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Marianella Montilla _ontilla_arianella — This was my second book by Brenna Yovanoff: the first being her debut, The Replacement. I love how unique and original all of her books are and Paper Valentine definitely did not disappoint in that aspect. Paper Valentine did not completely live up to my expectations, but there were certain aspects that I really liked. One thing I can say is that Brenna's books are different from most everything else being released at the moment and it is refreshing to read something so completely off the beaten track. Hannah Wagnor lives in the city of Ludlow which is being plagued by all kinds of oddities from extreme heat to a serial killer on the loose. In addition, Hannah is being haunted by the ghost of her best friend. Hannah was a very interesting character. At first, I found myself annoyed with her, but, as the story progressed, she began to stand on her own and was a very strong and independent character. Hannah's best friend, Lillian, at first kind of creeped me out, but she did play a unique role in the story. I especially liked how all of Hannah's family were involved. I often wonder where people's parents are when certain things are happening to them, but we frequently saw Hannah's mother and stepfather and they were a constant presence in her life. Then there was Finny Boone. He has to be one of the most fascinating characters I have ever read about. He was someone that you could not judge before getting to know them and watching Hannah dig into his layers was one of the best aspects of the book. While I did enjoy the characters, the plot was what fell a little short for me. The idea of the "Valentine Killer" was extremely creepy and I was often on the edge of my seat, but the way everything came together seemed kind of random and left me with more questions than answers. It was interesting to see how Hannah started to unravel clues and her connection to everything, plus the murders were extremely frightening and just plain weird. In the beginning things moved a little slow, but about half way through the book I was hooked. Still, I was hoping for a different ending. All in all, Paper Valentine was a creative third novel by Brenna Yovanoff, with strong, memorable characters, but the ending left me disappointed. I have heard all kinds of mixed reviews about this book, so I recommend checking it out for yourself, because there have been just as many five star ratings as three. I really do love Yovanoff's writing style and how unique all of her books are, so I plan on reading her sophomore novel (The Space Between) soon. Overall: 3 out of 5 stars

Seun Omisore _ — Cute love story. I enjoyed reading it. I am always disappointed when characters can't wait until they are married, but there is nothing descriptive.

Igor Emelianov russia2u8adc — I read this as a pre-teen and again when my kids were pre-teens. It's a good book, but ironically I can't say it actually prepared me much for my teen years. It's probably best utilised by being read to a child and used as a springboard for discussion, rather than given to a child to read on their own.

Harsha Gupta _arsha_upta — I read this novel in English class, like most people probably did. It was one of the best assigned to us. Hardy is a gifted author. He writes in a clear style with vivid descriptions that really bring the setting alive, without making the reader (at least this reader) feel inundated with boring, unnecessary detail. The thing that I look for most in a novel, however, is quality characterizeations, and this book had them in spades. Dialogue was used effectively to flesh out characters. These are not stock characters, either. These people have flaws and shades of grey. They seem as though they could be real. I found that I could relate to the characters, and I did empathize with them, even when I didn't agree with their choices. Everyone had clear motivations. The characterization of Henchard shows that Hardy clearly understood the notion of the tragic flaw and the tragic hero/anti hero. Students who have to read this book as part of their English class may find it a bit on the long side. I would urge you to stick with it; once you get through the initial chapters the book will pick up (a commonality that all British classics seem to share). The book is easy to follow and understand. It is a key novel that marks the shift from Romantic Age to the Victorian Age, so it's an important read for anyone who has a serious interest in English Literature.

Maddy Chusid madalynchue4ec — I chose this book after reading the Stieg Larsson books because anything Little House is special to me. I needed something that wouldn't disappoint. I suppose it is unfair to rate any book after reading a series that wow'd me. But this book receives only 3 stars. It was blandly written, brief and managed to hit only the high points of Laura's books without a lot of additional details. I plowed through the book quickly and at no time did I think about putting it down and not finishing it. But as a Little House mega-fan, the book wasn't all I had hoped it would be.

Renad Aziz renad77663ffe — I found it pretty good! I become very critique when i compare books by the same author, and i found that this book wasn't AS good as most other Sarah Dessen books, but still pretty good. Havens like seems pretty difficult- both emotionally and physically. I feel bad for her, and i would reccommend this.

张 伟 3836321683b0a — I actually picked up a signed copy at a local shop when Gaiman and I were both living in Minnesota. I've read a lot of Gaiman, and while appreciate that he is always a conscious, active writer, his stories sometimes fall flat for me. They always work on the principle of a small person trapped in a large, unknown world. There are plenty of great examples of this story type, and Gaiman has been steadily working through them. He took inspiration from Fairy Tales in Stardust, from European myth in American Gods, and African myth in Anansi Boys. Though Morpheus was no small man, the individual story arcs dealt with normal folks. Sandman and Good Omens worked off of Christian mythos, while Neverwhere created myths from modern symbols. If Neverwhere is a rewrite of Alice in Wonderland, Coraline is in some ways an even closer take on Carroll, except that here, Gaiman is exploring a more overtly frightening world, evoking Gothic ghost stories. Unlike his other stories, Gaiman has less to draw on here. He is not bringing in specific myths, but rather creating his own symbols. Since he is not bringing in the many and varied elements that mark most of his tales, Coraline sets a much barer stage. When he does bring in mythological elements, he always put his own spin on them, so he cannot be faulted for a lack of creative force. Indeed, he is at his most engaging when he is exploring and subverting various world mythologies, of which he is well-versed. Even in the less mythologized Neverwhere, he drew on the visual imagery and history of London itself, a great city which traces its roots from before Rome, and is not without its own legends. By eschewing any particular tradition in Coraline, Gaiman has little to play with. He has nothing to subvert, nothing to vaguely reference. He cannot play upon our expectations. All this tracks back to the reason that Gaiman explores these mythologies in the first place: his interest in writing about storytelling itself. Each time he writes, he places himself in a tradition, recognizing how the ancients used myth and symbol to create stories that instruct, inspire, and surprise. Coraline does not explore its own origins. It does not display the genre savvy play of Gaiman's other work. It is not an exploration of the ghost story, nor of 'Through the Looking-Glass'. It is not a deconstruction of the Gothic. It is a simple little tale, and not without its charm. I found little frightening about it, simply because there was little that was either unexpected or psychologically gripping. The most interesting element was the way he played with how we learn about identity. There is a point in childhood when we suspect that there us something that makes up identity beyond simply the appearance or form. The idea that a parent or friend could be replaced by a doppelganger is inherently terrifying. However, Gaiman does not produce a new twist on doppelgangers or changelings. Neither did the portrayal utilize surprise or subtlety to develop an unsettling mood. Rather, he presented overtly frightening or alien elements, bolstered by the characters' reactions. But it's not frightening to simply show scary things. Hearing a strange noise in the woods is not the same as being told that a character hears a strange noise in the woods. It only becomes frightening when the vividness of the description or the realism of the character's psychology allows us to tap into that sense of fear. This little story could have made a passable entry in a horror story collection, but is not original enough to stand on its own. I found this rather odd, since Gaiman is entirely capable of creating frightening stories, as evidenced by the fairy tale rewrite 'Snow, Glass, Apples' (from 'Smoke and Mirrors'). He has been frightening, disturbing, and unusual elsewhere, but here, I found little to speak of his creative flair.

Gabriel Macchiavello _macchia — Wow! One of the most interesting books I've ever read. That's all.