actually ended up pleasantly surprised at times.

It was only after I started reading YA almost exclusively that I came across the phrase “TSTL” (too stupid to live). And that’s precisely what first comes to mind when we see Kitty Doe stealing an orange and hoping she’ll be shot on sight for theft. The idea gets even more ridiculous when you realize that her boyfriend, Benjy is with her, and she’s putting both of them in danger. The writing is vague and disconnected even here, at the beginning, and this really doesn’t bode well for the rest of the book.

After escaping from the Shields and relinquishing their orange, Kitty and Benjy discuss her options. With that particular brand of clear thinking apparently omnipresent in sixteen year olds, Benjy proposes to Kitty, because this means they won’t be separated. Thankfully, she has the sense to turn him down, because she’s afraid being married to a 3 will hurt his ranking chances when he takes the test.

Kitty decides to go speak to Tabs, a local prostitute who has been trying to recruit her. Benjy is dead set against this. And while Benjy seems to be speaking purely from prejudice, I agree with him because I don’t think Kitty really understands what it means to be a prostitute. The way she talks about it gives me the impression that she thinks the worst thing about prostitution is having to sleep with strange men. She doesn’t sound like she understands the physical danger involved, or the lack of choice that will end up haunting her with every step she takes. She certainly didn’t know Tabs was recruiting her because Tabs would get a cut of her pay.

“You’re my girlfriend,” he said roughly. “I don’t want those pigs touching you.”

Okay, Benjy, I know you’re sixteen, but you can’t build your life around a girl. Like, seriously. Also, possessive much?

Before she leaves, Benjy asks her to sleep with him. I don’t really know what to make of that, but it makes me a little uncomfortable. Kitty tells him that it’s better for her prospects if she’s a virgin, and then he tells her he should be her first.

Why? I know it’s hard for your sixteen year old love-crazed brain to comprehend this, Benjy, but plenty of people who are in love are never each other’s firsts. And you don’t really get to decide who should be someone else’s first. You can want Kitty to be your first, sure. Similarly, she’s the only one who gets to decide who she wants to be her first.

Kitty tells him he’s always going to be her first because sleeping with anyone else won’t count, and she breaks up with him for a month – until he knows what his ranking is going to be.

Prostitution is illegal in Kitty’s country, but since it’s the ‘oldest profession’ in the world, and since many of the highest ranking men in the country frequent these clubs, a blind eye is turned. Since she’s young and still a virgin, her virginity is auctioned off – starting with a thousand gold pieces and ending at thirty thousand. That’s more than she would have made as a sewage worker in ten years, and she’s amazed at the idea that anyone would spend that much for one night with her. Kitty’s naivete is once again starkly obvious, since she doesn’t seem to have understood that what was being bid for wasn’t her – not her as a person, but just the fact of her virginity. She’s very much still a child here, because the idea that prostitution can sometimes dehumanize the people working in that field isn’t something she’s completely recognizing.

This is the point at which I set the book down and momentarily wish that this was what this book was really about – the story of a young girl who begins to gradually understand the world through her life as a sex worker – her journey from innocence and naivete to maturity, if you will. It would definitely have made for a better plot than that of the real Pawn. But I guess that’s not what real YA literature is looking for.

I wished this because, even though prostitution is not the subject matter of Carter’s book, she introduced it all the same, and then trivialized it. In another review I read, the reviewer described the prostitution sub-plot as a gun that wasn’t loaded, and I think this gun shouldn’t have been brought into the picture and then portrayed as inconsequential. Kitty leaves the club not realizing the exact nature of the bullet she just dodged, and I think a lot of younger readers would have ended up doing the same. Prostitution and virginity auctions are not, after all, some myth conceived of in Carter’s precious fictional dystopia. They exist in the real world, and have a lot of real world dangers and connotations attached to them. Treating the subject as a convenient plot device and reducing it to prejudicial stereotypes is not okay at all.

Okay, that was intense. And it’s only now that the real plot kicks off.

To put it in short, Kitty is made to stand in for the PM’s dead niece, as a cover up for her death. Lila is a bit of a Princess Diana figure – she’d been going around saying things that were technically treasonous, and had acquired a vast following among the common people through her charisma and charm. A lot of time is devoted to describing Kitty’s eleven days of training to replace Lila, and in this time, the rest of the family is introduced. There’s Celia, Lila’s mother. Augusta, Daxton’s mother and the matriarch of the Hart family. There’s Knox Creed, Lila’s fiance. And Greyson, Daxton’s younger son and sole surviving heir.
This is where Pawn becomes a confused piece of writing, and having read the sequel – Captive – I can tell you it doesn’t get better. Pawn has a lot of things going against it. For one thing, it’s a chip off the old Hunger Games block, and derivative as such. For another, it suffers from less than sympathetic protagonists. With the exception of Knox and Greyson, even the auteurs of the rebellion are motivated by selfishness. Celia is out for power and revenge. Kitty’s heroism is impulsive and inconsistent. She’s as confused about her motivations as can be – oscillating wildly between sympathizing with the downtrodden and helping the autocrats in order to save Benjy’s life.
The confused storylines don’t help Pawn’s case. Plot twist is piled on top of plot twist, and one ends up disliking all the characters on principle. Carter seems to care more about shocking the reader and keeping them guessing than on good writing. As a result, by the time it is revealed that the real Lila Hart is still alive, one gives up.
Pawn was greatly evocative of a Meg Cabot book on similar lines – the Airhead trilogy, where a smart girl’s brain is transplanted into a supermodels body. (Spoiler: Airhead too revealed that the original owner of the body was still alive.) These books seem eager to appeal to the everygirl reader while reaffirming the idea that a heroine needs to be conventionally beautiful. It’s a sad attempt at having one’s cake and eating it too, and undermines the lesson that physical beauty isn’t the be-all and the end-all.
The book ends with an action filled showdown between Kitty and the matriarch – Augusta Hart. Where she was previously unable to take a life during the assassination attempt on Saxton’s life, Kitty now shows herself capable of killing when Benjy’s life is at stake. With Augusta out of the way and Daxton still in a coma, it seems like the perfect moment for the rebellion to take control. This opportunity is, however, wasted in favour of a set up to a sequel that honestly seems unnecessary.

Next: The Blackcoat Rebellion #2 – Captive