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Juan David copycreativo — I love the personalities of Ruth's characters. Jenny Larson never expected any type of marriage after she chose to say yes to Clyde when she should have said no. She found herself pregnant and alone. Now five years later Clyde has come for marriage and to be a father, five years to late. She don't trust why he is here and agrees to a marriage of convenience when Sheriff Meyer offers to set up a with his cousin. When she marries Owen, thinking he's Irving, she finds herself wishing for more. This adorable man has quickly stolen her heart. Owen had to help Aunt Rachel so she did not lose her home. He won her money back from Big Roy after a whole night of gambling. He went back to his peaceful life of a fisherman. When Big Roy wants his money back it changes Owen's life. He is now a wanted man, on the run and he stole some guys clothes and horse. When he arrives in Omaha, he is mistaken for Irving Spencer. A notorious deputy, the sheriff's cousin, and the man who's clothes he is wearing. To top things off, he finds out he's getting married. That part is good, very good. When the beautiful Jenny Larson walks towards him, all he can think about is the wedding night. And when that time comes about...He finds out a truth that brings him to tears. And what will Owen do when the real Irving Spencer shows up? *Sexual situations within marriage.

Walter Johnson _ohnson217 — Melissa Broder's logic leaps unpredictably and yet seems perfectly intuitive. Same might be said of her bizarre syntax, which somehow sounds right. I love the way she forces pop references to submit to her poetics, dominatrix-like. Seriously, this is one of those books I can't find anything wrong with. I'm glad to have it on my shelf. And just when I was starting to lose faith in my generation's vision for poetry. If anyone knows of other poets doing this kind of work, especially female poets, please let me know. Still it would seem, reading this, Broder herself is all we need to have a movement on our hands.

Lane Martin lanemartin24 — Couldn't put it down. This is the first book I've read in a while that I want to pick up and read all over again.

Imane Turque imaneturqu1226 — Another gem from Gaiman.

Ben Leffler _en_effler — I was bitten by the want of this book back in June of last year. A small bookshop in Barcelona was the first place I had seen books in English since I had gotten to the Continent six weeks before. The Thirteenth Tale made the long trip back across the Atlantic with me in the solid company of a Spanish translation of Don Quijote, The Name of the Wind, and Carrie Fisher's un-biography. When I returned there was a flurry of activity, unpacking to do, work to get back to, and school looming ever on the horizon. I filed the book away and did not think about it for a year. This summer, after finishing two other books and looking at my overfull bookshelves wondering what to re-read, I saw it, its crisp spine beckoning. Now was the time to open the pages and see what I had waited over a year to read. I was not disappointed in the slightest. From the first few pages, the novel's old-fashioned style of writing threw me for a loop. I had to read the first two pages more than once before I was able to slip into the almost Victorian-style the author had chosen. Even in the first person, set ostensibly in the modern age, the narrator's voice is old and more reminiscent of Bronte or Austen than that of a modern narrator. But the story, a true Gothic horror in the vein of the most horrid ghost story to ever come out of the 18th and 19th centuries, needs this slow voice, this careful approach at horror. I came into this novel expecting a story and left having been given a tale. It only takes a few pages before the true, disturbing sense of creeping horror sets in, but once it does the novel is loathe to shake it off. Even in the final chapters the sense of impending evil lingers just out of sight. An excellent story woven by an expert. Excuse me while I go see what else Ms. Setterfield has written.