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tdavidovsky's review against another edition
4.0
Who knew the apocalypse could be so dreamy?
Djola might be a Master of Poisons, but Andrea Hairston has mastered prose. Every word she writes begs for attention. This book is so lyrical, especially when it comes to natural imagery, that it sometimes gets distracting. The prose threatens to sweep readers off their feet without later offering clearcut opportunities to find solid footing again. Dialogue and action are repeatedly interrupted for characters to stare out across the landscape, examine the unique plants and animals around them, and ponder the weather. It’s difficult not to get lost in the imagery, and when things return to the actual plot, there are very few reminders about what was going on before the interruption.
The good news is that this imagery is sometimes more important than everything else. In fantasy, it’s common for the setting itself to be centered, and Master of Poisons—despite taking a more literary approach that keeps some worldbuilding questions left unanswered—is no different. The book is about how a poisonous desert is spreading across an empire, causing apocalyptic blight and famine. Many pages are understandably devoted to describing farms, dunes, and other relevant landscapes. Since the entire story revolves around how the environment has the power to wipe out a civilization, it’s quite fitting that the vivid natural imagery can overpower everything else in the book.
To hammer the point home, the book plays around with language in a way that gives nature agency, while also emphasizing that humans are a part of the environment too. For example, by eliminating a lot of the possessive pronouns, the writing itself offers insights into the notions of possessions, property, ownership, and belonging, all pertinent questions in a story about whether humans can ever truly own and control nature (and each other). Additionally, since there are very few definite and indefinite articles, it's hard to distinguish characters, objects, and their environments. They all blend, slip, and blur beautifully together into one complex collective tapestry. In this tapestry, things like plants, stones, and streams are often the subject of a sentence (even when most English speakers would have instinctually made them the direct object), and the strongest and most active verbs are usually attached to nouns associated with the environment. As a result, the natural world is as active a participant in the story as possible.
Many of the other active characters also embody the environment. In the very first scene, a man is said to have a “craggy” face that resembles the caves in which he lives. One of the protagonists—a sprite named Awa—has bees living in her hair. Animals sometimes serve as important characters, and some chapters are narrated from their perspective. A river also gets a perspective chapter. It’s clear that in this book, nature is pushing at the boundaries between humanity and the environment; humans can do little to stop it. All they can do is prove that they deserve to survive it.
Underneath the intoxicating and overpowering natural imagery, the book does have other compelling elements. The setting and premise—based on African mythology—are original and imaginative, the story is epic and sprawling, and there are a lot of sharp and resonating observations about idealism, climate change, and the ways different people respond to both. The purple prose might sometimes make these messages hard to understand, but the writing is so delicious that it demands to be chewed in order to fully decipher the flavors. Once understanding does come, the payoff is satisfying.
Djola might be a Master of Poisons, but Andrea Hairston has mastered prose. Every word she writes begs for attention. This book is so lyrical, especially when it comes to natural imagery, that it sometimes gets distracting. The prose threatens to sweep readers off their feet without later offering clearcut opportunities to find solid footing again. Dialogue and action are repeatedly interrupted for characters to stare out across the landscape, examine the unique plants and animals around them, and ponder the weather. It’s difficult not to get lost in the imagery, and when things return to the actual plot, there are very few reminders about what was going on before the interruption.
The good news is that this imagery is sometimes more important than everything else. In fantasy, it’s common for the setting itself to be centered, and Master of Poisons—despite taking a more literary approach that keeps some worldbuilding questions left unanswered—is no different. The book is about how a poisonous desert is spreading across an empire, causing apocalyptic blight and famine. Many pages are understandably devoted to describing farms, dunes, and other relevant landscapes. Since the entire story revolves around how the environment has the power to wipe out a civilization, it’s quite fitting that the vivid natural imagery can overpower everything else in the book.
To hammer the point home, the book plays around with language in a way that gives nature agency, while also emphasizing that humans are a part of the environment too. For example, by eliminating a lot of the possessive pronouns, the writing itself offers insights into the notions of possessions, property, ownership, and belonging, all pertinent questions in a story about whether humans can ever truly own and control nature (and each other). Additionally, since there are very few definite and indefinite articles, it's hard to distinguish characters, objects, and their environments. They all blend, slip, and blur beautifully together into one complex collective tapestry. In this tapestry, things like plants, stones, and streams are often the subject of a sentence (even when most English speakers would have instinctually made them the direct object), and the strongest and most active verbs are usually attached to nouns associated with the environment. As a result, the natural world is as active a participant in the story as possible.
Many of the other active characters also embody the environment. In the very first scene, a man is said to have a “craggy” face that resembles the caves in which he lives. One of the protagonists—a sprite named Awa—has bees living in her hair. Animals sometimes serve as important characters, and some chapters are narrated from their perspective. A river also gets a perspective chapter. It’s clear that in this book, nature is pushing at the boundaries between humanity and the environment; humans can do little to stop it. All they can do is prove that they deserve to survive it.
Underneath the intoxicating and overpowering natural imagery, the book does have other compelling elements. The setting and premise—based on African mythology—are original and imaginative, the story is epic and sprawling, and there are a lot of sharp and resonating observations about idealism, climate change, and the ways different people respond to both. The purple prose might sometimes make these messages hard to understand, but the writing is so delicious that it demands to be chewed in order to fully decipher the flavors. Once understanding does come, the payoff is satisfying.
chaptersofmads's review against another edition
2.0
"The Bees keel over, clutching each other's legs, asleep. They dream of pools of nectar, clouds of pollen, and evening dew heavy with flower scent. Why dream of anything else?"
Before I say anything about the book, I want to say that I listened to the audiobook and the narrators (Cherise Boothe and Larry Herron) were incredible. They gave this project their all and I was really impressed. If I was basing my enjoyment simply off of their narration, this would be rated much higher.
With that being said... I did not love this.
This book had so much going for it. It was so creative, with characters that go through so much (joy and heartbreak), genuine queer rep, and a heart that focused on climate change and our connection to nature. There's genuinely so much to love about this book and I wish I could rate it higher.
However, this was one of the most draining reading experiences I have had in awhile. Nearly every technical flaw was present (for me). From disjointed pacing, to a very tell-not-show writing style, I even felt like I was being held at arm's length from the characters. At first, I thought I just needed to focus a bit more and that the story would fall into place, but the longer I read, the less I connected with the story.
I had such high hopes for this book and I really wish I could have loved it more, but that unfortunately wasn't the case. I think there's a very specific audience for this book, but I can't properly articulate who I think that would be. This is such a unique book that I can't think of anything to compare it too lol.
Again, this had so much going for it, it just didn't work out for me.
Before I say anything about the book, I want to say that I listened to the audiobook and the narrators (Cherise Boothe and Larry Herron) were incredible. They gave this project their all and I was really impressed. If I was basing my enjoyment simply off of their narration, this would be rated much higher.
With that being said... I did not love this.
This book had so much going for it. It was so creative, with characters that go through so much (joy and heartbreak), genuine queer rep, and a heart that focused on climate change and our connection to nature. There's genuinely so much to love about this book and I wish I could rate it higher.
However, this was one of the most draining reading experiences I have had in awhile. Nearly every technical flaw was present (for me). From disjointed pacing, to a very tell-not-show writing style, I even felt like I was being held at arm's length from the characters. At first, I thought I just needed to focus a bit more and that the story would fall into place, but the longer I read, the less I connected with the story.
I had such high hopes for this book and I really wish I could have loved it more, but that unfortunately wasn't the case. I think there's a very specific audience for this book, but I can't properly articulate who I think that would be. This is such a unique book that I can't think of anything to compare it too lol.
Again, this had so much going for it, it just didn't work out for me.
local_hat's review against another edition
The italics are honestly bugging me a lot. It's also too slow-paced for me right now.
marsican's review against another edition
hopeful
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? It's complicated
2.5
numberoneblind's review against another edition
adventurous
challenging
mysterious
reflective
slow-paced
3.0
This should be labeled as LBGTQ+, which is a plus for this book.
World building was good but story structure was hard to follow. Loved the descriptions and details but was hard to follow the story, I thought I missed something in the beginning but based off other reviews I'm not alone.
World building was good but story structure was hard to follow. Loved the descriptions and details but was hard to follow the story, I thought I missed something in the beginning but based off other reviews I'm not alone.
lsparrow's review
2.0
I can tell that the world in this story is so real to the author - they know it so clearly. I found I did not really understand it and so found myself lost in trying to figure out the world and thus could not focus on the story. I did like the different queer relationships and the use of non gendered pronouns for some of the characters.
gperna01's review
2.0
DNF-Ed at 30%. Truthfully this book made no sense. The timeline was weird the introduction of characters was poor if there was any. I had no idea what was going on the whole time. Not sure why the book is 500 pages and what the plot was but it was dragging. Not my style.
ceciohad11's review
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Flaws of characters a main focus? Yes
2.25
himalaya's review
3.5
This has super interesting worldbuilding!! the writing didn’t quite work for me though.
The arrangement of sentences made it quite hard for me to follow a lot of the time. I think it worked for Awa’s POV, being quite dreamlike and wandering, but for the other being more complex and political it just didn’t work for me.
I did actually notice later on when they’re both talking - there was a mention of them switching languages, and I noticed the sentence structure was way easier to follow? So I can see this being an intentional choice mirroring how different languages structure things. But unfortunately doesn’t change the fact that I personally felt it was hard to follow in some parts. I don’t think I would have made it through not on audio.
I definitely enjoyed Awa more as a character, watching her grow and learn, her bee friends, and the sweet sapphic romance she had. And I liked the animal POVs, and use of music as magic, the whole smokelands thing….there’s definitely lots of good stuff in here also!
erinlouise78's review
adventurous
challenging
mysterious
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.5