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Marcelo Arce _m_i_i — I cheated and skimmed read large chunks. Otherwise my brain would have tred to escape due to boredom. I've never been great with political rants, and got a bit 'skip to the end' about the whole thing. Central characters kept me going! xxx S

Thorsten Denk _horsten — Okay. I came thisclose to posting on amazon.com about how terrible this book was, but I decided against it. The writer's karma and all. But I can't restrain myself. This book was a waste of my money. It had a unique concept behind it: two characters, Mark and Phillippa, were both spurned by their lovers writing hit singles about them. Mark was dubbed "Two Minute Man" by his girlfriend Raquel (ROCK-L in the music world) and Phillippa's loser punk boyfriend wrote an angry song called "Phillippa Cheats". I picked it up, read this, and thought, "Huh. This sounds kind of cool." No. Not cool at all. Here's the problem. Or the many. First is that the author, Brendan Halpin, alternates POV between Mark and Phillippa. That can be done if the author can adapt to different genders. Tom Perrotta did a great job in Election, for example. Halpin, however, has no clue how the female brain works. Phillippa seems fixated with her own breasts and mentions them basically every page, and sadly, that's a guy thing to do. And when she talks about sex, she sounds like she's what Halpin would want or narcisstically imagine his girlfriends would say about him when performing. The sex scenes are actually almost laughable. The second is that Halpin can't decide what route he wants to take with Mark. Is Mark a sexually inexperienced boy? Is that why Raquel wrote that song? That question is never answered, and by the time Mark is engaged in sex toward the end, he is suddenly a sex-god. From "Two-Minute Man" to sexual deity? Yeah, I don't think so. But that's only a small glitch. Mark is, for most of the book, a proclaimed "nice guy", the "sensitive guy", the one who gets girls without trying. But he's not--he's calculating, insensitive, callous, and oblivious. I never saw the nice guy. At all. The only time he became nice is when he was wounded over being dumped, or whenever he talked about his sister that died, the only part of the story that had depth. But Halpin seems to be terrified of giving any real meaning so he refrains from giving too much story about the sister and instead focuses on what Mark says about it, which isn't very much. The third is Phillippa. She gets involved in an unhealthy relationship (abusive, actually) and then finds out she's pregnant. So she fakes her own death to run away with the baby and start over. Um. I don't even think I have to touch that one. Completely unbelievable and the woman she's "rebirthed" into has absolutely no remnances of Phillippa's personality. And I'm sorry, but personality traits don't just disappear, fake death or not. And I find it really hard to believe that she spent the rest of her life not getting into contact with her father or the couple of friends who did care about her. It's very tutonic and bland, and frankly, worthy of a page skipping here and there. And the fourth, again, is the POV rotation. Mark and Phillippa finally meet toward the end, and they tell each chance meeting or encounter through their own eyes. And they're god awful. They each say exactly what the other character has said, only with presumptions of what the other is thinking (and of course, is verified by the other character in the next chapter). It was a waste of words and chapter space. Don't they have editors for this kind of repetition? I kept hoping it would get better, but it only got worse. I think my point has been made.

Sefa Can sef34tr6d8e — Great thriller.

David Araújo daviddca — Austen uses her first-hand knowledge of the gentry to create a realistic parody of the morals, mores, and attitudes present in that social class, and those above and below them, at that time.