Across the Great Barrier and The far west by Patricia C. Wrede. These were kind of a letdown after the first book-- sort of a ha-now-you're-hooked-I-don't-have-to-work-so-hard feeling.
The wages of sin by Kaite Welsh. Yes, Kaite, not a typo. The murder-mystery-part of the book is poorly managed, but it's just a vehicle for the reader to get to know the main character, who is captivating. Not flawless, but a good read. 4 stars.
The Librarians, season 3, with Rebecca Romjin. I really love Christian Kane's character: buff, tough cowboy who can quote poetry and is afraid of being seen as pretentious? Perfect. Lindy Booth's character is getting pretty dang annoying, though. I don't think it's her fault-- she's written to be the cute, spunky, tiny girl character but 1) she's too old for that to keep on working, and 2) only on other TV shows do women that smart dress like that. In real life, it's a fundamental law of nature: you don't get to be sweet and lovable, a genius, and gorgeous. People who can do complex math in their heads don't waste time coordinating cardigans with their ballet flats.
The Librarians, season 3, with Rebecca Romjin. I really love Christian Kane's character: buff, tough cowboy who can quote poetry and is afraid of being seen as pretentious? Perfect. Lindy Booth's character is getting pretty dang annoying, though. I don't think it's her fault-- she's written to be the cute, spunky, tiny girl character but 1) she's too old for that to keep on working, and 2) only on other TV shows do women that smart dress like that. In real life, it's a fundamental law of nature: you don't get to be sweet and lovable, a genius, and gorgeous. People who can do complex math in their heads don't waste time coordinating cardigans with their ballet flats.
Wife of the gods by Kwei Quartey. Not great; about 2 stars. The mystery isn't difficult; anyone paying attention will pretty well figure it out before half-way. The main character's actions aren't always believable-- it seems unlikely he could get away with or would choose to pursue his course of action. The dialogue often felt stilted, and the narration relied heavily on common turns of phrase ("fortunately," "to be frank," "he came back to earth," etc.).
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