My eyebrows are dangling from the ceiling.” For all of her independence and superpowers, Juliette never moves beyond her role as a pawn in someone else’s schemes. Overreliance on metaphor to express Juliette’s jaw-dropping surprise wears thin: “My mouth is sitting on my kneecaps. Fast-paced action scenes convey imminent danger vividly, but there’s little sense of a broader world here. The ending falls flat as the plot devolves into comic-book territory. But Adam belongs to a resistance movement he helps Juliette escape to their stronghold, where she finds that she’s not the only one with superhuman abilities.
Unfortunately, he’s a soldier under orders from Warner, a power-hungry 19-year-old. Adam, it turns out, is immune to her deadly touch. After months of isolation, her captors suddenly give her a cellmate-Adam, a drop-dead gorgeous guy. Juliette’s journal holds her tortured thoughts in an attempt to repress memories of the horrific act that landed her in a cell. Juliette was torn from her home and thrown into an asylum by The Reestablishment, a militaristic regime in control since an environmental catastrophe left society in ruins. If this book isn’t quite a masterpiece, it’s certainly a treasure, and that’s more than enough.Ī dystopic thriller joins the crowded shelves but doesn't distinguish itself. The gorgeous, art nouveau–inspired black-and-white drawings, many of which seem to consciously echo such divergent talents as Arthur Rackham and Robert Lawson, however, are magnificent, and a few sentences describing sleepwalkers who speak in unison may haunt readers for years.
She’s just another sorceress in a fantasy book, one in a long line of evildoers who want youth and power-but this is a fairy tale, after all. The villainess, unfortunately, distracts from those ideas. And, more important, after her adventures in the woods, Snow White might find sitting on a throne as dull as lying in a glass coffin. Snow White, after years in a sleeping spell, might not be affected by the enchantment placed on Sleeping Beauty. The story combines two fairy tales, and it contains two startling ideas. Even the page numbers have gold filigree. Almost every page is decorated with gold leaf. This new collaboration is a spectacular art object. Other artists illustrated the books in the U.S., quite beautifully, but the British editions are objects of envy for many fans. The illustrations in Fortunately, the Milk are a marvel of draftsmanship, and Coraline and The Graveyard Book are considered classics. The two men have collaborated on a number of books published in the U.K., to great success. Is it fair to expect a masterpiece when Gaiman and Riddell work together? Probably.
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