The Frugal Wizard is a nice little standalone story, a science fantasy that is at once a white room story (man wakes up without memory) and a non-Asian isekai (in a parallel world derived from history, fantasy or gaming). Luckily, not a Cosmere novel, either; you know how I feel about pointless "cinematic universes". I like how these "secret projects" led to more original stories, unconstrained by arbitrary rules of fitting in with anything before or after.

  In the book, a man from a far technological future of mankind, where purchasing access to your own parallel dimension is a reality yet dollars and marketing pamphlets are still a thing, wakes up in a medieval setting without knowing who he is. His character follows a classic hero's arc - a Brandon Sanderson specialty, where he first thinks he's the hero, then finds out he is not, only to become one. The setting is a bit too silly, with a rather disappointing villain that is not fleshed out more than the typical psychotic bully, but it makes up for it with a satisfying redemption plot, some playful romance and a colorful, magical and curated version of medieval England.

  I especially liked the jabs towards the popular depictions of the era, which I hear are quite inaccurate and probably the consequence of creators copying each other until it becomes culture. Fake it till you make it, I guess. But what's with the Odin hate? Everyone seems to dislike the guy lately...

  Bottom line: medium sized book with a silly, but not overly so, premise and a whiff of the early Sanderson work that I fell in love with originally.

  This is a very Brandon Sanderson novella: the willful youth, the sardonic adult hiding their inherent goodness under a veil of insults and bad puns, the logical puzzles, the world building done while telling a concise and compelling story. The only thing that I dreaded was that it was another Cosmere story, trying to square peg something interesting into this pointless joint universe. And it wasn't! Well, not that particular universe.

  Children of the Nameless is set in the extended universe of the card game Magic: The Gathering. The novella was released for free on the website of Wizards of the Coast, the publishers of Magic, through an arrangement that allowed Brandon increased creative control of the story. It is set on the plane of Innistrad several years after the events of Eldritch Moon. It introduces the original characters Tacenda Verlasen and Davriel Cane and follows their story as they seek to uncover the mystery of Tacenda's entire village being taken by geists. Meanwhile, the story is no longer available on the website, or maybe I didn't know how to find it.

  Anyway, back to the story. It was a bit on the childish side, although it featured some gruesome scenes as well. Overall it made me very interested in the characters and maybe the world. There is a "Magic: the Gathering" collection of books on Goodreads and it contains 75 works. This particular magical literary universe was not on my radar before. I doubt I will delve into it any time soon, but it's intriguing.

  Bottom line: fun, short, intense. I liked it!

  The longest of the Bobiverse series books, almost as long as the first three combined - which makes it its own self-contained trilogy, Heaven's River was... drawn out to the point of being boring. Humor and some intense scenes made it interesting, but not only did it spend a lot of attention on trivialities, it also set up some reveals that were both predictable and also rather inconsequential.

  I am not complaining that much. I still liked the book, but the things Dennis E. Taylor flags as important are weird as only someone living in the North American utopia can think of. And yes, I know he is Canadian and he is nice and a computer programmer and a sci-fi references obsessed geek, so basically a perfect human being, yet I can't take seriously the perils of financial ruination of the Bobs or the obsessions over whether the Prime Directive should be followed, enforced, and then enforced over other people, which is self-contradicting! And a lot of talking about emotional and emotion related philosophical issues and how to accommodate them and not hurt people, when everybody else behaves like self-interested psychopaths.

  Anyway, as a slight departure from the original flow of the books in the series, this is mostly about the attempts to rescue the hardware storage of one of the Bobs from an alien superstructure where aliens seem to be living an idyllic life in a pre-steam technology civilization and not a jump from Bob to Bob ad nauseam.

  The do the mission in the most time consuming and pointless way imaginable. And then there is the issue of the "civil war" which is spoiled directly in the book description, but which in the ends falls flat as a very random and implausible evolution of the situation. One thing that I found truly original and fascinating is the idea of a quantum soul. But reading the entire book just for that is hardly worth it.

  I am going to probably continue to read the series, but I would have to remember it when the fifth book comes out, which has a pretty heavy description, so I do have hope. Overall this was a below average Bob adventure. I need it to be better.

  Finally a book with an actual ending! I think the Bobiverse series was supposed to be a trilogy, then Dennis E. Taylor continued to write more stuff in the same universe, because I just started a fourth book which has as many pages as the previous three books combined. So if you feel you want to stop somewhere, All These Worlds is where the story actually ends. More exciting than previous books, but also with an underwhelming resolution.

  I mean, humanity is in dire straits. Not only did they stupidly almost killed themselves off, but now a very advanced civilization is threatening them with extinction all over again. It must be hard getting out of that one! No, it's actually very easy, barely an inconvenience! Also having the power to alter solar systems but still getting snagged in moralistic, political and even legal squabbles felt underwhelming.

  Did I mention it was underwhelming? I need the whelming! Whelm me, Taylor!

  Bottom line: if you've read the first two books, for sure you will need to read this one. But don't expect too much. More content, but less resolution.

  The Bobiverse series doesn't have actual books, it has volumes. It's a single story, or rather history, that just goes on and on without any type of marker or closure between books. For We Are Many is therefore just like the first book, but lacking the surprise factor. Just as physical and temporal scales are largely ignored, Dennis E. Taylor often exaggerates the technical ones, placing more complexity on creating life like androids than planetary system harvesters or colony ships for thousands of people. I still like the series, but it's getting blander.

  We are Legion reads as a blend of Andy Weir and Adrian Tchaikovsky: the geekiness is there, the science, the optimism, the humor, the glossing over the complicated stuff :) I liked the first book and I am going to read the others, too. It's like Dennis E. Taylor is their replicant son!

  If anything, the issue is that there are almost no stakes (yet!). The story is about a guy who is translated into an AI then given control of the first von Neumann probe sent from Earth. Then Earth destroys itself, so all that's left is Bob and his many replicas, spreading over the universe.

  Reading the book you kind of feel the power of the Fermi paradox: intelligent technological species that may have been started billions of years in the past had all the time in the world to get to us. So where are they? Of course, the biggest technical challenges of space expansion: energy and propulsion, are hand waved away with some gimmicks that makes stuff work. However, the book is geeky and fun enough to enjoy also while reading to some dry descriptions of how automated probes dismantle Kuiper belts to replicate themselves.

  Bottom line: light, geeky, fun.

  I didn't feel entertained by the first book, as it was mostly setup, but there were quite a few ideas that hinted at great things to come, so I felt that the potential for greatness was there. And indeed, The Fall of Hyperion explodes into a myriad of interwoven themes: artificial intelligence, politics, religion, poetry, the evils of the technological world, the wonder of stars, the search for and/or manufacture of God, time travel, interstellar travel, speciation, reverence for nature and the human spirit, philosophy.

  And yet, my feeling was that somewhere between the potential of the first book and this second book reveal there lies the potential for a far better story than what I've got. The Fall of Hyperion felt an old man's story, full of fear of the future, unrealistic expectations from humans, an unhealthy dependency on religion, the myth of the human spirit and last century references. Even worse, the characters were hard to sympathize with, at least for me. I didn't feel their motivations, nor did I understand the instantaneous switch from acquaintances to friends one would give their life for. The blending of vague philosophical musings and poetic references, plus a less vague description of the world which felt quite outdated didn't help.

  That's why it took me so long to finish this. To be honest, sometimes I would just fall asleep with the book in my headphones and didn't quite go back as far as a point that I would fully recognize, so basically I skipped parts of it.

  The first book felt like something someone would have written in the '70s and then thought about it and reedited it and so until its publication in 1989. The second book feels like it was written in the '60s! It's not just that I didn't understand parts of it, it's that having not understood them, I didn't feel the need to.

  And there are two books - just as large - left in the "cantos"! However, since most of the story arcs of the characters in the Hyperion books have ended, including for the planet itself, and having seen that the other books happen elsewhere (Endymion) and the third book was written six years after the second, I assume that it's basically another duology in the same universe. As such I don't feel compelled to read the last two books. Maybe they are better, but I want something else for a while.

  Bottom line: It's a very complex book, one that I am sure took a long time to consider, write and perfect. I just didn't care about it one bit.

  What a strange book Hyperion is. You can immediately feel that this is supposed to mean more than what is on the surface. People say it's written in the style of The Canterbury Tales, hence the "cantos", I guess, as well as the feel of a "magnus opus" of Dan Simmons'. The universe is very well thought out, with just the most limited technical descriptions, so it doesn't feel too dated. If anything, it is the mindset of the characters that betray how long this book has been in work for. Published in 1989, I am sure it was started a long time before.

  To me, of course, not being a reader of Chaucer or John Keats, this reminded me of fantasy more than middle English poetry or science fiction. It's a quest of a group of people, a fellowship if you will, towards a far place where a terrible dragon/wizard resides. During the travels, they share their stories, making us understand the world through their eyes and also explaining their motivations and skillset. This still was a lot of exposition for an ever shrinking part of the book where the ending was supposed to be... however the ending is not there. The book ends before the group reaches their destination. Quite frustrating!

  So many readers I respect loved Hyperion. I've read only The Song of Kali from Dan Simmons before and now with this book it's pretty clear to me that he is a great writer. He just isn't entertaining to me. Probably I should just forget any such expectations and instead try to understand, on a cerebral level, why his work is brilliant, forget about feeling good about it.

  OK, maybe I am a bit mean to the guy. I am going to read the whole series and then fully judge the series. It will be very subjective, though, disregarding the smart literary references or the poetic verses in it or whatever else that is part of the book and I will never understand or care about. So far in the book , I just read several stories that just set up what's going to happen next - hopefully - and got a feel of this brave new world of the future that Simmons saw.

  The BSCU (Brandon Sanderson cinematic universe, also known as the Cosmere) is a mistake. As far as I know there are no other authors creating stories in that universe, there is (and should be) little crossover between the worlds and characters Sanderson created and there are no movie or TV deals for other people to create content a la Marvel. It makes little sense for Stephen King, too. So when something that is quite literally a secret project completely separated from everything else Sanderson did is set in the Cosmere for no other reason than because one can, I feel it detracts from the quality and pulls the reader out of the experience.

  Yumi and the Nightmare Painter is a lovely little story about two people from parallel worlds connected to each other without their will, but finding common ground and becoming friends and also saving the world in the process. For reasons unknown, the story is told from the standpoint of a cryptic (you know, like from the Stormlight stories) and there is talk about other planets, even interplanetary travel to other places, that in the end have no relevance to the plot. There are occasional humorous breakings of the fourth wall which were completely unnecessary. There are some small inconsistencies as well, which makes me weary of this "secret project" stuff. If it's secret, who checks you are not making mistakes in the story?

  I may have been too subtle and you didn't catch it, but I hate the idea of these stories be set in the Cosmere. :)  That being said, this was not amongst Sanderson's best, but it was fun and had some elements that felt new to his work. Yes, there is romance, which he says he added more of in this story at the insistence of his wife, but there was also something else, in the way he wrote the protagonists, in the Japanese cultural influences, a feeling that even with a great author like Brandon Sanderson there is room for growth.

  I'll stop here for fear of spoiling the experience. Bottom line is that it felt a little too long for what it said and had superfluous elements in it that should have been stripped completely, but it was a fun and lovely standalone story as well.

  Firstborn feels like a golden era sci-fi story, not like a Brandon Sanderson book. Every author has these kinds of stories they just want to write down and get out of their head, but this read more like one of those old thought experiments where a character solves a '60s space opera problem with a singular solution in just the right moment. The idea of the story was really not expanded at all, the characters were not fleshed out, the dialogues felt wooden and even the moment of emotional catharsis was a bit dull.

  Bottom line: not really bad, but not good either.

  Defiant successfully captivates the reader and ends the Skyward saga in a satisfactory YA... err... way. I think I figured Brandon Sanderson out! He takes these ridiculously basic plots, like headstrong teen girl pilot saves humanity and the universe from evil alien bureaucrats, and makes them work. But how? I think the trick is that neither does he use cardboard hero/villain characters that can't change, nor does he flip them around from hero to villain and vice versa like a soft porn high school show. Instead, he makes relatable heroes and villains that are so close to the edge that it fills the reader with anticipation. Yet they will never cross that line, even while changing and growing during the entire story. It takes some talent to give your characters growth, but also a back bone.

  That is why I basically sacrificed my sleep on the altar of finishing this book in a day. Damn you, Sanderson! I need my sleep!

  There is not much to say about the plot. Some interesting twists and really lovely dialogue and prose, but the story is quite straightforward. I don't see how a sequel could be written, as all threads end in a satisfactory and definitive way, so I believe this to be the last in the series. It was fun, but it's time to move on. In that way, I am actually grateful to the author that he didn't leave me in one of those in-between states where your heart wants more and your brain thinks that would be stupid.

  Bottom line: if you've read all the books and novellas in the series, you will obviously read this one regardless of what I would say, but I will say it anyway: it was good and I am glad it's over. If you're new to this, start from the beginning, it will be a sweet ride.

  This is one of those little gems that Brandon Sanderson creates in order to further flesh out a specific character or part of his fictional worlds. It acts like a standalone, but it also enriches an entire universe if you are willing to spend the time and effort.

  Edgedancer focuses on Lift, a young female thief that also has bonded with a spren because of her potential to life the ideals of the Knights Radiant. But really it's more about a little girl who in absence of any societal education, makes the rules as she goes along by listening to her heart. Typical Sanderson.

  It's a really nice, short read with compelling characters and the usual quirky fun dialogues that say more than what appears at first glance.

  Tress of the Emerald Sea is a short standalone book about a girl from a strange backwater planet in the Cosmere who leaves her small insular birth town to save the man she loves. Adventure ensues and trials that she overcomes - a bit too easily - using her reason and strong moral principles.

  I was just talking the other day about how bad writers try to create novel narrative structures in an attempt to appear innovative, while great writers take tired formulaic ideas and make something better than anything else. Any other writer would have been accused of writing about a Mary Sue who can do absolutely anything while her man is a shy and ineffectual person. Not Brandon Sanderson. As usual his stuff is smart, funny and entertaining.

  Unfortunately, or maybe fortunately, this book reads fast, ends on a positive note that also effectively closes all narrative threads and gives you no desire to continue reading about that part of the world, the characters or even remember the story for more than a few days. So depending on what you're looking for, this can be the right tool for the job.

  There is a lot to unpack from this book. On the surface, Iron John is a richly symbolic analysis of a pre-Christian folk tale, using Jungian psychology and a lot of references, but beyond that it is an attempt to define masculinity and what good it brings to the table and how to heal it. Robert Bly started a "Mythopoetic men's movement" with this book that lasted (only) two decades in the United States. Some of the things he says apply eerily well to the present.

  The book is hard to describe. It's filled with unexpected connections between concepts, complete with references to philosophical works and poems, books and movies, mysticism and real events. The thing that it most reminded me of was the text the main character reads in House of Leaves. It was a text analyzing a video, but in such intricate detail: the sound, the frames, the hidden meanings, with scientific and cultural references linked to every little thing, that it becomes a larger and deeper work than its subject. This is an analysis of a fairy tale - itself a distillation of mythology, ritual and collective subconscious -  with minute attention to details that, honestly, I would have never even thought about. Some of the associations the author made felt really far fetched. I've seen people who make weird associations like that and they are either very mystical, schizophrenic or both. That made the read a bit difficult.

  I found it strange that Bly was talking about the societal malaise that turns sex against sex and the forces that try to convince men that they are toxic, useless and guilty, but he was doing it in 1984, when this book was first published. Now, 40 years later, that's weirdly prescient. He also makes some really good points about the role of the father in the family and society, the need for rituals that people have had since times immemorial and now abandoned or even shunned by modern culture, how we must recognize and embrace our feminine and masculine sides, our light and dark sides, respect the stages of evolution and maturity of the individual, family and society and so on.

  Yet at the same time it feels like an alchemical treatise, a book about tarot cards with deep meaning, ways to transmute copper into gold using mercury and ash, only psychologically rather than literally. I didn't know Bly was a poet, but it makes a lot of sense. He was presenting some ideas and to drive them in he would quote from some poem or another, but in a strange way, like a scientist would quote from science papers, poetry as source of truth. I got the feeling that for him reality had a much deeper meaning than for me, and that meaning may or may not have been purely imaginary. The alternative would be that he was talking about a truth I can't even perceive in myself.

  Anyway, I feel this review would never make justice to the book. It was both intriguing and annoying, eye opening and eyebrow raising, meaningful and meaningless. Magic made temporarily real through Jungian psychology. I suggest you read it, but take from it what you need rather than seek a general approval or dismissal verdict. 

  I have not seen the Stanley Kubrick 1962 Lolita and I barely remember the 1997 one, nothing other than it starred Jeremy Irons (the roles this guy takes! :) ). I will have to watch at least one of them to see how they managed to adapt them for the ridiculous American screen sensibilities. However, even in its original book form, Lolita is not really a disturbing statutory rape story, as puritans want you to believe, as it is a situational dark comedy combined with some social satire. You can compare it with Dexter (the TV series, not the books) in the sense that it features a socially engineered villain as the hero who has to navigate the hurdles of polite society to achieve his dark goals. Only, in this case, instead of killing loads of people, he follows his heart to attain the love of his life - which is, of course, much worse, apparently.

  Anyway, in a sense, that's one of the messages of the book, at least as interpreted by me. If the girl would have been of age, this would have been a romantic comedy. Instead, it's a dark exploration of disturbing behavior or whatever. The artificial nature of social constructs is exposed again and again and again in the text. In that sense, I really liked the book.

  But here is where I start discussing the issues I've had with Lolita. The writing is terribly tedious. I have no doubt that Vladimir Nabokov is a great writer, however the complex words and phrases that his character uses with great verbosity to explain even the simplest of things make the read difficult and the character annoying. Yeah, I get it, he has a very inflated sense of himself, but why should I have to suffer for it? Try to listen to it in audible form and it just starts to rush by you. Try to read it from the page and the finger twitches to skip ahead to places where something else happens than the introspective thoughts of Humbert Humbert.

  Personally I don't enjoy awkwardness - in myself or others, which is why I don't find situational comedies that entertaining. This book is packed with this kind of situations. Structurally, I think the first part of the book was a lot better than the second. Basically, when the going got tough, it meandered and fizzled into a rather unsatisfying ending.

  To summarize: a man in his thirties with an unapologetic sexual attraction for "nymphettes" or young girls that have not yet matured into adolescents, but are not strictly speaking children, falls in love with innocent Dolores and proceeds to make rather clumsy plans to be near her and take advantage of her somehow. As we navigate the difficulties of nosy neighbors, teachers and friends, legal and social rules, luck, coincidence and a poor assessment of the situation, our hero swings wildly from knave to victim, from mad evil genius to ridiculous man, from jealous lover to loving father and then back again. The book explores the vast difference between our customs and social expectations and the state of the real world. It doesn't judge, it just describes, and that might be off-putting for some, for various reasons.

  I liked the book, I think it is worth notching it off the list, but it read like an overeducated Oba Yozo or Meursault falling in love with a wild child, and the whole world made a big deal out of the story subject. I enjoyed more the underlying notes of social satire (which are exacerbated by the reaction to the book) than the actual book. In current parlance, it's like a less entertaining YouTube video on a spicy subject which results in hilarious reaction videos.