tsamarah's reviews
78 reviews

I was genuinely surprised by how earnest the graphic novel is because my only worry was that it would be too dictatorial in its message about the journey to make peace with your sexual identity from a religious perspective. I love how the journey becomes physically metaphorical, taking both Mark and the readers to dive into a historical expedition that shows that Catholic queerness has always been there and thriving instead of a singular phenomenon that only emerges in modern times; Wheeler discusses the lores behind famous figures and alleged stories in excellent tone that humanize these records into something that the main character and readers can relate in their struggle of faith and identity. It isn't flawless, but this is an immaculate option to read for a crash course and a comfort book.

Following the aftermath in So Let Them Burn, where Faron reluctantly went with Iya and his associates to save her sister and try to rescue Reeve Warwick, This Ends in Embers reveals the chaotic outcome of that sacrifice among the people: Faron is branded a traitor for supposedly joining the enemies, her sister Elara is considered a useless God-chosen Empyrean to save them all, and they are subsequently left with limited options of allies to stop the reigning terror before it indeed spreads. The sisters must thread the fight carefully, or else they will get burned without ending the war at all.

I had expected to read such an intricate plot in the second book following a cliffhanger that connotes a high-risk act of surrender that left me feeling devastated, which Kamilah precisely delivers in this book. She does not let the sisters and their companions have an easy win; she slowly burns them from the inside first to eat their expectancies alive, to the point where readers might think that the sisters will lose the war immediately, before turning that fire into an element that gives them hope and power to break through the forces.

This kind of plot gives more time and space to explore both sides of the warring armies, particularly the strategies that they implemented to continue their battles and secure victories. I like how each side has a vastly different approach to constructing their methods; Iya and his allies are filled with veteran war strategists who look so confident with their plans. They are equally powerful in brute and intelligence, constantly one step ahead of Faron and her friends from the other side. On the other hand, while Faron, Elara, and their groups are not short in force, they know they are still outnumbered against Iya. So, I enjoy how Kamilah diverts their tactics to diplomacy and research, finding more efficient ways to stop the enemy without spilling too much blood or losing more than what they have.

A narrative like this will not deliver its intended purpose without a compelling antagonist, which is the position the character Iya serves throughout the book. Much like Thanos from the Marvel Cinematic Universe, Kamilah effectively writes his character as a cunning, brilliant villain whose actions are unjustifiable but reasons that we can't even contradict because they hold a semblance of truth—awfully complex, whether you like or hate the character. The most highlighted aspect of his constant appearances is the slow mental torture he provides for both Faron and the readers as he keeps playing with us.

His dynamic with Faron is entertaining, not in the "oh, they're good together" way. Still, it's the kind of electric dynamic of stubbornness and attempts of dominance you will find in an archnemesis, who is fighting hard to make the other person understand them. I find it a relief that Kamilah never gives Faron space to succumb to Iya's manipulation, a turnover from the previous incident in the first book, despite the character inhabiting the guy she loves (Reeve). In this way, readers can see how much Faron has evolved; she is no longer a girl torn with her magic and Maiden status, trying to find a place post-war, but a resilient girl who grows into a quick-thinker who can show her resistance in different ways that could still benefit her.

Meanwhile, Elara herself is a wonder. Kamilah lets her strengthen her abilities further in gradual steps to prove that she's her sister's equal in every facet—an internal issue she's been struggling with in the first book, simply because she was not the Chosen One—yet, I believe that Kamilah has accidentally turned Elara to be a natural genius akin to overpowered main characters in shonen animes. It's unexpected but not an unwelcoming sight. I like how this outcome provides a small comedic moment that lightens up the story during an intense moment near the climax of the story.

Signey's characterization results in a striking development. Her growth from a supporting character to someone with an important role in ending a war forces her to become much wiser instead of acting petulant, essentially giving her more chances to be resourceful and diplomatic in her endeavors. Furthermore, it's fascinating to note how Signey is similar to Elara, considering that she's a sister whose brother is being held hostage by an arrogant king. This event generates multiple perspectives, demonstrating how diverse people's experiences are. Signey's rage demonstrates her lack of knowledge of warfare, but Elara's calmer response demonstrates her understanding of combat strategy, individuals, and the next step to victory.

Moving on to the next character, I feel the almost complete erasure of Reeve Warwick in the second book may be of concern to those who want him to be visible and highlight his genuine struggle against Gael Soto and the Lightbringer who inhabits his body. However, I feel his brief withdrawal is neither a sign of weakness nor diminishes his significance in the story. His temporary disappearance allows Gael Soto to bloom as previously mentioned. Kamilah suggests that Reeve's consciousness continues to monitor everything he hears, observes, and acts upon, as demonstrated by his swift adjustment to the situation upon his return to assist the sisters in the war. Reeve's unwavering commitment to being the sisters' rock, his strong criticism of Langley's recurrent colonization attempts, and his support for San Irie's independence as a nation are what I like about his character throughout the series. He has never failed, which makes it simple for him to jump in and aid whenever he regains autonomy.

In terms of the climax, I appreciate that Kamilah presents real consequences and sacrifices of a war; she doesn't shy away from killing off characters, but she makes sure that their deaths are aimed at specific purposes instead of simply being meaningless plot devices. Personally, I wish she had actually killed this person instead of swapping their death for another's; however, as long as the sacrifices make sense, I'm fine with the final outcome.

To summarize, This Ends in Embers is an exhilarating, thrilling conclusion to the Divine Traitors duology; it exceeds every expectation of a survivalist novel about maintaining independence with an equally impassioned demonstration of courage, family, and love. I feel that readers of dragon-riding fantasy novels should pay this series greater attention rather than dismissing it. 

Duh, Katanya Aku Harus Bekerja Keras merupakan karya non-fiksi yang ditulis oleh Ha Wan, yang berisi tentang esai-esai berdasarkan pengalaman dan perjalanan hidup penulis selama dia bekerja. Karya non-fiksi ini merupakan salah satu karya yang cukup menarik, baik dari segi topik yang diberikan maupun gaya penulisan yang digunakan oleh penulis.

Berbicara tentang tema, sekumpulan esai ini tidak sepenuhnya saya anggap sebagai sebuah cerita motivasi diri, tetapi sebatas cerita-cerita pengalaman yang erat keterkaitannya terhadap realita yang ada, khususnya di zaman modern ini, mengenai pentingnya bekerja dan dorongan apa yang "memaksa" kita harus bekerja keras—Ha Wan secara tegas bersikukuh dalam penekanannya tentang kebutuhan finansial dan kebutuhan spiritual, memberikan gambaran yang luas mengenai lika-liku pergulatan sebagai seorang karyawan dan pekerja lepas di balik keuntungan yang masing-masing mereka miliki; penulis tidak condong untuk mengagungkan mana yang lebih baik, tetapi menuturkan bahwa setiap pilihan kerja akan ada risiko yang tinggi untuk kesejahteraan diri.

Dan menurut saya, apa yang disampaikan memang betul mencerminkan apa yang terjadi dalam dunia kerja sekarang; kenyamanan kehidupan finansial, sekuritas akan kesejahteraan diri maupun keluarga merupakan tolak ukur utama untuk bertahan di satu karir meskipun adanya kekurangan yang cukup jelas. Sedangkan berpindah haluan, terutama menjadi pekerja lepas, memiliki risiko yang lebih tinggi dan belum tentu membantu di kemudian hari. Realita yang sangat prihatin, apalagi... begitulah.

Beralih ke gaya penulisan, Ha Wan menyajikan esai dengan penulisan yang komunikatif seolah penulis sedang mengajak pembaca untuk mengobrol atau berdiskusi, sehingga topik yang disampaikan mampu terpatri tanpa terkesan membosankan. Selain itu, penggunaan ilustrasi hasil karya tangan sendiri menambah daya tarik dan dinamika yang menarik tentang esai tersebut, berfungsi juga untuk menyimpulkan inti setiap bab dalam buku tersebut.

Seperti halnya kumpulan esai kebanyakan, kekurangan buku ini terletak pada pengulangan tema yang terus menerus yang sebetulnya mungkin dapat dipangkas menjadi hanya 5 - 15 bab, bukan berpuluh bab yang terbagi dalam beberapa bagian. Hal ini dikarenakan hampir setiap bab memiliki inti yang mirip sampai beberapa kali merasa deja vu ketika membacanya.

Namun demikian, apakah buku ini masih layak dibaca? Tentunya. Duh, Katanya Aku Harus Bekerja Keras cocok dibaca untuk orang-orang yang kini sedang berada di atas "jembatan hdup", yang sedang di ambang menentukan arah petualangan selanjutnya—sebagai validasi bahwa pilihan mereka tersebut tidak salah dan akan mendapatkan titik terang selama perjalanan.

Kaki Kuda dan Cerita Lain merupakan sekumpulan cerita pendek pilihan karya Ryunosuke Akutagawa yang di antaranya termasuk judul novella itu sendiri, lalu diikuti dengan beberapa cerita pendek Akutagawa yang populer seperti Rashomon, Hidung (Hana/The Nose), Bubur Ubi (Imogayu/Yam Gruel), Benang Laba-Laba (Kumo no Ito/The Spider's Thread), dan Dalam Semak Belukar (Yabu no Naka/In a Grove), yang menyematkan posisi Akutagawa sebagai Bapak Cerita Pendek Jepang.

Gaya penulisan Akutagawa memiliki ciri khas yang kini kerap ditiru oleh penulis Jepang modern: adanya unsur yang sekilas seperti genre magical realism, memilik metafora yang utuh dan banyak di setiap kata, dan atmosfir yang cukup absurd untuk diikuti oleh pembaca awam atau yang tidak terbiasa mengikuti tulisan cerita orang Jepang. Hal ini juga yang membuat saya sedikit sulit untuk memahami setiap cerita yang disuguhkan oleh Akutagawa, namun, bukan berarti tidak ada cerita yang tidak menarik di mata saya.

Salah satu contoh yang paling berkesan adalah cerita pendek yang berjudul Hidung; memiliki nada yang cukup humoris dan nyeleneh dalam menceritakan tentang seorang pendeta Buddha yang lebih terobsesi untuk memperbaiki hidungnya daripada menjalankan tugas-tugas spiritualnya sebagai pendeta. Rashomon sendiri memiliki karakteristik yang terkenal dan cukup ngeri dalam menyampaikan cerita tentang kelangsungan hidup, begitu pula dengan cerita pendek Kaki Kuda (dari judul buku) yang serupa memberikan kesan menyeramkan dan jijik di ceritanya.

Lalu, dari setiap cerita yang terbilang berbeda tersebut, adakah benang merah yang dapat disampaikan? Tentunya ada. Akutagawa memusatkan ceritanya ke dalam tema tentang moralitas dan sisi kemanusiaan seseorang; sampai batas mana seorang manusia mampu melihat mana yang baik dan buruk ketika dihadapkan dalam situasi yang membuatnya putus asa. Rasionalitas dan akal pikiran karakter-karakternya diuji seolah sedang dimasukkan ke dalam eksperimen psikologis, dengan hasil yang beragam dan, walaupun terlihat konyol dan lepas dari kenyataannya, sebetulnya merupakan gambaran erat akan realita yang ada.

Akhir kata, apakah Kaki Kuda dan Cerita Lain layak untuk dibaca? Menurut saya sendiri, buku ini dapat dibaca sebagai pengalaman sekali seumur hidup untuk mengenal bagaimana alur pikiran Akutagawa mengalir.

Honestly, I miss this simplicity from Bleach when it moves to a bigger, more convoluted arc: chasing spirits and sending them to Soul Society or slaying some hollows roaming around the town. Chad's small arc in aiding a soul trapped in a parakeet is one of my favorite stories that Kubo has written in the entire manga series because it shapes the meaning of being a shinigami—to help, to give peace, and it is something that humans can also do, which is an eye-opener for Rukia herself.

Bleach has some of the best introductory chapters for a main character who simply wants to live a peaceful life but has some wickedly powerful capabilities.

Jiji's backstory is the most challenging arc to follow because it houses some of the worst and most uncomfortable scenes that I've ever read, and I almost skip this arc entirely. The only reason why I still could read and give it four stars is because of the Evil Eye's backstory and Jiji's subsequent transformation and then battle against Okarun.

Better Than Revenge is the latest young adult romance release by Kasie West, known for Sunkissed! and Place We've Never Been. The novel follows the seventeen-year-old Finley Lucas, who decides to plot a revenge plan against her football-clad ex-boyfriend Jensen when he stole her idea and landed on the school podcast's spot she has ever wanted. As she concocts the perfect plan with her best friends, she wittingly recruits Theo, her ex's arrogant nemesis, as part of her project. Can she act on her vengeance while discovering a better love for herself?

Before I begin, I'd like to confess that this novel is technically not my first dive into a Kasie West universe. I did try to read Places We've Never Been, but both the story and writing didn't hit my emotions enough to make me care to finish the book, so I decided to mark it as unread—I only ever reached around 20% of it, and I am so sorry. However, her present comeback hit out of the park for me as I believe that the story emphasizes more self-discovery than romance, and she features one of the most relatable main characters to date, albeit her situation is pretty much miserable.

The plot is something we might've seen before: a story of vengeance that leads to a newfound belief in respecting ourselves and discovering the things that are worth the most in our lives. West approaches this topic in subtlety, elaborating on why the vindication feels important to regain Finley's sense of autonomy, particularly on how small yet relentless actions of gaslighting could lead to this embroiling determination—it is quite the unsettling example too. West illustrates how self-deprecation and gaslighting go hand in hand without making the perpetrator look like the bad guy. In contrast, we, on the disadvantageous side, are treated like crazy people for defending ourselves. She also showcases the deeply rooted sense of envy and insecurity that pertains to the need to dumb down other people to make themselves feel better, and for me, it feels ominous because it is something that we can visibly see when it happens to other people (or in this case, fictional characters), but unable to recognize once we are the victims of the same treatment.

In return, it influences the character construction of Finley as the protagonist. West introduces us to this passionate, multi talented teenager with podcasting dreams and a sassy mouth. She is quick to banter, filled with numerous ideas, and empathetic with her friends, so much so that she knows where she is wrong. Yet, we see how Finley is also a fragile little thing—an exact figure of a people-pleaser in general that, in some cases, she painfully demonstrates her unwillingness to see the bad of people and maintains a status quo on how people are "nice" that she needs to stick around with them.

It is both sad and relatable, even for me. We've all been in similar situations where we need to grapple with any semblance of acceptance because our confidence depletes so much before we finally grow a backbone to do something for ourselves and only ourselves. As a result, the more dominant emphasis on Finley's self-discovery journey feels genuine and empathetic, fitting the purpose of the novel's title itself.

On the other hand, as the male love interest in the book, I find Theo's characterization to be quite surprising because I had assumed that he would be this typical "bad boy" type of high school jock that is usually the preferred stereotype in high school romance. Theo is still a high school jock in this novel, but he looks so normal that I can't seem to pinpoint him on a particular trope. His moments of cockiness don't seem to be so forceful that it makes him less likable; he has scenes of nerdiness and looks open to anything that is thrown his way. Even his relationship with Finley as a friend and a romantic partner never hints at ulterior motives; his kindness is just an instance of his "it is what it is" attitude—seeing things the way they are, being straightforward without anything to hide.

Their personalities are the reason why I find their chemistry to be marvelous as friends and couples. Sometimes, you don't need characters with opposite characterization or extreme miscommunication to make their relationship work. Sometimes, you need characters willing to be upfront with one another—the ones who can support you when you're on your worst days and the ones who can call you out on your bullshit, which is why Finley and Theo work tremendously together in this novel.

What about the supporting characters, like Jensen, Deja, Maxwell, and Lee? As I've mentioned before, West excels at showcasing a gaslighter who is smart enough to make himself look like a saint in a situation, which is what Jensen is in this novel. Some readers might think the resolution of Finley's conflict with Jensen may be disappointing. Still, Jensen's dejected disposition at the end of the story is good karma for Finley because it showcases how pathetic Jensen is despite his efforts to act like the best person in the room.

Deja, Maxwell, and Lee are wonderful friends of Finley. Funny enough, this group of best friends consists of characters falling on stereotypical tropes of high schoolers: there's the star athlete like Deja, the jokester like Lee, and the nerd like Maxwell, including Finley herself as the ambitious all-rounder. West's decision to create a friend group that doesn't settle on a specific type broadens the environment where these people can stay tight as a group. Yet, they are implied to have different interests that fit themselves as individuals without being judged. I genuinely appreciate West avoiding unnecessary drama to uphold a particular "spice" to ascertain Finley's self-discovery.

Going back to the plot, I find the small portion of investigation and live podcasting subplots a delight in this novel. The main plot has already tackled heavier themes. Hence, West exhibits tidbits of podcast sessions, and its preps is her displaying a lighter tone to balance the entire story—the characters are silly, curious teenagers, and most of all, shown to have the most joyful adventures.

In the end, is Better Than Revenge good? No, it is absolutely way better than I expected. The story is excellent, perfectly translating what it means to have something better than doing revenge. I'd recommend this for those who seek light young adult romance with more highlights in their character development or have been genuinely a Kasie West fan for a while.

Minor Detail merupakan karya Adania Shibli yang menceritakan tentang dua kisah paralel mengenai okupasi dan perampasan hak-hak serta tempat tinggal warga Palestina di tangan Israel. Sebuah cerita kecil yang dikisahkan melalui perspektif seorang wanita yang ingin mencari tahu tentang sejarah sesungguhnya dan bagaimana nasib warga Palestina pasca Nakba pertama terjadi di tahun 1948. Kisah pertama berlatar waktu di tahun 1949, setahun setelah Nakba itu terjadi, yang menjelajahi segerombolan tentara Israel yang menangkap dan memerkosa seorang wanita Palestina sebelum dibunuh dan dikubur di padang pasir entah berantah. Kisah kedua, yang berlatar belakang di masa modern, menceritakan tentang seorang wanita Palestina dari Ramallah yang ingin memahami kebenaran akan kisah pertama yang menurutnya sebuah detil kecil yang luput dari sejarah yang ada.

Layaknya Laut Bercerita karya Leila S. Chudori yang menjadi perlawanan terhadap pemerintahan totaliter, Minor Detail merupakan bentuk resistensi yang dibuat oleh Adania Shibli sebagai perlawanan terhadap manipulasi informasi dan sejarah yang hingga saat ini dilakukan oleh Israel. Runutan adegan demi adegan yang ditulis mungkin sangat cukup eksplisit untuk sebuah buku kecil, tetapi Shibli berhasil untuk menekankan pentingnya setiap bagian tersebut sebagai refleksi atas kejadian nyata yang ada—memahami bahwa karya fiksi merupakan salah satu medium paling efektif untuk menceritakan kebenaran sejarah, yang secara efektif mampu Shibli wujudkan dalam novella ini walaupun hanya meliputi sepenggal kisah dari keseluruhan realita gelap warga Palestina.

Beberapa adegan yang menjadi bintang dalam buku ini, terutama dalam halnya menjadi contoh penjajahan modern yang dilakukan oleh Israel terhadap Palestina adalah keberadaan desa-desa suku asli Palestina yang terletak di pinggiran kota yang kini semakin menghilang akibat pembangunan properti, pencurian makanan-makanan khas Palestina menjadi "milik" Israel yang bertujuan untuk menghapus status kebudayaan mereka, dan terlebih lagi, perlakuan terhadap warga Palestina yang mengharuskan mereka melakukan pemeriksaan identitas dan "kelayakan" seolah mereka adalah tawanan perang yang eksistensinya "diperbolehkan ada" atas izin Israel.

Maka dari itu, secara pemikiran pribadi, sangat sulit untuk menerima bagaimana sebuah "negara" yang terkungkung dalam delusi superioritas nasional dan rasial tanpa dasar tersebut dianggap sebagai korban perang ketika mereka dan antek-anteknya yang memulai okupasi berkepanjangan itu. Sementara warga Palestina dianggap sebagai pelopor perang, sebagai teroris, ketika mereka berjuang demi mendapatkan kebebasan mereka yang seharusnya sudah mereka dapatkan. Sedikitnya cerita yang ditulis oleh Shibli dalam buku ini merupakan ekstensi dari kehidupan nyata Palestina yang masih dirasakan hingga sekarang, terutama ketika mereka masih menderita di bawah hantaman senjata dan bom tanpa adanya gencatan senjata yang betul-betul melindungi mereka. Seharusnya, sedikitnya cerita ini mampu meradikalisasi pemikiran orang yang masih merasa bahwa Israel itu benar—namun, sampai kapan hal itu hanya sebatas harapan dan bukan sebuah realisasi yang masif?

Pada akhirnya, menyelesaikan Minor Detail tidak hanya membuka mata atas kekejaman yang masih dilakukan dan dialami oleh negara-negara lainnya, tapi menyadari bahwa masih banyak manusia yang sangat kurang memanusiakan manusia lain, dan rasa kemanusiaan pun juga masih memiliki batasan dan pilih-pilih dalam aksinya—masih berdasarkan apakah kegiatan itu akan memiliki timbal balik yang dapat dimanfaatkan bagi diri sendiri, dan bukan rasa empati. Mungkin dapat dibilang menjadi tamparan bagi sendiri. Oleh karena itu, saya betul-betul merekomendasikan buku ini sebagai bacaan wajib bagi seluruh orang, terlepas bagaimana preferensi bacaan mereka.