I bought this book because enthusiastic reviews described it as a combination of 1920s Jazz Age Mexico and Mayan myths, which would make for an interesting story about the clash of tradition and faith versus individual freedom in post-Revolution Mexico. Unfortunately, this is just a generic young adult romance, with the Mexican setting contributing only some exotic names to the cliched characters.
The hero, Casiopeia, is a Cinderella figure stuck in a small rural town. She meets a Mayan deity who, of course, is tall, dark and handsome. After the obligatory "ugly duckling" makeover (haircut, fancy clothes and jewelry), they fall in love and then, after a couple of passionate kisses, he leaves her. The end. So where in this story is anything unique about Jazz Age Mexico or Mayan myths? Does Casiopeia take advantage of her freedom to become an artist like Frida Kahlo? Does she dream of advocating for women's rights like María del Refugio García? Does she want to contribute to the modernization of Mexico, like architect María Luisa Dehesa Gómez Farías? Nope. She wins the love of the guy from Central Casting and thus "wins" the story. Sad to see that this arc is still considered to be the best that a female character can hope for.
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Gods of Jade and Shadow Kindle Edition
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PublisherDel Rey
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Publication dateJuly 23, 2019
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File size8399 KB
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Editorial Reviews
Review
“Casiopea is not a damsel in distress, but rather a young woman coming of age in a time where music, myth, art and exploration thrum colorfully around her. . . . Readers will be floored by Moreno-Garcia’s painstaking attention to detail. Her descriptions of the emotionally charged interactions between realistic human characters and otherworldly gods, witches and demonic forces are unforgettable, as are the fairy-tale and folktale aspects of the plot.”—BookPage (starred review)
“Set in a lushly rendered and gorgeous world, this is historical fantasy at its best: a fresh, feminist coming-of-age tale that lets the ancient and the new meld and clash in a tale you can't put down.”—S. A. Chakraborty, author of The City of Brass and The Kingdom of Copper
“An evocative and moving modern Indigenous fairy tale filled with quiet moments of vulnerability and honesty. Oh, my heart!”—Rebecca Roanhorse, Hugo and Nebula award winning author of the Sixth World series
“Simultaneously heartbreaking and heart-mending, Gods of Jade and Shadow is a wondrous and magical tale about choosing our own path. I felt weepy and happy and hopeful when I finished—everything you want to feel at the end of a great story.”—Kevin Hearne, New York Times bestselling author of The Iron Druid Chronicles and A Plague of Giants
“An elegant and immersive tale, Silvia Moreno-Garcia’s Gods of Jade and Shadow opened my eyes to the Mayan Underworld and took me on an adventure with a strong-willed, practical heroine and a prickly fallen god that I never wanted to end. It feels like a modern classic and is absolutely unforgettable.”—Kendare Blake, #1 New York Times bestselling author of the Three Dark Crowns series
“A lush, bittersweet tale of courage, love, and carving your own place in the world . . . Silvia Moreno-Garcia’s evocative prose will take you on an adventure for the mind and the heart.”—Christina Henry, author of Alice and The Girl in Red
“A vibrant story of grit, giddiness, and glory with a protagonist whose personality burns bright as a star. Casiopea Tun will capture your heart and draw you into a jewel-toned world of mythmaking and jazz music.”—Lara Elena Donnelly, author of the Amberlough Dossier trilogy
“A beautiful work that will draw you in and keep you transfixed and reading far too late. It blends the ‘real’ and the mythic seamlessly, and the clear-sighted heroine is a joy to read about. It’s the sort of book that will leave you with beautiful afterimages for weeks to follow, and going back to reread favorite sections.”—Genevieve Cogman, author of the Invisible Library series
“Set in a lushly rendered and gorgeous world, this is historical fantasy at its best: a fresh, feminist coming-of-age tale that lets the ancient and the new meld and clash in a tale you can't put down.”—S. A. Chakraborty, author of The City of Brass and The Kingdom of Copper
“An evocative and moving modern Indigenous fairy tale filled with quiet moments of vulnerability and honesty. Oh, my heart!”—Rebecca Roanhorse, Hugo and Nebula award winning author of the Sixth World series
“Simultaneously heartbreaking and heart-mending, Gods of Jade and Shadow is a wondrous and magical tale about choosing our own path. I felt weepy and happy and hopeful when I finished—everything you want to feel at the end of a great story.”—Kevin Hearne, New York Times bestselling author of The Iron Druid Chronicles and A Plague of Giants
“An elegant and immersive tale, Silvia Moreno-Garcia’s Gods of Jade and Shadow opened my eyes to the Mayan Underworld and took me on an adventure with a strong-willed, practical heroine and a prickly fallen god that I never wanted to end. It feels like a modern classic and is absolutely unforgettable.”—Kendare Blake, #1 New York Times bestselling author of the Three Dark Crowns series
“A lush, bittersweet tale of courage, love, and carving your own place in the world . . . Silvia Moreno-Garcia’s evocative prose will take you on an adventure for the mind and the heart.”—Christina Henry, author of Alice and The Girl in Red
“A vibrant story of grit, giddiness, and glory with a protagonist whose personality burns bright as a star. Casiopea Tun will capture your heart and draw you into a jewel-toned world of mythmaking and jazz music.”—Lara Elena Donnelly, author of the Amberlough Dossier trilogy
“A beautiful work that will draw you in and keep you transfixed and reading far too late. It blends the ‘real’ and the mythic seamlessly, and the clear-sighted heroine is a joy to read about. It’s the sort of book that will leave you with beautiful afterimages for weeks to follow, and going back to reread favorite sections.”—Genevieve Cogman, author of the Invisible Library series
About the Author
Silvia Moreno-Garcia is the New York Times bestselling author of the critically acclaimed speculative novels Gods of Jade and Shadow, Signal to Noise, Certain Dark Things, and The Beautiful Ones; and the crime novel Untamed Shore. She has edited several anthologies, including the World Fantasy Award–winning She Walks in Shadows (aka Cthulhu’s Daughters). She lives in Vancouver, British Columbia.
--This text refers to an alternate kindle_edition edition.
Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1
Some people are born under a lucky star, while others have their misfortune telegraphed by the position of the planets. Casiopea Tun, named after a constellation, was born under the most rotten star imaginable in the firmament. She was eighteen, penniless, and had grown up in Uukumil, a drab town where mule-drawn railcars stopped twice a week and the sun scorched out dreams. She was reasonable enough to recognize that many other young women lived in equally drab, equally small towns. However, she doubted that many other young women had to endure the living hell that was her daily life in grandfather Cirilo Leyva’s house.
Cirilo was a bitter man, with more poison in his shriveled body than was in the stinger of a white scorpion. Casiopea tended to him. She served his meals, ironed his clothes, and combed his sparse hair. When the old brute, who still had enough strength to beat her over the head with his cane when it pleased him, was not yelling for his grandchild to fetch him a glass of water or his slippers, her aunts and cousins were telling Casiopea to do the laundry, scrub the floors, and dust the living room.
“Do as they ask; we wouldn’t want them to say we are spongers,” Casiopea’s mother told her. Casiopea swallowed her angry reply because it made no sense to discuss her mistreatment with Mother, whose solution to every problem was to pray to God.
Casiopea, who had prayed at the age of ten for her cousin Martín to go off and live in another town, far from her, understood by now that God, if he existed, did not give a damn about her. What had God done for Casiopea, aside from taking her father from her? That quiet, patient clerk with a love for poetry, a fascination with Mayan and Greek mythology, a knack for bedtime stories. A man whose heart gave up one morning, like a poorly wound clock. His death sent Casiopea and her mother packing back to Grandfather’s house. Mother’s family had been charitable, if one’s definition of charity is that they were put immediately to work while their idle relatives twiddled their thumbs.
Had Casiopea possessed her father’s pronounced romantic leanings, perhaps she might have seen herself as a Cinderella-like figure. But although she treasured his old books, the skeletal remains of his collection—especially the sonnets by Quevedo, wells of sentiment for a young heart—she had decided it would be nonsense to configure herself into a tragic heroine. Instead, she chose to focus on more pragmatic issues, mainly that her horrible grandfather, despite his constant yelling, had promised that upon his passing Casiopea would be the beneficiary of a modest sum of money, enough that it might allow her to move to Mérida.
The atlas showed her the distance from the town to the city. She measured it with the tips of her fingers. One day.
In the meantime, Casiopea lived in Cirilo’s house. She rose early and committed to her chores, tight-lipped, like a soldier on a campaign.
That afternoon she had been entrusted with the scrubbing of the hallway floor. She did not mind, because it allowed her to keep abreast of her grandfather’s condition. Cirilo was doing poorly; they did not think he’d make it past the autumn. The doctor had come to pay him a visit and was talking to her aunts. Their voices drifted into the hall from the nearby living room, the clinking of dainty china cups punctuating one word here and another there. Casiopea moved her brush against the red tiles, attempting to follow the conversation—expecting to be informed of anything that went on in the house in any other way was ridiculous; they never bothered talking to her except to bark orders—until two shiny boots stopped in front of her bucket. She did not have to look up to know it was Martín. She recognized his shoes.
Martín was a youthful copy of their grandfather. He was square-shouldered, robust, with thick, strong hands that delivered a massive blow. She delighted in thinking that when he grew old, he would also become an ugly, liver-spotted wretch without teeth, like Cirilo.
“There you are. My mother is going crazy looking for you,” he said. He looked away when he spoke.
“What is it?” she asked, resting her hands against her skirt.
“She says you are to go to the butcher. The silly codger demands a good cut of beef for supper. While you’re out, get me my cigarettes.”
Casiopea stood up. “I’ll go change.”
Casiopea wore no shoes and no stockings and a frayed brown skirt. Her mother emphasized neatness in person and dress, but Casiopea didn’t believe there was much point in fretting about the hem of her clothes when she was waxing floors or dusting rooms. Still, she must don a clean skirt if she was heading out.
“Change? Why? It’ll be a waste of time. Go right away.”
“Martín, I can’t go out—”
“Go as you are, I said,” he replied.
Casiopea eyed Martín and considered defying him, but she was practical. If she insisted on changing, then Martín would give her a good smack and she would accomplish nothing except wasting her time. Sometimes Martín could be reasoned with, or at least tricked into changing his mind, but she could tell by his sanguine expression that he’d had a row with someone and was taking it out on her.
“Fine,” she said.
He looked disappointed. He’d wanted a scuffle. She smiled when he handed her the money she needed to run the errands. He looked so put off by that smile, she thought for a moment he was going to slap her for no reason. Casiopea left the house in her dirty skirt, without even bothering to wrap a shawl around her head.
In 1922 Governor Felipe Carrillo Puerto had said women could now vote, but by 1924 he’d faced a firing squad—which is exactly what you’d expect to happen to governors who go around delivering speeches in Mayan and then don’t align themselves with the correct people in power—and they’d revoked that privilege. Not that this ever mattered in Uukumil. It was 1927, but it might as well have been 1807. The revolution passed through it, yet it remained what it had been. A town with nothing of note, except for a modest sascab quarry; the white powder shoveled out was used for dirt roads. Oh, there had been a henequen plantation nearby once upon a time, but she knew little about it; her grandfather was no hacendado. His money, as far as Casiopea could tell, came from the buildings he owned in Mérida. He also muttered about gold, although that was likely more talk than anything else.
So, while women in other parts of the world cut their hair daringly short and danced the Charleston, Uukumil was the kind of place where Casiopea might be chided if she walked around town without her shawl wrapping her head.
The country was supposed to be secularist after the revolution, something that sounded fine when it was printed as a decree, but was harder to enforce once push came to shove. Cristero rebellions bubbled down the center of Mexico whenever the government tried to restrict religious activity. That February in Jalisco and Guanjuato all priests had been detained for inciting people to rise against the anti-Catholic measures promoted by the president. Yet Yucatán was tolerant of the Cristeros, and it had not flamed up like other states. Yucatán had always been a world apart, an island, even if the atlas assured Casiopea she lived on a verdant peninsula.
No wonder in lazy Uukumil everyone held to the old ways. No wonder, either, that their priest grew more overzealous, intent on preserving morality and the Catholic faith. He eyed every woman in town with suspicion. Each diminutive infraction to decency and virtue was catalogued. Women were meant to bear the brunt of inquiries because they descended from Eve, who had been weak and sinned, eating from the juicy, forbidden apple.
If the priest saw Casiopea he would drag her back to her house, but if he did, what of it? It was not as if the priest would strike her any harder than Martín would, and her stupid cousin had given her no chance to tidy herself.
Casiopea slowly walked to the town square, which was dominated by the church. She must follow Martín’s orders, but she would take her time doing so. She glanced at the businesses bunched under the square’s high arcades. They had a druggist, a haberdasher, a physician. She realized this was more than other towns could claim, and still she couldn’t help but feel dissatisfied. Her father had been from Mérida and had whisked her mother off to the city, where Casiopea was born. She thought she belonged there. Or, anywhere else, for that matter. Her hands were hard and ugly from beating the laundry against the stone lavadero, but her mind had the worst of it. She yearned for a sliver of freedom.
Somewhere, far from the bothersome grandfather and impertinent coterie of relatives, there would be sleek automobiles (she wished to drive one), daring pretty dresses (which she’d spotted in newspapers), dances (the faster, the better), and a view of the Pacific sea at night (she knew it courtesy of a stolen postcard). She had cut out photos of all these items and placed them under her pillow, and when she dreamed, she dreamed of night swimming, of dresses with sequins, and a clear, starlit sky. --This text refers to an alternate kindle_edition edition.
Some people are born under a lucky star, while others have their misfortune telegraphed by the position of the planets. Casiopea Tun, named after a constellation, was born under the most rotten star imaginable in the firmament. She was eighteen, penniless, and had grown up in Uukumil, a drab town where mule-drawn railcars stopped twice a week and the sun scorched out dreams. She was reasonable enough to recognize that many other young women lived in equally drab, equally small towns. However, she doubted that many other young women had to endure the living hell that was her daily life in grandfather Cirilo Leyva’s house.
Cirilo was a bitter man, with more poison in his shriveled body than was in the stinger of a white scorpion. Casiopea tended to him. She served his meals, ironed his clothes, and combed his sparse hair. When the old brute, who still had enough strength to beat her over the head with his cane when it pleased him, was not yelling for his grandchild to fetch him a glass of water or his slippers, her aunts and cousins were telling Casiopea to do the laundry, scrub the floors, and dust the living room.
“Do as they ask; we wouldn’t want them to say we are spongers,” Casiopea’s mother told her. Casiopea swallowed her angry reply because it made no sense to discuss her mistreatment with Mother, whose solution to every problem was to pray to God.
Casiopea, who had prayed at the age of ten for her cousin Martín to go off and live in another town, far from her, understood by now that God, if he existed, did not give a damn about her. What had God done for Casiopea, aside from taking her father from her? That quiet, patient clerk with a love for poetry, a fascination with Mayan and Greek mythology, a knack for bedtime stories. A man whose heart gave up one morning, like a poorly wound clock. His death sent Casiopea and her mother packing back to Grandfather’s house. Mother’s family had been charitable, if one’s definition of charity is that they were put immediately to work while their idle relatives twiddled their thumbs.
Had Casiopea possessed her father’s pronounced romantic leanings, perhaps she might have seen herself as a Cinderella-like figure. But although she treasured his old books, the skeletal remains of his collection—especially the sonnets by Quevedo, wells of sentiment for a young heart—she had decided it would be nonsense to configure herself into a tragic heroine. Instead, she chose to focus on more pragmatic issues, mainly that her horrible grandfather, despite his constant yelling, had promised that upon his passing Casiopea would be the beneficiary of a modest sum of money, enough that it might allow her to move to Mérida.
The atlas showed her the distance from the town to the city. She measured it with the tips of her fingers. One day.
In the meantime, Casiopea lived in Cirilo’s house. She rose early and committed to her chores, tight-lipped, like a soldier on a campaign.
That afternoon she had been entrusted with the scrubbing of the hallway floor. She did not mind, because it allowed her to keep abreast of her grandfather’s condition. Cirilo was doing poorly; they did not think he’d make it past the autumn. The doctor had come to pay him a visit and was talking to her aunts. Their voices drifted into the hall from the nearby living room, the clinking of dainty china cups punctuating one word here and another there. Casiopea moved her brush against the red tiles, attempting to follow the conversation—expecting to be informed of anything that went on in the house in any other way was ridiculous; they never bothered talking to her except to bark orders—until two shiny boots stopped in front of her bucket. She did not have to look up to know it was Martín. She recognized his shoes.
Martín was a youthful copy of their grandfather. He was square-shouldered, robust, with thick, strong hands that delivered a massive blow. She delighted in thinking that when he grew old, he would also become an ugly, liver-spotted wretch without teeth, like Cirilo.
“There you are. My mother is going crazy looking for you,” he said. He looked away when he spoke.
“What is it?” she asked, resting her hands against her skirt.
“She says you are to go to the butcher. The silly codger demands a good cut of beef for supper. While you’re out, get me my cigarettes.”
Casiopea stood up. “I’ll go change.”
Casiopea wore no shoes and no stockings and a frayed brown skirt. Her mother emphasized neatness in person and dress, but Casiopea didn’t believe there was much point in fretting about the hem of her clothes when she was waxing floors or dusting rooms. Still, she must don a clean skirt if she was heading out.
“Change? Why? It’ll be a waste of time. Go right away.”
“Martín, I can’t go out—”
“Go as you are, I said,” he replied.
Casiopea eyed Martín and considered defying him, but she was practical. If she insisted on changing, then Martín would give her a good smack and she would accomplish nothing except wasting her time. Sometimes Martín could be reasoned with, or at least tricked into changing his mind, but she could tell by his sanguine expression that he’d had a row with someone and was taking it out on her.
“Fine,” she said.
He looked disappointed. He’d wanted a scuffle. She smiled when he handed her the money she needed to run the errands. He looked so put off by that smile, she thought for a moment he was going to slap her for no reason. Casiopea left the house in her dirty skirt, without even bothering to wrap a shawl around her head.
In 1922 Governor Felipe Carrillo Puerto had said women could now vote, but by 1924 he’d faced a firing squad—which is exactly what you’d expect to happen to governors who go around delivering speeches in Mayan and then don’t align themselves with the correct people in power—and they’d revoked that privilege. Not that this ever mattered in Uukumil. It was 1927, but it might as well have been 1807. The revolution passed through it, yet it remained what it had been. A town with nothing of note, except for a modest sascab quarry; the white powder shoveled out was used for dirt roads. Oh, there had been a henequen plantation nearby once upon a time, but she knew little about it; her grandfather was no hacendado. His money, as far as Casiopea could tell, came from the buildings he owned in Mérida. He also muttered about gold, although that was likely more talk than anything else.
So, while women in other parts of the world cut their hair daringly short and danced the Charleston, Uukumil was the kind of place where Casiopea might be chided if she walked around town without her shawl wrapping her head.
The country was supposed to be secularist after the revolution, something that sounded fine when it was printed as a decree, but was harder to enforce once push came to shove. Cristero rebellions bubbled down the center of Mexico whenever the government tried to restrict religious activity. That February in Jalisco and Guanjuato all priests had been detained for inciting people to rise against the anti-Catholic measures promoted by the president. Yet Yucatán was tolerant of the Cristeros, and it had not flamed up like other states. Yucatán had always been a world apart, an island, even if the atlas assured Casiopea she lived on a verdant peninsula.
No wonder in lazy Uukumil everyone held to the old ways. No wonder, either, that their priest grew more overzealous, intent on preserving morality and the Catholic faith. He eyed every woman in town with suspicion. Each diminutive infraction to decency and virtue was catalogued. Women were meant to bear the brunt of inquiries because they descended from Eve, who had been weak and sinned, eating from the juicy, forbidden apple.
If the priest saw Casiopea he would drag her back to her house, but if he did, what of it? It was not as if the priest would strike her any harder than Martín would, and her stupid cousin had given her no chance to tidy herself.
Casiopea slowly walked to the town square, which was dominated by the church. She must follow Martín’s orders, but she would take her time doing so. She glanced at the businesses bunched under the square’s high arcades. They had a druggist, a haberdasher, a physician. She realized this was more than other towns could claim, and still she couldn’t help but feel dissatisfied. Her father had been from Mérida and had whisked her mother off to the city, where Casiopea was born. She thought she belonged there. Or, anywhere else, for that matter. Her hands were hard and ugly from beating the laundry against the stone lavadero, but her mind had the worst of it. She yearned for a sliver of freedom.
Somewhere, far from the bothersome grandfather and impertinent coterie of relatives, there would be sleek automobiles (she wished to drive one), daring pretty dresses (which she’d spotted in newspapers), dances (the faster, the better), and a view of the Pacific sea at night (she knew it courtesy of a stolen postcard). She had cut out photos of all these items and placed them under her pillow, and when she dreamed, she dreamed of night swimming, of dresses with sequins, and a clear, starlit sky. --This text refers to an alternate kindle_edition edition.
Product details
- ASIN : B07KDX5NTF
- Publisher : Del Rey (July 23, 2019)
- Publication date : July 23, 2019
- Language : English
- File size : 8399 KB
- Text-to-Speech : Enabled
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Print length : 367 pages
- Lending : Not Enabled
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Best Sellers Rank:
#15,633 in Kindle Store (See Top 100 in Kindle Store)
- #72 in Fairy Tales (Kindle Store)
- #105 in Folklore (Kindle Store)
- #109 in Mythology (Kindle Store)
- Customer Reviews:
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Reviewed in the United States on August 3, 2019
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152 people found this helpful
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Reviewed in the United States on July 26, 2019
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Mexico in the 1920s could have been an ugly, wicked setting. Seen through uncaring eyes, told with a tongue that relished harsh realities. This could have been a novel of Mexico's ruin at the beginning of the 20th century, a young woman's journey through kingdoms of dust and smoke, the ancient mythos a psychosis taking over her mind like a cancer.
Instead, Silvia Moreno-Garcia wrote something purer. A road trip, a quest, not a modern Quixote tilting at windmills but a young woman walking with gods through the unfamiliar worlds of Mexico and Xibalba, from the Yucatan to Tiajuana. Ordinary people enmeshed in the extraordinary, but to them, that's just how the world is.
The 1920s saw the rise of Mayan Revival architecture, when ancient forms could be re-imagined in concrete and plaster. Not so much a looking-back as a bringing-the-past-forward, out of the ruins and into daily life, where people could see and interact with it for real, instead of in some dusty history or locked away in a museum. For me at least, GODS Of JADE AND SHADOW seeks to capture that spirit of bringing the old into the present. Grounding it in what is and might be rather than just was.
The reader follows along for the ride. Whatever your idea might be of Mexico during Prohibition in the United States - or Mexico today - let go of your kingdoms of dust and smoke and live for a while in Silvia Moreno-Garcia's Mexico of hope and weirdness, on the road with gods of jade and shadow, to taste the waters of the Pacific and see if they taste any different.
Instead, Silvia Moreno-Garcia wrote something purer. A road trip, a quest, not a modern Quixote tilting at windmills but a young woman walking with gods through the unfamiliar worlds of Mexico and Xibalba, from the Yucatan to Tiajuana. Ordinary people enmeshed in the extraordinary, but to them, that's just how the world is.
The 1920s saw the rise of Mayan Revival architecture, when ancient forms could be re-imagined in concrete and plaster. Not so much a looking-back as a bringing-the-past-forward, out of the ruins and into daily life, where people could see and interact with it for real, instead of in some dusty history or locked away in a museum. For me at least, GODS Of JADE AND SHADOW seeks to capture that spirit of bringing the old into the present. Grounding it in what is and might be rather than just was.
The reader follows along for the ride. Whatever your idea might be of Mexico during Prohibition in the United States - or Mexico today - let go of your kingdoms of dust and smoke and live for a while in Silvia Moreno-Garcia's Mexico of hope and weirdness, on the road with gods of jade and shadow, to taste the waters of the Pacific and see if they taste any different.
58 people found this helpful
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Reviewed in the United States on July 27, 2019
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(Spoiler Free)
Casiopea is a girl who dreams of the stars and freedom, but she's stuck in her small town in Yucatan, Mexico. One day, she opens a wooden chest, and accidentally unleashes Hun-Kamé, an ancient Maya god of death who had been trapped and betrayed by his brother. She's fierce and he's broody and together they embark on a journey to reclaim Hun-Kamé's kingdom.
The characters in this book were so solid and layered. They constantly break the conventions that their archetypes traditionally fall into. By doing this, Moreno-Garcia creates a well rounded and nuanced narrative driven by its characters. The antagonists are slightly more wooden, but they are given the backstory to their actions, and I really enjoyed the final showdown between Casiopea and her "enemy", her cousin, Martin.
Our main protagonist, Casiopea shines. She's strong, vulnerable and unapologetically herself. I loved reading from her perspective and she has quickly become one of my favorite characters in literature. Casiopea is a girl who feels so much that it spills into Hun- Kamé. They are both so, so lonely and have been for so long that their relationship feels tragically poetic. It's one of the strongest points in the novel. Moreno-Garcia is an expert at building tension and slow burn bittersweet angst.
This story pulls from the Popol Vuh and Maya mythology and I am so happy to read Latinx rep from an ownvoices author. Although this book takes place in the 1920's , as a Xicana, it felt so warm to read about characters going on journeys in places ( the Baja California scenes!) and eat food that I am familiar with( I'm talking about the bolillo dipped in coffee scene se me hizo agua la boca). Silvia Moreno-Garcia continues to be a bright voice in the Latinx SFF communtiy and I can't wait to see what's next!
Casiopea is a girl who dreams of the stars and freedom, but she's stuck in her small town in Yucatan, Mexico. One day, she opens a wooden chest, and accidentally unleashes Hun-Kamé, an ancient Maya god of death who had been trapped and betrayed by his brother. She's fierce and he's broody and together they embark on a journey to reclaim Hun-Kamé's kingdom.
The characters in this book were so solid and layered. They constantly break the conventions that their archetypes traditionally fall into. By doing this, Moreno-Garcia creates a well rounded and nuanced narrative driven by its characters. The antagonists are slightly more wooden, but they are given the backstory to their actions, and I really enjoyed the final showdown between Casiopea and her "enemy", her cousin, Martin.
Our main protagonist, Casiopea shines. She's strong, vulnerable and unapologetically herself. I loved reading from her perspective and she has quickly become one of my favorite characters in literature. Casiopea is a girl who feels so much that it spills into Hun- Kamé. They are both so, so lonely and have been for so long that their relationship feels tragically poetic. It's one of the strongest points in the novel. Moreno-Garcia is an expert at building tension and slow burn bittersweet angst.
This story pulls from the Popol Vuh and Maya mythology and I am so happy to read Latinx rep from an ownvoices author. Although this book takes place in the 1920's , as a Xicana, it felt so warm to read about characters going on journeys in places ( the Baja California scenes!) and eat food that I am familiar with( I'm talking about the bolillo dipped in coffee scene se me hizo agua la boca). Silvia Moreno-Garcia continues to be a bright voice in the Latinx SFF communtiy and I can't wait to see what's next!
54 people found this helpful
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Reviewed in the United States on August 2, 2019
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Stayed awake thinking about it long after I should have been asleep. This book takes us and its heroine, on a journey to discover her true self; from despair, through the underworld, and into a new world entirely. Inspired by the Popol Vuh, this book covered territory I was unfamiliar with, but had apparently caught glimpses of in other fantasy works (Kamazotz, for example). This book dives straight into Mexican culture and mythology, and was an utter delight from start to finish. Casiopea is a heroine to treasure.
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Reviewed in the United States on July 31, 2019
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Full review at templetongate.net. I pre-ordered the hardcover as soon as possible, but was also lucky in reading it early thanks to Net Galley. Silvia continues to be one of my current favorite authors, she hasn't disappointed me yet. The only reason I'm not giving this 5 stars is the slow beginning, which starts out like a variation on Cinderella, but then it becomes so much more. A intelligent young woman, a poor relation forced to be mostly a maid in her grandfather's house, gets the chance to transcend her life when she discovers the trapped Mayan god Hun-Kamé. Together they travel across Jazz Age Mexico to reclaim his throne from his deceitful brother. It's refreshing to get a break from the typical European-centric fantasy tropes, and I can't wait to see where Silvia takes us next.
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La Plume qui Empoisonna
2.0 out of 5 stars
YA Title Wheel
Reviewed in the United Kingdom on March 26, 2020Verified Purchase
*Silvia Moreno-Garcia walks into her agents office*
Agent: Great news, Silvia I've got your next book for you!
Silvia: Aren't I meant to-
Agent: The public is crying out for more stories where teenage girls and beautiful, brooding immortals fall in love. Twilight, 50 Shades of Grey that's two massive franchises right there. Yours will be number three.
Silvia: Well technically in 50 Shades-.
Agent: Don't forget it has to be YA. All the kids are reading and all the non-kids want to read what the kids are reading you follow?
Silvia: Well, I guess, but my stuff is usually a little darker-
Agent: Yes! Darker! Edgier! Your heroine will be a feisty girl abused by the family who are meant to care for her, basically their slave until a handsome man takes her away from it all.
Silvia: Sounds derivative of Cinderella and every other fairy tale for about two centuries.
Agent: No! No! Well... yes, but you'll mention that in the first couple of chapters. You can't be derivative if you acknowledge your derivative.
Silvia: That's not how it-
Agent: Besides it's not the same because he'll ALSO be abusive, threatening her life and pimping her out, but it's cool because he's hot and gets her pretty dresses.
Silvia: I'm not sure about this...
Agent: Trust me, the kids and the non-kids will love it. We've even got your title for it.
Silvia: But I haven't even started writing it!
Agent: No need we've got the YA Title Wheel, right here.
Silvia: Title-
Agent: *reveals cheap spinning prize wheel seen on fairgrounds with three interconnecting discs*
Agent: The first disc is the subject - city, god, king, prince, queen, princess. The second disc is something solid - knifes, swords, malachite, diamonds, coal, jade. The third disc is ethereal - storms, whispers, shadows, moonlight. You get the gist? Watch!
Agent: *spins* City of Coal and Moonlight - ohhh evocative! *spins* Queen of Swords and Whispers - nice and dark! Must get these to marketing before lunch! Oh you've got Gods of Jade and Shadow by the way, we added an 's'. The board things extra gods sell better.
Silvia: Well... Gods of Jade and Shadow doesn't sound-
Agent: Yep, Gods of Jade and Shadows: a perfect blend of fantasy, mythology and historical fiction set in Jazz Age Mexico.
Silvia: Kind of you to say, but like I said I haven't even started writing it yet.
Agent: *non-plussed* Sorry, you lost me that's the Kindle title.
Silvia: Shouldn't people decide that for themselves rather then having thrust it down their throats?
Agent: *pats her on the hand* Leave the sales to me Sweetie, you go write us a YA cash cow we can hopefully turn into a movie. Remember to keep that Mexican/Mayan stuff in it's our USP! But you know whatever you're the artist. Just don't forget to use lots of exposition telling people how they should feel about each character.
Silvia: But that's bad writing!
Agent: No! Well, yes, but think of the time the reader saves not having to think about these things for themselves! Stick with me kid we're going to go far!
Agent: Great news, Silvia I've got your next book for you!
Silvia: Aren't I meant to-
Agent: The public is crying out for more stories where teenage girls and beautiful, brooding immortals fall in love. Twilight, 50 Shades of Grey that's two massive franchises right there. Yours will be number three.
Silvia: Well technically in 50 Shades-.
Agent: Don't forget it has to be YA. All the kids are reading and all the non-kids want to read what the kids are reading you follow?
Silvia: Well, I guess, but my stuff is usually a little darker-
Agent: Yes! Darker! Edgier! Your heroine will be a feisty girl abused by the family who are meant to care for her, basically their slave until a handsome man takes her away from it all.
Silvia: Sounds derivative of Cinderella and every other fairy tale for about two centuries.
Agent: No! No! Well... yes, but you'll mention that in the first couple of chapters. You can't be derivative if you acknowledge your derivative.
Silvia: That's not how it-
Agent: Besides it's not the same because he'll ALSO be abusive, threatening her life and pimping her out, but it's cool because he's hot and gets her pretty dresses.
Silvia: I'm not sure about this...
Agent: Trust me, the kids and the non-kids will love it. We've even got your title for it.
Silvia: But I haven't even started writing it!
Agent: No need we've got the YA Title Wheel, right here.
Silvia: Title-
Agent: *reveals cheap spinning prize wheel seen on fairgrounds with three interconnecting discs*
Agent: The first disc is the subject - city, god, king, prince, queen, princess. The second disc is something solid - knifes, swords, malachite, diamonds, coal, jade. The third disc is ethereal - storms, whispers, shadows, moonlight. You get the gist? Watch!
Agent: *spins* City of Coal and Moonlight - ohhh evocative! *spins* Queen of Swords and Whispers - nice and dark! Must get these to marketing before lunch! Oh you've got Gods of Jade and Shadow by the way, we added an 's'. The board things extra gods sell better.
Silvia: Well... Gods of Jade and Shadow doesn't sound-
Agent: Yep, Gods of Jade and Shadows: a perfect blend of fantasy, mythology and historical fiction set in Jazz Age Mexico.
Silvia: Kind of you to say, but like I said I haven't even started writing it yet.
Agent: *non-plussed* Sorry, you lost me that's the Kindle title.
Silvia: Shouldn't people decide that for themselves rather then having thrust it down their throats?
Agent: *pats her on the hand* Leave the sales to me Sweetie, you go write us a YA cash cow we can hopefully turn into a movie. Remember to keep that Mexican/Mayan stuff in it's our USP! But you know whatever you're the artist. Just don't forget to use lots of exposition telling people how they should feel about each character.
Silvia: But that's bad writing!
Agent: No! Well, yes, but think of the time the reader saves not having to think about these things for themselves! Stick with me kid we're going to go far!
40 people found this helpful
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Iza
3.0 out of 5 stars
The spark was missing
Reviewed in the United Kingdom on March 29, 2020Verified Purchase
I love books with mythology and lore and folktales. So when I saw this was one sale, I snapped it up and jumped into it. Then, I set it aside, blaming my mood for me not clicking with the book.
After a few such attempts, I realized it really wasn't me, but the book.
Set in 1920s Mexico, it should have been perfect. And if you read the blurb, it even sounds perfect too. Casiopea dreams of a different life. She's pretty much a nobody in her household, where unlike her other relatives, she needs to do chores, in order to earn her keep - all because her mother fell in love with a man Casiopea's grandfather didn't approve of.
Enter the Mayan god of death - I want to weep, it was THE recipe for a DA*N BRILLIANT book and major favorite - who whisks Casiopea off on quite the adventure, in order for him to get his throne back from his treacherous twin brother.
Doesn't this all sound so very good to you? But alas, it just didn't work out. Maybe the execution, the author's style, maybe the lack of connection, I don't know. That spark, that je ne sais quoi, was missing, the one that would have me declare it an all-time favorite.
But don't let my review stop you from reading it. Maybe you find the spark I didn't.
3 stars, mostly for the mythology and lore part. And because it was set in 1920s Mexico and I learned new stuff.
After a few such attempts, I realized it really wasn't me, but the book.
Set in 1920s Mexico, it should have been perfect. And if you read the blurb, it even sounds perfect too. Casiopea dreams of a different life. She's pretty much a nobody in her household, where unlike her other relatives, she needs to do chores, in order to earn her keep - all because her mother fell in love with a man Casiopea's grandfather didn't approve of.
Enter the Mayan god of death - I want to weep, it was THE recipe for a DA*N BRILLIANT book and major favorite - who whisks Casiopea off on quite the adventure, in order for him to get his throne back from his treacherous twin brother.
Doesn't this all sound so very good to you? But alas, it just didn't work out. Maybe the execution, the author's style, maybe the lack of connection, I don't know. That spark, that je ne sais quoi, was missing, the one that would have me declare it an all-time favorite.
But don't let my review stop you from reading it. Maybe you find the spark I didn't.
3 stars, mostly for the mythology and lore part. And because it was set in 1920s Mexico and I learned new stuff.
6 people found this helpful
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Greatgreenbird
4.0 out of 5 stars
Almost but not quite
Reviewed in the United Kingdom on April 27, 2020Verified Purchase
This is one of those books which has been on my TBR list for a while and recently went on sale, so I snapped it up - I'd previously read another book by the same author (Certain Dark Things) which meant that I knew there was a reasonable chance I'd enjoy this one as well.
Gods of Jade and Shadow is set in the 1920's but for our protagonist, Casiopeia, her life in small town Mexico is anything but full of the excitement of the Jazz Age. Instead she's stuck working as an unpaid servant for a family who begrudge her very existence, with both self-important cousin Martín and belligerent grandfather Cirillo demanding her attention and obedience. Casiopeia's life is about to take a turn for the strange, however, when she opens a metal chest in her grandfather's room and discovers a set of bones inside - the bones of one of the gods of Xibalba, who promises Casiopeia her heart's desire (if she can ever figure out what that is) if she'll help him regain his throne.
Meanwhile, Cirillo's wealth and status has come about because of his deal with the god's twin and Casiopeia's cousin is recruited to stop her. Through a series of journeys with the now-resurrected god Hun-Kamé, she starts to experience all the things she'd wanted to try and expands her horizons greatly - it's her own stubborn nature that will help Casiopeia make it through to the end of the story, as Hun-Kamé regains the parts of himself that make it possible for him to rule Xibalba and also struggles with becoming more human.
Another entertaining novel from this writer, with a lot of interesting world-building - I'm not particularly familiar with the mythos of this region, having heard of some of the characters who appear here but not really knowing much about them. For once, I also quite liked the open-ended nature of the way the story finishes, with Casiopeia still trying to figure out what she wants but now having both the means and opportunity to obtain it, once she decides what it is.
Gods of Jade and Shadow is set in the 1920's but for our protagonist, Casiopeia, her life in small town Mexico is anything but full of the excitement of the Jazz Age. Instead she's stuck working as an unpaid servant for a family who begrudge her very existence, with both self-important cousin Martín and belligerent grandfather Cirillo demanding her attention and obedience. Casiopeia's life is about to take a turn for the strange, however, when she opens a metal chest in her grandfather's room and discovers a set of bones inside - the bones of one of the gods of Xibalba, who promises Casiopeia her heart's desire (if she can ever figure out what that is) if she'll help him regain his throne.
Meanwhile, Cirillo's wealth and status has come about because of his deal with the god's twin and Casiopeia's cousin is recruited to stop her. Through a series of journeys with the now-resurrected god Hun-Kamé, she starts to experience all the things she'd wanted to try and expands her horizons greatly - it's her own stubborn nature that will help Casiopeia make it through to the end of the story, as Hun-Kamé regains the parts of himself that make it possible for him to rule Xibalba and also struggles with becoming more human.
Another entertaining novel from this writer, with a lot of interesting world-building - I'm not particularly familiar with the mythos of this region, having heard of some of the characters who appear here but not really knowing much about them. For once, I also quite liked the open-ended nature of the way the story finishes, with Casiopeia still trying to figure out what she wants but now having both the means and opportunity to obtain it, once she decides what it is.
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april
4.0 out of 5 stars
Interesting,
Reviewed in the United Kingdom on March 20, 2020Verified Purchase
Good story, great plot, exciting setting, with attractive characters and fine development...depth, great images, lyrical passages and enough tension, horror, and suitable solution...but one problem in actual writing technique: too much indirect speech, telling the reader what characters think/feel/remember...each time the story falls into this form of prose, the pace stops, the story judders to a halt, and it takes time to pick up speed again, when it starts up...an editor with a sharp pencil could have cut out between 10 and 20% of the text, to great advantage...i read fast...for me, these sudden stops/slow-downs are really irritating...otherwise, great story, fascinating plot, well done...just speed up the prose! i can tell what the characters are feeling/thinking by what they say, and by what they do...i do not need stage directions/motivations, in a sort of parenthesis...skip them! makes for better pace...

Megan Pelliccio
5.0 out of 5 stars
A must-read for fans of fantasy and mythology!
Reviewed in the United Kingdom on October 27, 2020Verified Purchase
I absolutely adored this book. It’s like a modern-day myth, where the hero, or in this case, heroine, has to undertake tasks and trials in order to prove themselves and fulfil their main quest. I love classic mythology epics and legends, and this was very much in the same vein, though set in the “jazz age”.
Casiopea is the perfect protagonist, she is strong and independent, but she still shows weakness, which makes her human and more relatable. Sometimes with YA books, I find they can get a little cheesy, especially when love interests are concerned, even more so when the love interest is a god, or an angel, or some other mythological creature. It’s so easy to write this off as one of those sorts of stories at first glance – but it’s not. There is a romantic element to this book, but the end result was surprising, and not in a bad way. It was a refreshing change of pace for a YA book and I felt that although the romance was a key theme, it was still secondary to the adventure itself.
The story was really well-written and you can tell from reading the sheer amount of effort that went into researching and conveying the mythological aspects of the story. Mayan mythology is not one of my strong points, so I especially loved learning even more about it. I also liked that the setting was not simply the modern-day and that instead, the author opted for 1927 when jazz was at a high and prohibition was still very much a thing. It added an interesting new facet to the story, as sometimes a modern setting can seem a little bit bland.
Casiopea is the perfect protagonist, she is strong and independent, but she still shows weakness, which makes her human and more relatable. Sometimes with YA books, I find they can get a little cheesy, especially when love interests are concerned, even more so when the love interest is a god, or an angel, or some other mythological creature. It’s so easy to write this off as one of those sorts of stories at first glance – but it’s not. There is a romantic element to this book, but the end result was surprising, and not in a bad way. It was a refreshing change of pace for a YA book and I felt that although the romance was a key theme, it was still secondary to the adventure itself.
The story was really well-written and you can tell from reading the sheer amount of effort that went into researching and conveying the mythological aspects of the story. Mayan mythology is not one of my strong points, so I especially loved learning even more about it. I also liked that the setting was not simply the modern-day and that instead, the author opted for 1927 when jazz was at a high and prohibition was still very much a thing. It added an interesting new facet to the story, as sometimes a modern setting can seem a little bit bland.
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