(To her credit, Banks gives Emma a several-week mourning period, but when Emma's ready to re-join the world, Chloe barely figures into her emotions again, other than a few instances of lip service to the tragedy.) I was somewhat disturbed, rather than amused, by Emma's temper, which treads very close to slapstick but has real-world consequences. We're told she mourns her friend Chloe, but she never seemed genuinely changed from the experience. We're told that she likes history, but we only see a minor obsession with not-very-esoteric facts about the Titanic. Emma is witty, cynical, and snarky, but not much more. The characters are mostly two-dimensional. I think we would have felt closer to Galen if we'd heard his actual voice.Ĭharacter depth.
Emma's sections are told in first person, and Galen's are told in third-person, but from his POV. Perhaps a literary analysis isn't fair, and the book is meant to be light and "consumable," but I have a compulsion to analyze, and that's why I'm here.įirst-person, third-person. That said, there were giant flaws with this book.
Of poseidon full#
Banks goes full bore with sarcasm and comic scenarios, without worrying about the consequences. The main character, Emma, has a snarkiness that's (mostly) endearing, and I'm impressed with the bold way Banks writes her voice. This book is not deep, but it's fun, and the entertainment value relies primarily on its humor, which is sometimes quite clever.
***Note: this review assumes that you've read the book.***
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