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Anai Cruz anaicruz94e09b — Usually the sequel is not as much of a romp as the first volume when a favorite turns out to be a series. Lost in a Good Book, alas, is no exception. Fforde's heroine, Thursday Next, has earned such popularity after her exploits in Jane Eyre that she must run from the Goliath Corporation, literary "bad guys" in the most literal sense. At the same time, she has to verify the authenticity of a previously unpublished Shakespeare play, and also try to restore her husband to the natural order and the present space-time continuum (don't ask - it's less complicated if you read it yourself). I'd have a hard time saying I loved this book, but if 5 stars is the best, this is just one beneath that, so 4 stars it is. Fforde's writing style is engaging, his imagination knows no bounds, and I love the crazy hybrid of science fiction with high Victorian literature (and the nods to academia, including footnotes). It's a fun read.

Paweł Frankowski frankowski — I just finished the series and by combining old Jerusalem and Lehi with Joseph Smith times really brought history to life. Excellent!

Ailsa Morton ailsamorton — Normally, I would recommend an Andrew Vachss novel to anyone who enjoys Hammett, Chandler, Woolrich or anyone other author of crime fiction. Vachss is the most fast-paced, gritty and violent writer of crime fiction I've read in the past few years (but I haven't read all that many others either). In Two Trains Running, however, he not only slows down his usual pace to a crawl, he deconstructs his usual anti-hero into a lame, tongue-tied avatar of his own fate, Walker Dett, capable of only being decisive and cunning only in regard to killing. He is so adept at his violent work and such a bumbling failure in the other portions of his life, he becomes unlikable and false by the end of the novel. That hardly matters, because Dett isn't involved with much of the plot. Instead, there are two rival gangs of local hillbillies and Italians, led by Royal Beaumont and Sal Dioguardi, respectively. The Italians are trying to wrest power of a small vice town from Beaumont, who basically started the city's main industry when the mills closed down. Beaumont calls in Dett, an outsider, to set a chain of events in motion to free his organization from the mafia for the foreseeable future. Dett does his part by the conclusion, but for the most part, he's busy wooing a local waitress in a subplot that is more interesting and better done than the main story. Alongside the two main gangs are a myriad of FBI agents, hotel employees, teenage gangs, a whorehouse madame, a clean cop, a dirty reporter, the Klan, a black power faction, and Irish gangsters, most of whom appear so infrequently, it's impossible to tell many of them apart by the conclusion. The book is written as the events unfold, with dates and times substituting for chapters. While occasionally, these slices of time provide crucial events, mostly they contain boring snippets of conversation, usually consisting of an frequently unnamed character explaining the events of the novel to his idiot partner/subordinate/girlfriend/etc. Often, two or three things will be happening at the same time, so Vachss jumps between different events as they happen, so instead of one boring scene, you get three or four. By the end of the book, I just wanted something--anything--to actually happen without a two-page exposition between Smarty and Dumbguy. When I did get to the end, it was a colossal letdown, as if Vachss himself had grown weary of men and women he didn't bother turning into fleshed-out characters as well, and just told himself to wrap it up. I strongly recommend Andrew Vachss to anyone looking for a modern noir-type crime story, just stay away from this one. Try The Getaway Man, Shella, or Flood (to get an introduction to Vachss's recurring anti-hero, Burke).

Guy Torres driftingdrtaftsmen — This was very disappointing after Water for Elephants. Don't bother.