62. In the Red

62. In the Red. Christopher Swiedler. 2020. [March] 288 pages. [Source: Library]

First sentence: By Friday afternoon, after a week of careful thought, Michael Prasad had come up with just one theory for how he might make it to Monday morning without getting grounded for the rest of his life.

Premise/plot: In the Red is a middle grade science fiction novel set on Mars. Michael, the hero, has been forbidden to try (again) for his basic certification--being certified to go out on the surface of Mars in an environmental suit. Most pass by the age of ten--he's twelve. But he's experienced panic attacks in the past on test day--that were not pretty. Michael feels certain he's a big disappointment to his dad. If he can just get over his panic attacks then he could visit his father at work on the station. So many things he could do...if only his body didn't betray him.

Lilith, Michael's best, best, best friend, is so supportive of him. For better or worse--after another failed attempt--she suggests the two of them SNEAK out and go to the surface. What could go wrong????

If nothing went wrong, In the Red would be a short story that few would find super-compelling. Instead it is action packed and filled with danger. Action packed yet still character driven. Despite the jacket copy telling readers a LOT of what to expect, I recommend reading it knowing as little as possible.

My thoughts: I loved, loved, loved, LOVED, LOVED this one. If you like survivor stories, science fiction, coming of age, characters with depth that are relatable, adventure, action...this one has it all. It's so well paced too. I loved the narrator, Michael. I loved his relationships with his best friend, Lilith, and with his brother. (Though we see very little of Peter.)  

It is premise-driven, action-driven, and character-driven. It's hard to be all three--to excel at all three. It is easy to *try* not so easy to succeed. This is an excellent book.

ETA: I first read In the Red in July 2021, I reread it in August 2026. It was just as awesome as I remembered. It was SO good. Highly recommend.

Quotes:

"Well, whatever you do, don't give up, okay?" Peter said. "Don't let anyone convince you that you're some kind of freak."
"I am a freak," Michael mumbled.
"No," Peter said firmly. "You're not. I don't care how many panic attacks you have."
"Mom and Dad don't see it that way."
"Mom and Dad just want to protect you, because that's their job," Peter said. "But part of growing up is deciding when you don't need protection anymore."

© 2026 Becky Laney of Becky's Book Reviews

61. Old Man's War

61. Old Man's War. John Scalzi. 2005. 318 pages. [Source: Library] [adult science fiction, 5 stars, military science fiction]

John Perry, our narrator, is a great guy to get to know. He's seventy-five, but his life is just beginning. Or should I say, just beginning to begin again. John and Kathy--like so many other senior citizens--decided upon reaching the big 6-5 to volunteer for the army. (They have ten years to change their minds. They're called into service when they're 75.) What does this mean? It means that as soldiers they'll be leaving Earth behind forever. They're not allowed to return...ever. But it also means--in a way--longevity. Though no one knows quite how, they know that *something* will be done to their bodies to make them young and strong and vibrant again. Sure, to get this vitality, this new youth, this health they have to pledge themselves to serve in the army, to fight to protect human colonies on other planets. Two to ten years. That's what it will cost. If they survive, they'll have a second life, a second chance. (Just remember that a younger body doesn't make for a younger soul.)

John doesn't know exactly all that he's in for. But he knows it's bound to be better than just growing old and dying. He figures that he can adapt to just about anything.

War. It's inescapable when it's in the title. John Perry will have to fight to survive, to stay alive. He'll have to learn to follow orders. (Not all of his fellow soldiers do, you know. Some pay for this with their lives.) And John has the makings of an excellent soldier. He's good at surviving. Suspiciously good at surviving if you ask some folks. Unlike most soldiers, John is going to have some close encounters with the Special Forces. Actually serving alongside them for a while. And what he learns is a bit shocking...to him at least.

Old Man's War is an engaging read. It has just the right blend of humor and action to make it worthwhile.

I first read this one in July 2009. I reread it in August 2026. I had forgotten so much except that at one point I loved it. I ended up loving it again. There were a few chapters that I didn't quite love--that weren't clean. But most readers probably don't mind that. And it wasn't like it was every chapter or every few chapters. It was isolated almost to one or two chapters. It was VERY military oriented. It was good.

© 2026 Becky Laney of Becky's Book Reviews

59. The Phantom Tollbooth

59. The Phantom Tollbooth. Norton Juster. Illustrated by Jules Feiffer. 1961/2011. Random House. 272 pages. [Source: Library] [5 stars, children's fantasy, children's classic]

First sentence: There was once a boy named Milo who didn't know what to do with himself--not just sometimes, but always.

Premise/plot: Milo, our hero, is about to have an "impossible" adventure. His day starts out very ordinary, however, by the end of the day Milo will be quite transformed!

It starts with a mysterious gift-box. It holds a tollbooth for him to construct, also included are instructions, rule books, and a map. He randomly chooses to go to Dictionopolis. But though that is his original destination, Milo finds that travels--magical or not--take some thought and intention.

My thoughts: I loved, loved, loved this one! I first read it in September 2013. I'm only now rereading it, but, this should be one I read again and again more frequently.

The writing is AMAZING. It is clever, rich in meaning and symbolism. And it is oh so quotable! One of those rare books where you could almost open up the book to any page and find a gem worth quoting!

Loved the writing, loved the creativity, loved the characters!

Favorite quotes:

“Expect everything, I always say, and the unexpected never happens.”

“You may not see it now," said the Princess of Pure Reason, looking knowingly at Milo's puzzled face, "but whatever we learn has a purpose and whatever we do affects everything and everyone else, if even in the tiniest way. Why, when a housefly flaps his wings, a breeze goes round the world; when a speck of dust falls to the ground, the entire planet weighs a little more; and when you stamp your foot, the earth moves slightly off its course. Whenever you laugh, gladness spreads like the ripples in the pond; and whenever you're sad, no one anywhere can be really happy. And it's much the same thing with knowledge, for whenever you learn something new, the whole world becomes that much richer.”

“So many things are possible just as long as you don't know they're impossible.”

“Everybody is so terribly sensitive about the things they know best.”

“And remember, also," added the Princess of Sweet Rhyme, "that many places you would like to see are just off the map and many things you want to know are just out of sight or a little beyond your reach. But someday you'll reach them all, for what you learn today, for no reason at all, will help you discover all the wonderful secrets of tomorrow.”

“In this box are all the words I know…Most of them you will never need, some you will use constantly, but with them you may ask all the questions which have never been answered and answer all the questions which have never been asked. All the great books of the past and all the ones yet to come are made with these words. With them there is no obstacle you cannot overcome. All you must learn to do is to use them well and in the right places.” 

© 2026 Becky Laney of Becky's Book Reviews

56. Paperboy

56. Paperboy. Vince Vawter. 2013. Random House. 240 pages. [Source: Library] [5 stars, MG fiction, coming of age, MG historical, based on true story]

First sentence: I'm talking about the stabbing for a good reason. I can't talk. Without stuttering.

Premise/plot: Paperboy is set in Memphis, Tennessee, in July of 1959. The narrator is a young boy (11, I think?) who stutters. He doesn't want stuttering to define him. He doesn't think that's fair. He is good at many, many things, like baseball. He is GREAT at baseball. He is good at typing, at writing. He loves words. But his stutter keeps him from loving speaking words aloud. It keeps him nervous and awkward around new people or strangers, people he feels will judge him based on his stutter alone, who will assume that his inability to speak clearly means he's unable to THINK clearly too.

So. The month of July will prove challenging to him for he has agreed to take over his best friend's paper route. Oh, he's not worried about the delivering part. He knows he's got that handled. He's worried about Fridays, about the day when he'll have to go to the door and TALK to people and ask for the money owed. You might think, in some ways, that it would be the first week that would be the most difficult, and that, all other weeks would just be easy after that initial effort. That is only partly true. He does make a friend, a wonderful friend. And he does learn a few life lessons that help him grow up a bit and cope a bit. And, I suppose, you could say that his perspective expands a bit in that he sees that the world is full of people who have problems, who have issues; that every person is dealing with something, struggling with something.

My thoughts: Paperboy had me at hello. I loved, loved, loved, loved, REALLY LOVED this one. Yes, I'm going to gush about how wonderful and just-right this one is. I think I loved the narrator best. The book is in his own words, he's recounting these events. There is something in the narrator's life, a secret that he discovers one day, and it could potentially be big and disturbing--just as there are other events in the novel that could be BIG AND DISTURBING. But this one thing that he wrestles with on his own, quietly meditating on it perhaps, was handled so tenderly and lovingly that it just worked for me. It made a novel that I already LOVED, LOVED, LOVED that much more wow-worthy.

I also loved other characters in this novel. Characters that might have seemed minor, but, were anything but. Characters like Mam, Rat (Art), Mr. Spiro, and, to a certain extent his Dad.

I first read this one in November 2013. I reread it in August 2026.



© 2026 Becky Laney of Becky's Book Reviews

55. The Future of Us

55. The Future of Us. Jay Asher and Carolyn Mackler. 2011. 356 pages. [Source: Library] [4 stars, YA fiction, YA science fiction, coming of age]

First sentence: I can't break up with Graham today, even though I told my friends I'd do it the next time I saw him.

Premise/plot: Emma Nelson and Josh Templeton are about to step into the twilight zone. This YA coming of age novel (set in May 1996) is told with dual narrators--Emma and Josh. It starts with a disc--a cd rom to be more precise. Josh gives Emma the gift of AOL since his family doesn't believe in this newfangled internet. Emma downloads it, connects to it, and discovers Facebook, discovers HERSELF on Facebook, discovers her FRIENDS on Facebook. Suddenly, Emma and Josh have a way to glimpse their future selves through their future Facebook posts. Josh is content enough with what he sees. He doesn't seem to get invested in "fixing" the future. Whatever will be will be. Emma, on the other hand, becomes obsessed with micromanaging her future self. Even if her only glimpses of that future are through FB posts and what pictures she's uploaded and shared in the future. She is not once content with what she sees. The more she obsesses with the future, the more discontent she becomes in the now. Josh warns her NOT to play god, to not become so focused on the future, on fixing the future, on preventing "unhappy" outcomes, that she doesn't live now. She should be true to herself in the NOW. Not let her future or potential future self decide where she should go to college, which career she should choose, where she wants to live (or not live). Will Emma ever learn to let go and relax???? And will Josh learn how to navigate the complexities of friendship???

Josh's future self seems happy enough, content enough, settled down with kids with a woman, Sidney Mills, that is allegedly "out of his league." He is in one class with her now...and since finding out that allegedly they have a happily ever after he's been a little braver. He speaks up for her when her ex puts her down. He makes eye contact and smiles. She asks for his number. She seems to potentially be interested in him. Meanwhile, Josh knows KNOWS that he wants more than friendship with Emma. She is the one he wants to date. Maybe there's something there; maybe there is NOT. But he wants to see. But Emma is SO obsessed with her future husbands that she isn't really thinking of Josh like that. (And she doesn't ever have to think of Josh like that, for the record. Maybe she'll never ever ever return his feelings.)

My thoughts: I first read this one in December 2011. It is an interesting WHAT IF. I love, love, love the 1996 setting. I do. I love the social and technological references. Friends. Seinfeld. Macarena. Dave Matthews. Green Day. I could go on and on and on. I think the authors do a good job of the 90s setting. And since it's been a while since 2011--when the book released, when the future selves of Emma and Josh exist--it's a good reflection of that time as well.

I enjoyed the dual narration. Josh and Emma are SO different in many ways. Josh seems more mature and thoughtful perhaps. But Emma's home life hasn't been the most awesome. She is all the angst and all the drama. Josh is calmer, for the most part. He seems to stabilize the chaos that is Emma.

Josh does seem less self-centered and selfish. He notices in the future that his older brother, David, is gay and in a relationship--according to Facebook. He realizes just how much he doesn't know about his older brother and that makes him sad that his brother is hiding this--though perhaps David didn't realize it in 1996?

There were things I definitely liked about this one. There were definitely some things I didn't like as much. It was mature in some ways. It is not a clean read. It isn't graphic, mind you, but there's much discussion of sex.

I do think it would make a GREAT teen movie OR miniseries. 

Note: I've been reading reviews and I agree with most of what is written on the lower stars. EMMA IS SUPER SUPER SUPER SUPER annoying as a heroine. The 90s reference are surface-level for the most part. YET I think if the reader is engaged in the premise and loved 1996 and wants to feel nostalgic, I think that is certainly possible. I do think the dual narrators are a bit disjointed. Yet, that isn't a terribly bad thing in my opinion. TWO different writers. A male perspective. A female perspective. They are DIFFERENT people with different morals/values. They process the world completely differently. So it makes sense that flipping narration is a bit jumpy.


© 2026 Becky Laney of Becky's Book Reviews

51. Rash

51. Rash. Pete Hautman. 2006. 256 pages. [Source: Bought] [5 stars, YA dystopia, YA fiction, YA futuristic; YA Sports]

First sentence: Gramps, who was born in 1990, once told me that when he was my age the only way to wind up in prison in the USSA (back when it had only one S) was to steal something, kill somebody, or use illegal drugs.

Premise/plot: Rash by Pete Hautman is set roughly in the 2070s. Bo Marsten, our protagonist, is having a hard time of it. His father and brother are incarcerated. (Then again, almost a third of the population is. The work force of the USSA is almost primarily prison labor. Would anyone work if not forced???) He's young; he's rash even. He is madly in love lust with Maddy. But Maddy, well, she doesn't exactly feel exclusive with Bo. In fact, she's often with his "enemy" Karlohs Mink. (Even confiding his secrets to Karlohs! The audacity!) In a time when even insults are illegal and could land you with big legal trouble--especially if it's your third "mistake," Bo's fate seems inevitable. To add insult to injury, Karlohs fakes the whole school into believing that Bo has given him a literal rash. No one believes Bo is innocent--except perhaps his family and his school assignment, Bork; It is an A.I. assignment--to create one that will pass as sentient.

When Bo is sentenced to prison--a McDonald's making pizzas--he finds himself struggling to survive in a world that is unfair.

My thoughts: I read Rash TWICE in 2006. I absolutely loved, loved, loved it. I listened to it on audio in 2010, I believe, according to my blog. I wanted to reread it now that my blog is about to turn TWENTY YEARS OLD at the end of the month (August).

Rash is dark and complex. Though the complexity isn't perhaps super super obvious. On one hand, it can read as a dark comedy. Look what society will come to if safety and niceness are the only priority. When personal freedom is almost nonexistent, especially freedom of expression. When almost every natural human emotion or feeling is discouraged, how can one live...and stay out of trouble. Self is smothered. Common sense is nonexistent. And there are some over-the-top moments--like when BO is being chased by literal polar bears. GRAMPS is the voice of reason AND yet comedic relief too.

On the other hand, it examines the justice or injustice system. If almost everything is illegal and it's almost impossible to avoid prison time in the first place, HOW does one rejoin society afterwards. Is one doomed to keep getting locked back up? Will families be forever broken? Will healing and reconciliation ever happen? Most of the crimes in the book are over-the-top ridiculous.

I will say that it ALSO showcases belief systems. GRAMPS world view was shaped by his upbringing, his experiences. He's witnessed GREAT, great change--none of it for the better. Bo loves his Gramps, but, he's been raised in a completely, totally different society with different values, morals, and laws. Bo has a hard time grasping how life could be any different. HE doesn't see what is glaringly wrong with society like readers can. It was definitely not an accident that the original audience for this YA novel would have been born in the 1990s just like Gramps.

This novel definitely has layers. One could almost pick ANY aspect of it and deep dive.


© 2026 Becky Laney of Becky's Book Reviews

50. Knife of Never Letting Go

50. The Knife of Never Letting Go. (Chaos Walking #1) Patrick Ness. 2008. 512 pages. [Source: Library]

First sentence: The first thing you find out when yer dog learns to talk is that dogs don’t got nothing much to say. About anything.

The Knife of Never Letting Go is a science fiction novel for young adults. (What kind of science fiction? It's the colonizing other planets sort. Also the trying to survive sort. And the encountering alien sort.)

Here are a few things you should know before picking it up.

1) It is science fiction. It is set on another planet, aka "New World." The planet has a handful of small settlements, including Prentisstown, the hometown of our narrator/hero. The planet's biggest settlement is Haven.

2) Todd is our narrator. He is a few weeks away from his thirteenth birthday. He "becomes a Man" on his thirteenth birthday. He is an orphan being raised by two men, Cillian and Ben.

3) There are NO WOMEN in Prentisstown. Todd has been taught all his life that there was a plague or virus that killed all the women of the settlement.

4) A virus (perhaps the same virus that allegedly killed all the women?) has made it so that all the men can hear one another's thoughts all the time. This is called NOISE. It isn't just men, though, they can hear thoughts of animals too. Manchee is Todd's dog. And he's a bit too forthright to say the least!

5) The book is thriller-esque. It's essentially one big action-sequence from cover to cover. Well, perhaps it takes three or four chapters to get him on his way. But once he gets started...he stays going. It's an intense, action-packed book.

6) He doesn't go alone. Manchee, his faithful dog that he once didn't even want, is with him....but more importantly he meets Viola.

7) Viola basically "dropped from the sky" and right into his path. Viola is the sole survivor of the settler's scout ship. Her parents died in the crash. The ships with thousands of more settlers is about seven or so months behind the scout ship. Todd cannot hear Viola's noise. Viola is the first female he can remember seeing--apart from reading the memories of the men in his settlement--which is not the same thing I think you'll agree.

8) Both Viola and Todd are in GREAT DANGER. Why?????? Well, it has to do with SECRETS and SCHEMES and PLOTS. The mayor of Prentisstown is ambitious and manipulative....to pick two of his tamer qualities.

9) Todd has some internal conflict going on inside....he cannot bring himself to kill. So while I might have spent a good deal of time emphasizing the ACTION, ACTION, ACTION aspect of this one, that doesn't mean it is without characterization and complexity.

10) Be warned it doesn't really have an ending.

11) It has profanity. A good deal of profanity. For some people it may be off-putting enough to pass on the book. For others that might be a big non-issue.

12) Poor grammar is part of the world-building. This may or may not bother readers!  

The first time I read it, I was meh. I was bothered by the poor grammar and the profanity. The second time I read it, I definitely liked it much better. The third time I read it, I loved it. I was fully engaged and absorbing the world-making and the depths of the characters. I was paying attention to the relationships, the conversations, all the feels. Things that were both spoken and unspoken. 

I have been listening to a lot of Preacher Boys on YouTube. His podcast deals a lot with abuse in the Independent Fundamental Baptist denomination. Or "denomination" as the case may be since technically each church is independent and there is no infrastructure binding the churches together. As I was reading The Knife Of Never Letting Go, I couldn't help thinking that one or two of the settlements might portray a what if--what if an IFB church decided to colonize space and set up their own theocracy?!

So that was one thing running through my mind this time around, but also I thought of all the changes we've gone through the past few decades--in particular the internet, social media, and media itself. All the bits about NOISE felt like it could be talking about our society--in some ways.

This third read was definitely more thoughtful and philosophical. I found myself making lots of notes.

Quotes:

• The loud is a different kind of loud, because swamp loud is just curiosity, creachers figuring out who you are and if yer a threat. Whereas the town knows all about you already and wants to know more and wants to beat you with what it knows till how can you have any of yerself left at all?
• Men lie, and they lie to theirselves worst of all.
• Noise ain’t truth, Noise is what men want to be true, and there’s a difference twixt those two things so big that it could ruddy well kill you if you don’t watch out.
• The Church is why we’re all here on New World in the first place, of course, and pretty much every Sunday you can hear Aaron preaching about why we left behind the corrupshun and sin of Old World and about how we’d aimed to start a new life of purity and brotherhood in a whole new Eden. That worked out well, huh?
• Praying Noise comes from inside, it’s got a special feel to it, a special purply sick feel like men are bleeding it out, even tho it’s always the same stuff but the purply blood just keeps on coming. Help us, save us, forgive us, help us, save us, forgive us, get us outta here, please, God, please, God, please, God, tho as far as I know no one’s never heard no Noise back from this God fella.
• Noise is like grey fire behind him and you can’t pick out anything in it and he might be up to something, mightn’t he? The sermon might be covering for something and I’m beginning to wonder if I know what that something is.
• Men’s minds are messy places and Noise is like the active, breathing face of that mess. It’s what’s true and what’s believed and what’s imagined and what’s fantasized and it says one thing and a completely opposite thing at the same time and even tho the truth is definitely in there, how can you tell what’s true and what’s not when yer getting everything?
• The Noise is a man unfiltered, and without a filter, a man is just chaos walking.
• But a knife ain’t just a thing, is it? It’s a choice, it’s something you do. A knife says yes or no, cut or not, die or don’t. A knife takes a decision out of your hand and puts it in the world and it never goes back again.
• “History ain’t so important when yer just trying to survive,” I say, spitting it out under my breath. “That’s actually when it’s most important,” Hildy says, standing at the end of the table.
• “Men’s thoughts, Todd,” she says. “Men. And you notice he said he was going to ask the eldermen to come seek out your advice?” I get a horrible thought. “Did the women all die here, too?” “Oh, there’s women,” she says, fiddling with a butter knife. “They clean and they cook and they make babies and they all live in a big dormitory outside of town where they can’t interfere in men’s business.”
• He shakes his head. “What d’you think’s been driving you on? What d’you think’s got you this far?” “Fear,” Viola says. “Desperayshun,” I say. “No,” he says, taking us both in. “No, no, no. You’ve come farther than most people on this planet will do in their lifetimes. You’ve overcome obstacles and dangers and things that should’ve killed you. You’ve outrun an army and a madman and deadly illness and seen things most people will never see. How do you think you could have possibly come this far if you didn’t have hope?”
• “Everything on this planet talks to each other,” he says. “Everything. That’s what New World is. Informayshun, all the time, never stopping, whether you want it or not. The Spackle knew it, evolved to live with it, but we weren’t equipped for it. Not even close.
• And too much informayshun can drive a man mad. Too much informayshun becomes just Noise. And it never, never stops.
• “War is a monster,” he says, almost to himself. “War is the devil. It starts and it consumes and it grows and grows and grows.” He’s looking at me now. “And otherwise normal men become monsters, too.”
• Doing what’s right should be easy. It shouldn’t be just another big mess like everything else.
• She hurts. I know all this. I know it’s true. Cuz I can read her. I can read her Noise even tho she ain’t got none. I know who she is. I know Viola Eade. And I look at her sitting there and she looks across the river and we wait as the dawn fully arrives, each of us knowing. Each of us knowing the other.
• Hope may be the thing that pulls you forward, may be the thing that keeps you going, but that it’s dangerous, too, that it’s painful and risky, that it’s making a dare to the world and when has the world ever let us win a dare?
• “God works thru men,” Aaron says. “So does evil,” Viola says.

© 2026 Becky Laney of Becky's Book Reviews

49. Rainbow Valley

49. Rainbow Valley. L.M. Montgomery. 1919. 256 pages. [Source: Library] [4 stars, series book, children's classic]

First sentence: It was a clear, apple-green evening in May, and Four Winds Harbour was mirroring back the clouds of the golden west between its softly dark shores.

Premise/plot: Rainbow Valley is about the Blythe children and their best friends, the Meredith children. The Merediths are in interesting bunch! The father is a Presbyterian minister. The mother is dead and very much missed. The children are wild and wonderful. Over half the book centers on the adventures of Jerry, Faith, Una, and Carl. The other half focuses on the Blythe children: Jem, Walter, Nan and Di, Shirley, and Rilla. 

Why you should still read it even though it isn't about Anne: Montgomery is a great storyteller who excels at characterization. The Meredith children, particularly Faith, are great characters to spend time with. Mary Vance is another LIVELY character. Love her or hate her, you can't forget her! This one also has some lovely scenes with Walter about the 'Pied Piper' he hears calling in Rainbow Valley. Reading Rainbow Valley deepens the bond you feel for certain characters. The memories the two families create and share in Rainbow Valley--the place--are important in Rilla of Ingleside. Rilla of Ingleside is not to be missed. It is one of the BEST in the series.

My thoughts: I really loved the courtship in this one of the children's father!!! It was super-sweet and fun. I love this book not so much for its connection to Anne, as it is I just LOVE L.M. Montgomery in general. She's a wonderful writer whose birthday is very close to my own!


© 2026 Becky Laney of Becky's Book Reviews

33. The Pioneer Girl

33. Pioneer Girl: The Annotated Autobiography. Laura Ingalls Wilder. Edited by Pamela Smith Hill. 2014. South Dakota State Historical State Society. 400 pages. [Source: Library] [5 stars, nonfiction, memoir]


Pioneer Girl is a must-read for anyone who grew up loving, or perhaps, LOVING, Laura Ingalls Wilder's Little House books. Pioneer Girl is an annotated autobiography. The book itself is a draft of an autobiography written by Laura Ingalls Wilder circa 1930. Mother and daughter worked with this draft preparing to send it to various publishers (not just book publishers) for a year or two. (There are several draft versions of Pioneer Girl.) Eventually, the focus shifts from writing an adult autobiography to writing a series of historical fiction novels for children. The adult autobiography was "forgotten" as a book itself, and becomes a source--a good source--for mother and daughter to use in their own fiction. I didn't know that Rose Wilder Lane borrowed generously from her mom's autobiography while writing her adult fiction. Lane wrote Free Land and Let the Hurricane Roar (Young Pioneers).

The autobiography shares Laura Ingalls Wilder's earliest memories through her wedding day. (Those earliest memories are of being a toddler in Kansas.) These memories are, of course, in her own words. The writing is natural and casual. Some paragraphs are great at capturing details and specifics of an event. Other paragraphs are more of a rush, a blend, they seem a bit fuzzier, less exact. These are her very personal reflections written first for her daughter, and, then possibly for a larger audience. Wilder has turned reflective. She's older now, feeling that very much. (Her mom died in 1924, her sister, Mary, in 1928. She's wanting to capture these memories, these stories, to hold onto them perhaps.) One also sees the book itself as an act of love, an expression of love, a way of remembering and honoring.

The annotations are wonderful. They provide background and context. The annotations includes notes on a wide variety of subjects a) people b) places c) events d) nature e) culture (songs, dances, fashion), f) writing, editing, and publishing. There are plenty of notes that compare and contrast scenes and events as they appear in Pioneer Girl and as they appear in one of the original novels. Readers see how a memory recorded in Pioneer Girl is shaped and crafted into a finished product with plenty of detail and even dialogue. Readers see how Wilder carefully--oh-so-carefully--crafted the characters of the family. One gets the definite impression that she was purposeful with every scene, every book. It was no accident that Pa is so noble, independent, strong, and bigger-than-life almost.

I learned so much by reading Pioneer Girl. I would definitely recommend it for anyone who has enjoyed spending time with Laura and her family through the years.


© 2026 Becky Laney of Becky's Book Reviews

28. To Kill a Mockingbird

28. To Kill A Mockingbird. Harper Lee. 1960. 281 pages. [Source: Library][Audiobook, 5 stars, classic, coming of age]

First sentence: When he was nearly thirteen, my brother Jem got his arm badly broken at the elbow.

To Kill A Mockingbird is one of my favorite, favorite books. I love, love, love the movie. And I adore the book as well. It's a simple novel rich in truth. I love the narrative voice of Scout. I think Scout is one of the most memorable narrators ever.

One of the things that I think makes the book work so well is how it is able to be serious and dramatic AND comical. It captures the little every-day moments so well. Family relationships. Community relationships. Nosy neighbors or spooky ones. A good balance of summer-time freedom and the structure of school. It's definitely one of the best coming-of-age stories. At the same time, it is a very honest examination of racism and injustice.

To Kill A Mockingbird has a great, compelling story to tell. And Harper Lee knew how to tell a story. But it isn't the story alone that is unforgettable: it is the characters. Such characterization!!! Such depth!!! Who could not love Scout, Jem, and Atticus?! Who could not love Calpurnia, Dill,  Miss Maudie, and Boo Radley?!

I first reviewed it in October 2007. I also reviewed it in August 2010.

Favorite quotes:

Until I feared I would lose it, I never loved to read. One does not love breathing. (18)

"First of all," he said, "if you can learn a simple trick, Scout, you'll get along a lot better with all kinds of folks. You never really understand a person until you consider things from his point of view--"
"Sir?"
"--until you climb into his skin and walk around in it." (30)

"If you shouldn't be defendin' him, then why are you doin' it?"
"For a number of reasons," said Atticus. "The main one is, if I didn't I couldn't hold up my head in town, I couldn't represent the county in the legislature, I couldn't even tell you or Jem not to do something again."
"You mean if you didn't defend that man, Jem and me wouldn't have to mind you any more?"
"That's about right."
"Why?"
"Because I could never ask you to mind me again. Scout, simply by the nature of the work, every lawyer gets at least once in his lifetime that affects him personally. This one's mine, I guess. You might hear some ugly talk about it at school, but do one thing for me if you will: you just hold your head high and keep those fists down. No matter what anybody says to you, don't you let 'em get your goat. Try fighting with your head for a change...it's a good one even if does resist learning. (76)

Atticus said to Jem one day, "I'd rather you shot at tin cans in the back yard, but I know you'll go after birds. Shoot all the bluejays you want, if you can hit 'em, but remember it's a sin to kill a mockingbird."
That was the only time I ever heard Atticus say it was a sin to do something, and I asked Miss Maudie about it.
"Your father's right," she said. "Mockinbirds don't do one thing but make music for us to enjoy. They don't eat up people's gardens, don't nest in corncribs, they don't do one thing but sing their hearts out for us. That's why it's a sin to kill a mockingbird. (90)

It's when you know you're licked before you begin but you begin anyway and you see it through no matter what. You rarely win, but sometimes you do. (112)

In Maycomb County, it was easy to tell when someone bathed regularly, as opposed to yearly lavations: Mr. Ewell had a scalded look; as if an overnight soaking had deprived him of protective layers of dirt, his skin appeared to be sensitive to the elements. Mayella looked as if she tried to keep clean, and I was reminded of the row of red geraniums in the Ewell yard. (179)

"How could they do it, how could they?"
"I don't know, but they did it. They've done it before and they did it tonight and they'll do it again and when they do it--seems that only children weep. Good night." (213)

© 2026 Becky Laney of Becky's Book Reviews

26. The Martian Chronicles

    

26. Martian Chronicles. Ray Bradbury. HarperCollins. 1958/2006 edition. 268 pages. [Source: Library] [5 stars, science fiction; short stories; classic; audiobook]

One minute it was Ohio winter, with doors closed, windows locked, the panes blind with frost, icicles fringing every roof, children skiing on slopes, housewives lumbering like great black bears in their furs, along the icy streets.
And then a long wave of warmth crossed the small town. A flooding sea of hart air; it seemed as if someone had left a bakery door open. The heat pulsed among the cottages and bushes and children. The icicles dropped, shattering, to melt. The doors flew open. The windows flew up. The children worked off their wool clothes. The housewives shed their bear disguises. The snow dissolved and showed last summer's ancient green lawns.
Rocket summer. The words passed among the people in the open, airing houses. Rocket summer. The warm desert air changing the frost patterns on the windows, erasing the art work. The skis and sleds suddenly useless. The snow, falling from the cold sky upon the town, turned to a hot rain before it touched the ground. Rocket summer. People leaned from their dripping porches and watched the reddening sky. (1)

ETA: I listened to The Martian Chronicles on audiobook. It is narrated by Scott Brick. It was an awesome audio book. I'm not surprised that Ray Bradbury's book makes such an excellent listen. His writing is SO good. AND his characters, plots, story twists, everything grabs your attention.


I LOVE, LOVE, LOVE Ray Bradbury's The Martian Chronicles. This is the second or third time (probably fourth) I've read this one. And each time I read it, I end up loving it even more. It's like each time I'm surprised by how much I love it. Like in between readings I forget how engaging and compelling it is. I settle into thinking that it was just me exaggerating things (again). That it couldn't possibly be that good. But no. It is that good.

The edition I read this time had twenty-seven stories; some of these 'stories' are just vignettes, or short preludes, transition pieces of a paragraph or two. But many are full-length stories. There are some great stories in this one.

• January 2030 Rocket Summer
• February 2030 Ylla
• August 2030 The Summer Night
• August 2030 The Earth Men
• March 2031 The Taxpayer
• April 2031 The Third Expedition
• June 2032 --And the Moon Be Still as Bright
• August 2032 The Settlers
• December 2032 The Green Morning
• February 2033 The Locusts
• August 2033 Night Meeting
• October 2033 The Shore
• November 2033 The Fire Balloons
• February 2034 Interim
• April 2034 The Musicians
• May 2034 The Wilderness
• 2035-2036 The Naming of Names
• April 2036 Usher II
• August 2030 The Old Ones
• September 2036 The Martian
• November 2036 The Luggage Store
• November 2036 The Off Season
• November 2036 The Watchers
• December 2036 The Silent Towns
• April 2057 The Long Years
• August 2057 There Will Come Soft Rains
• October 2057 The Million Year Picnic

I wasn't aware that there were different editions of this one, and that the stories could vary depending on the edition. Also the dates have been modified (by thirty years) in some editions, like the edition I read this time around. The very, very newest edition has the original dates, 1999-2026. This newest edition does not have "The Fire Balloons." Also, instead of "The Wilderness" it has "Way in the Middle of the Air."

My thoughts on individual stories, and, first sentences from the stories

"Ylla"

They had a house of crystal pillars on the planet Mars by the edge of an empty sea, and every morning you could see Mrs. K eating the golden fruits that grew from the crystal walls, or cleaning the house with handfuls of magnetic dust which, taking all dirt with it, blew away on the hot wind.

A story told solely from the perspective of the Martians, in this case, a husband and wife. A husband has a very definite reaction to his wife's strange dreams. She dreams of a man, Nathaniel York, coming in a ship, in a rocket, and landing. The dream even tells her where and when. But her controlling and perhaps jealous husband has a way of dealing--for once and for all--with his wife's dreams.

"The Earth Men"

Whoever was knocking at the door didn't want to stop. Mrs. Ttt threw the door open. "Well?"

The story of the second expedition. Let's just say that the welcoming committee wasn't quite what they expected! First, NO ONE wanted to bother with them, then they were greeted by a strange assortment of Martians all claiming to be from Earth. And then....well, that wouldn't be polite of me to spoil it!
"The Third Expedition" (aka Mars is Heaven)

The ship came down from space. It came from the stars and the black velocities, and the shining movements, and the silent gulfs of space. It was a new ship; it had fire in its body and men in its metal cells, and it moved with a clean silence, fiery and warm. In it were seventeen men, including a captain. 

This one is a classic short story that you may have stumbled across in another context from The Martian Chronicles. (I've heard two radio adaptations, for example.) And the title is self-explanatory. It is the story of what happens when the third expedition lands. It is the story of what they see and  WHO they see. It is a story that stretches you, perhaps. But it's a good one!

"--And the Moon Be Still As Bright"

It was so cold when they first came from the rocket into the night that Spender began to gather the dry Martian wood and build a small fire. He didn't say anything about a celebration; he merely gathered the wood, set fire to it, and watched it burn.

And now we're on to the fourth expedition, the fourth rocket ship to successfully land on Mars. This time they manage to stay alive past the initial day or two or three. This is the story of what happens when one of the crew members, Spender, goes off on his own to learn the Martian culture, to explore the ruins, to explore the cities, to examine the artifacts and remnants of a culture that is gone with the wind. What happens next...well....there are a million reasons why readers shouldn't sympathize with Spender, but, like Captain Wilder, they may feel the pull all the same.

"The Settlers"

The men of Earth came to Mars. They came because they were afraid or unafraid, because they were happy or unhappy, because they felt like Pilgrims or did not feel like Pilgrims. There was a reason for each man. They were leaving bad wives or bad jobs or bad towns; they were coming to find something or leave something or get something, to dig up something or bury something or leave something alone. They were coming with small dreams or large dreams or none at all.

One of my favorite vignettes. For some reason it reminds me of John Steinbeck.

"Night Meeting"

Before going on up into the blue hills, Tomas Gomez stopped for gasoline at the lonely station.

There is something haunting and fantastical about this short story of a human and Martian meeting and not exactly seeing the same reality.

"The Fire Balloons"

Fire exploded over summer night lawns. 

 I first read "The Fire Balloons" in another collection of Ray Bradbury stories. I didn't, at the time, see it as being part of The Martian Chronicles. (And, in fact, it wasn't part of the edition I first read.) But now it is one of my favorite stories! In it two priests go to Mars as missionaries. One at least was expecting, was hoping, to meet Martians, to actually BE a missionary TO Martians, to an alien species. So when given the opportunity of going out into the hills and trying to communicate with blue balloon-like hovering creatures OR ministering to humans who have migrated to Mars, the answer is clear to Father Peregrine. But do the Martians need his church? This story has one of my favorite quotes:

"Father Peregrine, won't you ever be serious?"
"Not until the good Lord is. Oh, don't look so terribly shocked, please. The Lord is not serious. In fact, it is a little hard to know just what else He is except loving. And love has to do with humor, doesn't it? For you cannot love someone unless you put up with him, can you? And you cannot put up with someone constantly unless you can laugh at him. Isn't that true? And certainly we are ridiculous little animals wallowing in the fudge bowl, and God must love us all the more because we appeal to His humor."

 "The Wilderness"

Oh, the Good Time has come at last--
It was twilight and Janice and Leonora packed steadily in their summer house, singing songs, eating little, and holding to each other when necessary. But they never glanced at the window where the night gathered deep and the stars came out bright and cold.

This is another story that I ended up loving. And it was new-to-me too, it not being part of the original. But in this story we meet two women who are about to travel to Mars to get married and settle down. (The men having gone first.) The story likens exploring and settling Mars to exploring and settling the Old West (places like Wyoming, California, Oregon, etc.) It is about how the two handle their last night on Earth.

Is this how it was over a century ago, she wondered, when the women, the night before, lay ready for sleep, or not ready, in the small towns of the East, and heard the sound of horses in the night and the creak of the Conestoga wagons ready to go, and the brooding of oxen under the trees, and the cry of children already lonely before their time?...Is this then how it was so long ago? On the rim of the precipice, on the edge of the cliff of stars. In their time the smell of buffalo, and in our time the smell of the Rocket. Is then then how it was? And she decided, as sleep assumed the dreaming for her, that yes, yes indeed, very much so, irrevocably, this was as it had always been and would forever continue to be. 

"Usher II" (aka Carnival of Madness)

"During the whole of a dull, dark and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of evening drew on, within view of the melancholy House of Usher..." Mr. William Stendahl paused in his quotation. There, upon a low black hill, stood the house, its cornerstone bearing the inscription: 2036 A.D.

I remembered this as being one of the stories in A PLEASURE TO BURN, a Ray Bradbury collection celebrating the creative stories leading up to the writing/publishing of Fahrenheit 451. And it was first published as "Carnival of Madness." But it was also part of Ray Bradbury's book, The Martian Chronicles. And it is perhaps one of the most memorable of the collection. It is a true must read for anyone who loves Fahrenheit 451, for it continues on some of the same themes. I don't want to say too much about it really, because it shouldn't be spoiled at all if you want to get the full enjoyment of it!

"The Martian"

The blue mountains lifted into the rain and the rain fell down into the long canals and old LaFarge and his wife came out of their house to watch. 

An elderly couple have come to Mars and one night they are surprised by the appearance of their "son" (who died and was buried back on Earth). Their "son" doesn't want to leave the house, and is enjoying his family too much to risk getting "trapped" by going into the city and interacting with others. This story is creepy.

"The Luggage Store," "The Off Season," "The Watchers," "The Silent Towns," "The Long Years," "There Will Come Soft Rains," and "The Million Year Picnic."

These stories, I feel, work best as a sequence showing what happens both on Earth and Mars when the worst happens--atomic war on Earth. In "The Luggage Store," one speculates that his business will improve greatly if the war happens, if the worst happens. He feels that everyone will want to go back home to Earth to be with their loved ones, to find out if their loved ones are okay, to try to piece their society and civilization back together. In "The Off Season" readers learn that the war has started and the destruction has begun. There is nothing truly comical about it, but, it does happen to be told from the point of view of a man who has just opened a hot dog stand. "The Watchers" shows the people leaving Mars to return to Earth--for better or worse. "The Silent Towns" and "The Long Years" are two stories set on Mars. The first, "The Silent Towns" is told from the point of view of a man who chose to stay behind. He's lonely, but not THAT lonely it turns out. He does meet one woman who stayed behind, but, he decides that his own company is enough after all. "The Long Years" sees the return of Captain Wilder, I believe, who discovers a man and his family. There is a twist, however, which prevents this one from being a happy story. "There Will Come Soft Rains" is a very, very, very lonely story where we get a glimpse--just a small glimpse perhaps--of the desolation and destruction of life as we know it in at least one human city. We see the ending of an era, perhaps. There are no human characters in this one. "The Million Year Picnic" resonates even more when seen back-to-back with "There Will Come Soft Rains." In this story, readers meet a family: parents and sons who have come to Mars on their own private Rocket--a rocket that has been hidden away for many years, a rocket that has been saved for a true emergency. We meet a father who has prepared for THE END in a big, big way.

Read The Martian Chronicles

• If you love science fiction
• If you like science fiction
• If you enjoy short stories; if you don't enjoy short stories
• If you are a fan of Ray Bradbury
• If you are a fan of the Twilight Zone

© 2026 Becky Laney of Becky's Book Reviews

24. Gone With The Wind

24. Gone With The Wind. Margaret Mitchell. 1936. 1037 pages. [Source: Library] [5 stars, audio book, classic fiction, historical fiction, adult romance]

First sentence: Scarlett O’Hara was not beautiful, but men seldom realized it when caught by her charm as the Tarleton twins were.

ETA: I listened on audio this one. It was WONDERFUL on audio. Because it was audio, it slowed me down in the 'reading' and it helped me notice details that perhaps I might have skimmed over in a forgetting way. Then again, it has been a few years since I sat down and read this one.

Premise/plot: Scarlett’s “love” for her brainy neighbor, Ashley Wilkes, prevents her from living happily ever after with Charleston-born bad-boy, Rhett Butler. Set during the war between the states and reconstruction, Gone With The Wind showcases the good, the bad, the ugly—and everything in between—of the American south. An example of the good would be Melanie Hamilton Wilkes. An example of the bad would be Scarlett O’Hara Hamilton Kennedy Butler, our “heroine” who excels at math and manipulation. (But fails completely in being a good human.) An example of the ugly...should I pick the racism, the sexism, or both?! 

Even if you've never read the book, I would imagine you've got a fairly good notion of what Gone With The Wind is about. At least on the surface. It's the story of the spoiled-rotten Scarlett O'Hara and her quest to win her heart's desire through any means possible. Scarlett is one that doesn't ask if it's wrong or right. She only lives by this question--does it get me one step closer to what I want? If it does--then look out!

Scarlett. Rhett. Ashley. You probably know the basics. A woman wants what she can't have. She wants it until she can have it. The moment she has it. She doesn't want it anymore. Scarlett is in a perpetual state of frustration. The man in her bed doing her bidding is rarely the man in her heart.

The book is about much more than Scarlett and her quest for love, however. It's a love story, I won't deny it. But there is much more than love at stake in the novel. War. Reconstruction. Civilization. Society. Culture. Class. Race. Money. Politics. Survival. It's a novel of contrasts. The Old South vs. The New South. Conformity vs. Individuality. The haves vs. the have-nots. If asked to sum up Gone With The Wind in one word, most would probably say "Love." I'd say gumption. People who have it; people who don't. What do I mean by gumption? Partly spirit. Partly courage. Partly determination. Partly ambition. People with gumption act. They do what they must when they must.

One of my favorite non-love scenes from the book is Scarlett's conversation with Grandma Fontaine. A wonderful, wonderful character by the way. The setting is after Gerald's funeral. Scarlett is pregnant with Frank Kennedy's baby. (Yes, the movie killed Gerald, her father, off too soon.)

"We bow to the inevitable. We’re not wheat, we’re buckwheat! When a storm comes along it flattens ripe wheat because it’s dry and can’t bend with the wind. But ripe buckwheat’s got sap in it and it bends. And when the wind has passed, it springs up almost as straight and strong as before. We aren’t a stiff-necked tribe. We’re mighty limber when a hard wind’s blowing, because we know it pays to be limber. When trouble comes we bow to the inevitable without any mouthing, and we work and we smile and we bide our time. And we play along with lesser folks and we take what we can get from them. And when we’re strong enough, we kick the folks whose necks we’ve climbed over. That, my child, is the secret of the survival.” And after a pause, she added: “I pass it on to you.”

The old lady cackled, as if she were amused by her words, despite the venom in them. She looked as if she expected some comment from Scarlett but the words had made little sense to her and she could think of nothing to say. (709-710)

It's a novel that goes above and beyond the central character of Scarlett. Even if you hate Scarlett, I'd imagine you'd find some character to love. Be it Melanie. Rhett. Mammy. Uncle Peter. Grandma Fontaine. How could you not? There are so many characters, so many individual stories. Stories of triumph. Stories of loss. Stories of hope. Stories of disappointment. Stories of survival. Stories of failure. There is depth and meaning that the movie doesn't even try to accommodate. Depth and meaning that even diehard fans can't help but learn something new with each rereading.

My thoughts: I have read this one dozens of times. It is nothing like the movie. You probably doubt me on this. The movie is so iconic, so classic, so beloved that surely it does a good to great job adapting the book to the big screen. But no. Scarlett’s character is definitely more complex and many of the events that shape and mold her most are just not to be found on screen. Several relationships that shed light on Scarlett are never developed because the characters never appear on screen at all. True not every character in Mitchell’s novel can make it to the screen. But some exclusions make no sense. For example, Scarlett having Charles’ baby, Wade, and Frank’s baby, Ella. Or take the existence of Will, a Confederate soldier who stays at Tara after the war and ultimately marries Suellen. Or Archie, a prisoner—murderer—freed close to the end of the war to fight for the Confederacy. He is taken in by the kind-hearted open-minded Melanie. But probably my favorite character that is excluded from the movie is Grandma Fontaine. Her scenes with Scarlett (mainly after the war but before her marriage to Rhett) are among my absolute favorites in the entire book. Her observations on Scarlett are spot-on. Her advice, though not taken or understood, is excellent. But it isn’t just an absence of characters, but scenes or events as well. The tones and themes differ as well.

There were so many transformative moments in the book that fundamentally shape and change Scarlett. PIVOTAL moments that forever leave an impact that the movie simply ignores. So the character in the movie lacks ALL THE LAYERS. This time I read it through the lens of Scarlet's MENTAL HEALTH. How did the trauma impact and change her. HOW does she cope with trauma. DOES she ever process her trauma, her grief, her losses. We know that she copes by avoidance AND drinking alcohol, for example, but we also know those aren't working for her.

Hollywood’s “South” does not resemble Mitchell’s South. One could go ahead and argue that Mitchell’s South bares little resemblance to the actual South. But perhaps that is just its limited perspective. Scarlett, the heroine, does a poor job observing and understanding the world around her. She doesn’t bother with anything requiring deep thought or analysis. She also takes selfishness to an extreme. But the novel isn’t told merely or exclusively through her eyes, it includes other perspectives—both of specific characters and a general omniscient narrator. These would be limited as well. It is set during the war and reconstruction and reflect that mindset. It was written by an author who grew up listening to family stories from those who lived through that time. Her growing up years would have not only been shaped by her personal family but through her community, her culture. It was written over a series of years—late twenties to mid-thirties. Would Mitchell’s text have been viewed as (overly) racist when it was published? Would it have been fitting given the time the novel was set historically and the time it was published? That being said, reading the book today begs for discussion. And not just about race, by the way. By all means talk about the problems in the text. But try to keep context in mind. 

My rule is context, context, context. My second rule is that it is better to discuss and employ critical thinking skills than it is to deny, hide, or censor. There are two contexts for reading Gone With The Wind. The first is that of the author. Margaret Mitchell. A Southern woman growing up in turn-of-the-century America. The 1920s and the 1930s. These were the years that Margaret Mitchell was living and working on her novel. This is the culture and mindset of the author and of the original audience. Gone With The Wind is not alone. It doesn't stand out from the crowd. Many books, many authors used the n-word without batting an eye. Many wrote with the mindset that whites are superior--intellectually at least--to blacks. It doesn't make it true then or now. But that is the mindset. The second is that of the setting of the novel. 1860s-1870s America's South. You can't be true to history without going there. It's a fact in America's history. There's no disputing or denying it. It's not pleasant; it's often ugly. But there you have it. You've got to know where you've been so you can measure how far you've come. And so you can measure how far you've still got to go. America--both as a nation and as a people--has never been perfect. Will probably never be perfect.

As a reader, I can enjoy the story without being brainwashed. I can see. I can question. I can realize when I'm being fed bull. Lines where the former slaves still faithful servants are talking about how they've never wanted freedom??? about how they've never wanted money or independence??? I think I know that Mitchell was full of it. I think most readers can make that division. I hope.

The last chapter was written first. Rhett’s leaving Scarlett was set in stone—inevitable. What does this mean for interpreting the novel? Mitchell never intended a sequel. Didn’t want one. Nothing ambiguous as far as she was concerned. Scarlett had lost Rhett. Rhett’s love for Scarlett was gone with the wind. Her happy ending just as much a lost cause as the Confederacy. But readers like ambiguity. Scarlett is not to be discounted just yet. She will live to fight another day. She will not let go easily. But who will prove more stubborn? Can Rhett withstand Scarlett’s manipulations? Is he really ready to walk away from her forever?

I think Scarlett is at a crossroad. I have no doubt she’ll come out standing, stronger than before. I have no doubt that she’ll prove resilient. But will she get him back?! Much tougher. Because what she needs is a complete, total, radical transformation or change of tactics. Aggressive will not win Rhett back. I’m not sure passive-aggressive will win him back. But perhaps passive, passive, passive, aggressive, passive passive will. Her pursuit of him needs to be so subtle, so layered-ly subtle that no one can even suspects she still wants him back. Can Scarlett pull that off? She’s not good at subtle. Another tactic might be to attract him back by being a better mother. It won’t take much for Scarlett to be better than previously. She’s horrible, absolutely horrible. But if she can learn to treat Wade and Ella with kindness, give them affection and attention, spend time getting to know and understand them. Perhaps Rhett will see her as capable of change, of maturity. Perhaps he can see that she is capable of putting others first, of empathy, of being human. Even if that should fail to get him back, she won’t be alone-alone. Maybe she’ll be a super strong single mother who has healthy relationships with her kids. But is Scarlett capable of this? Does Mitchell write her that way? Does it matter what her intentions are? I hate to think of Scarlett staying the same, of her misery and desperation increasing day by day, week by week, etc. 

 What Scarlett needs though she does not know it—more than a return trip to Tara, more than winning Rhett back—is Jesus Christ. She has a god-shaped hole that can’t be filled with alcohol, with money, with power, with lust, with love.


© 2026 Becky Laney of Becky's Book Reviews

23. A Canticle for Leibowitz

23. A Canticle for Leibowitz. Walter M. Miller Jr. 1959. 335 pages. [Source: Bought] [4 stars, science fiction, apocalyptic, post-apocalyptic, classic]

First sentence: Brother Francis Gerard of Utah might never have discovered the blessed documents, had it not been for the pilgrim with girded loins who appeared during that young novice's Lenten fast in the desert.

Premise/plot: Canticle for Leibowitz is divided into three parts: "Fiat Homo," "Fiat Lux" and "Fiat Voluntas Tua." Centuries pass between each part, I believe. Essentially what you need to know is that it's post-apocalyptic. The novel opens several centuries (at the very least) after nuclear disaster has wiped out society--at least as we know it. Knowledge is feared and simplicity embraced. A group of monks in the desert cling to what remains of book-knowledge. They memorize. They copy. They wait. They wait knowing that humanity may never be ready for their wisdom. Readers get to know a few monks in each part. The book is not bleak from cover to cover, however, by the end the message is that humanity is incapable of learning from their past mistakes and no matter how many centuries pass, humanity is always its own biggest threat.

My thoughts: This is the first time I ever-ever wished I'd paid more attention in Latin class. Just as Jane Eyre is sprinkled with French, this one is sprinkled with Latin. My general thoughts are that once is not enough to really get everything there is to get. I was reading for big-picture ideas, and not really savoring the details and looking for all possible meanings. My first impression is that it's good, but, depressing. Also thought-provoking.


Favorite quotes:

• "How can a great and wise civilization have destroyed itself so completely?" "Perhaps," said Apollo, "by being materially great and materially wise, and nothing else." (119)
• If you try to save wisdom until the world is wise, Father, the world will never have it. (208)
• It never was any better, it never will be any better. It will only be richer or poorer, sadder but not wiser, until the very last day. (216)
• The freedom to speculate is essential...(216)
• Men must fumble awhile with error to separate it from truth, I think--as long as they don't seize the error hungrily because it has a pleasanter taste. (218)
• If we're born mad, where's the hope of Heaven?" (240)
• When mass murder's been answered with mass murder, rape with rape, hate with hate, there's no longer much meaning in asking whose ax is the bloodier. Evil, on evil, piled on evil.(259)
• Too much hope for Earth had led men to try to make it Eden, and of that they might well despair until the time toward the consumption of the world.(264)
• It is the soul's endurance in faith and hope and love in spite of bodily afflictions that pleases Heaven. (292)
• The trouble with the world is me. (305)

© 2026 Becky Laney of Becky's Book Reviews

14. Alice's Adventures in Wonderland and Through the Looking Glass

14. Alice's Adventures in Wonderland. Lewis Carroll. Illustrated by John Tenniel. 1865/1871. 247 pages. [Source: Bought]

ETA: I listened to these two books on audio narrated by Christopher Plummer. The first book was AMAZING, AMAZING, AMAZING. The second book had some characters that were very obnoxious to hear narrated. I am not saying Plummer did poorly, just, that it is easier to take obnoxious characters when you don't have to hear them.

First sentence: Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, ‘and what is the use of a book,’ thought Alice, ‘without pictures or conversations?’

Premise/plot: Alice follows a white rabbit down a rabbit hole and has several fantastical seemingly impossible adventures before waking.  
 
First sentence: One thing was certain, that the white kitten had nothing to do with it – it was the black kitten’s fault entirely. For the white kitten had been having its face washed by the old cat for the last quarter of an hour (and bearing it pretty well, considering): so you see that it couldn’t have had any hand in the mischief.

Premise/plot: Alice doesn't follow a rabbit on her second adventure; no, she crawls through the looking glass into the looking glass house. Just as she always imagined, life is very different on the other side of the mirror. (For one thing, the chess pieces are alive.) Readers follow Alice's adventures as a pawn as she journeys towards being queened. Like the first book, this one is full of fantastical impossibilities.

My thoughts: I love, love, LOVE Lewis Carroll's Alice's Adventures in Wonderland. I couldn't begin to tell you how many times I've read it in my life. It's a magical read filled with silly characters--quite a few I'd deem unforgettable. What stands out to me--even more than the characters--is the writing. There is just something quotable and ever-relevant about the narrative.

Favorite quotes from Alice in Wonderland:

‘Do cats eat bats? Do cats eat bats?’ and sometimes ‘Do bats eat cats?’, for, you see, as she couldn’t answer either question, it didn’t much matter which way she put it. She felt that she was dozing off, and had just begun to dream that she was walking hand in hand with Dinah, and was saying to her, very earnestly, ‘Now, Dinah, tell me the truth: did you ever eat a bat?’, when suddenly, thump! thump! down she came upon a heap of sticks and dry leaves, and the fall was over.

Oh, how I wish I could shut up like a telescope! I think I could, if I only knew how to begin.’ For, you see, so many out-of-the-way things had happened lately, that Alice had begun to think that very few things indeed were really impossible.

She generally gave herself very good advice (though she very seldom followed it), and sometimes she scolded herself so severely as to bring tears into her eyes; and once she remembered trying to box her own ears for having cheated herself in a game of croquet she was playing against herself, for this curious child was very fond of pretending to be two people. ‘But it’s no use now,’ thought poor Alice, ‘to pretend to be two people! Why, there’s hardly enough of me left to make one respectable person!’

Let me think: was I the same when I got up this morning? I almost think I can remember feeling a little different. But if I’m not the same, the next question is “Who in the world am I?” Ah, that’s the great puzzle!’

‘Perhaps it doesn’t understand English,’ thought Alice. ‘I daresay it’s a French mouse, come over with William the Conqueror.’ (For, with all her knowledge of history, Alice had no very clear notion how long ago anything had happened.) So she began again: ‘Où est ma chatte?’, which was the first sentence in her French lesson-book. The Mouse gave a sudden leap out of the water, and seemed to quiver all over with fright. ‘Oh, I beg your pardon!’ cried Alice hastily, afraid that she had hurt the poor animal’s feelings. ‘I quite forgot you didn’t like cats.’

‘It was much pleasanter at home,’ thought poor Alice, ‘when one wasn’t always growing larger and smaller, and being ordered about by mice and rabbits. I almost wish I hadn’t gone down that rabbit-hole – and yet – and yet – it’s rather curious, you know, this sort of life! I do wonder what can have happened to me! When I used to read fairy tales, I fancied that kind of thing never happened, and now here I am in the middle of one! There ought to be a book written about me, that there ought! And when I grow up, I’ll write one – but I’m grown up now,’ she added in a sorrowful tone: ‘at least there’s no room to grow up any more here.’

‘It’s really dreadful,’ she muttered to herself, ’the way all the creatures argue. It’s enough to drive one crazy!’

‘I didn’t know that Cheshire-Cats always grinned; in fact, I didn’t know that cats could grin.’
‘They all can,’ said the Duchess; ‘and most of ’em do.’ ‘I don’t know of any that do,’ Alice said very politely, feeling quite pleased to have got into a conversation. ‘You don’t know much,’ said the Duchess; ‘and that’s a fact.’

‘If it had grown up,’ she said to herself, ‘it would have made a dreadfully ugly child: but it makes rather a handsome pig, I think.’ And she began thinking over other children she knew, who might do very well as pigs, and was just saying to herself ‘if one only knew the right way to change them –’ when she was a little startled by seeing the Cheshire-Cat sitting on a bough of a tree a few yards off.

 ‘Would you tell me, please, which way I ought to go from here?’ ‘That depends a good deal on where you want to get to,’ said the Cat. ‘I don’t much care where –’ said Alice. ‘Then it doesn’t matter which way you go,’ said the Cat. ‘– so long as I get somewhere,’ Alice added as an explanation. ‘Oh, you’re sure to do that,’ said the Cat, ‘if only you walk long enough.’

‘In that direction,’ the Cat said, waving its right paw round, ‘lives a Hatter: and in that direction,’ waving the other paw, ‘lives a March Hare. Visit either you like: they’re both mad.’ ‘But I don’t want to go among mad people,’ Alice remarked. ‘Oh, you ca’n’t help that,’ said the Cat: ‘we’re all mad here. I’m mad. You’re mad.’

‘How do you know I’m mad?’ said Alice. ‘You must be,’ said the Cat, ‘or you wouldn’t have come here.’

‘Then you should say what you mean,’ the March Hare went on. ‘I do,’ Alice hastily replied; ‘at least – at least I mean what I say – that’s the same thing, you know.’ ‘Not the same thing a bit!’ said the Hatter. ‘Why, you might just as well say that “I see what I eat” is the same thing as “I eat what I see”!’

‘You might just as well say,’ added the Dormouse, which seemed to be talking in its sleep, ‘that “I breathe when I sleep” is the same thing as “I sleep when I breathe”!’

Alice thought she had never seen such a curious croquet-ground in her life: it was all ridges and furrows: the croquet balls were live hedgehogs, and the mallets live flamingoes, and the soldiers had to double themselves up and stand on their hands and feet, to make the arches.

The players all played at once, without waiting for turns, quarreling all the while, and fighting for the hedgehogs; and in a very short time the Queen was in a furious passion, and went stamping about, and shouting ‘Off with his head!’ or ‘Off with her head!’ about once in a minute.

“Never imagine yourself not to be otherwise than what it might appear to others that what you were or might have been was not otherwise than what you had been would have appeared to them to be otherwise.” ’ ‘I think I should understand that better,’ Alice said very politely, ‘if I had it written down: but I ca’n’t quite follow it as you say it.’ ‘That’s nothing to what I could say if I chose,’ the Duchess replied, in a pleased tone.

‘I make you a present of everything I’ve said as yet.’

‘A cheap sort of present!’ thought Alice. ‘I’m glad people don’t give birthday-presents like that!’

‘He taught Laughing and Grief, they used to say.’ ‘So he did, so he did,’ said the Gryphon, sighing in his turn; and both creatures hid their faces in their paws. ‘And how many hours a day did you do lessons?’ said Alice, in a hurry to change the subject. ‘Ten hours the first day,’ said the Mock Turtle: ‘nine the next, and so on.’ ‘What a curious plan!’ exclaimed Alice. ‘That’s the reason they’re called lessons,’ the Gryphon remarked: ‘because they lessen from day to day.’

Favorite quotes from Through the Looking Glass:

‘Kitty, can you play chess? Now, don’t smile, my dear, I’m asking it seriously. Because, when we were playing just now, you watched just as if you understood it: and when I said “Check!” you purred! Well, it was a nice check, Kitty, and really I might have won, if it hadn’t been for that nasty Knight, that came wriggling down among my pieces. Kitty, dear, let’s pretend –’ And here I wish I could tell you half the things Alice used to say, beginning with her favourite phrase ‘Let’s pretend.’

Oh, Kitty, how nice it would be if we could only get through into Looking glass House! I’m sure it’s got, oh! such beautiful things in it! Let’s pretend there’s a way of getting through into it, somehow, Kitty. Let’s pretend the glass has got all soft like gauze, so that we can get through. Why, it’s turning into a sort of mist now, I declare! It’ll be easy enough to get through—’ She was up on the chimney-piece while she said this, though she hardly knew how she had got there. And certainly the glass was beginning to melt away, just like a bright silvery mist.

She was out of the room in a moment, and ran down stairs – or, at least, it wasn’t exactly running, but a new invention for getting down stairs quickly and easily, as Alice said to herself. She just kept the tips of her fingers on the hand-rail, and floated gently down without even touching the stairs with her feet: then she floated on through the hall, and would have gone straight out at the door in the same way, if she hadn’t caught hold of the door-post. She was getting a little giddy with so much floating in the air, and was rather glad to find herself walking again in the natural way.

‘It’s a great huge game of chess that’s being played – all over the world – if this is the world at all, you know. Oh, what fun it is! How I wish I was one of them! I wouldn’t mind being a Pawn, if only I might join – though of course I should like to be a Queen, best.’

‘Well, in our country,’ said Alice, still panting a little, ‘you’d generally get to somewhere else – if you ran very fast for a long time as we’ve been doing.’ ‘A slow sort of country!’ said the Queen. ‘Now, here, you see, it takes all the running you can do, to keep in the same place. If you want to get somewhere else, you must run at least twice as fast as that!’ ‘I’d rather not try, please!’ said Alice.

‘He’s dreaming now,’ said Tweedledee: ‘and what do you think he’s dreaming about?’ Alice said ‘Nobody can guess that.’ ‘Why, about you!’ Tweedledee exclaimed, clapping his hands triumphantly. ‘And if he left off dreaming about you, where do you suppose you’d be?’ ‘Where I am now, of course,’ said Alice. ‘Not you!’ Tweedledee retorted contemptuously. ‘You’d be nowhere. Why, you’re only a sort of thing in his dream!’

‘Well, it’s no use your talking about waking him,’ said Tweedledum, ‘when you’re only one of the things in his dream. You know very well you’re not real.’ ‘I am real!’ said Alice, and began to cry. ‘You wo’n’t make yourself a bit realler by crying,’ Tweedledee remarked: ‘there’s nothing to cry about.’ ‘If I wasn’t real,’ Alice said – half-laughing through her tears, it all seemed so ridiculous – ‘I shouldn’t be able to cry.’ ‘I hope you don’t suppose those are real tears?’ Tweedledum interrupted in a tone of great contempt. ‘I know they’re talking nonsense,’ Alice thought to herself: ‘and it’s foolish to cry about it.’

‘The rule is, jam to-morrow and jam yesterday – but never jam to-day.’

‘It must come sometimes to “jam to-day”, ’ Alice objected. ‘No, it ca’n’t,’ said the Queen. ‘It’s jam every other day: to-day isn’t any other day, you know.’ ‘I don’t understand you,’ said Alice. ‘It’s dreadfully confusing!’ ‘That’s the effect of living backwards,’ the Queen said kindly: ‘it always makes one a little giddy at first –’ ‘Living backwards!’ Alice repeated in great astonishment. ‘I never heard of such a thing!’ ‘– but there’s one great advantage in it, that one’s memory works both ways.’

‘Consider what a great girl you are. Consider what a long way you’ve come to-day. Consider what o-clock it is. Consider anything, only don’t cry!’

‘Can you keep from crying by considering things?’ she asked. ‘That’s the way it’s done,’ the Queen said with great decision: ‘nobody can do two things at once, you know.

Why, sometimes I’ve believed as many as six impossible things before breakfast.

‘I never ask advice about growing,’ Alice said indignantly. ‘Too proud?’ the other enquired. Alice felt even more indignant at this suggestion. ‘I mean,’ she said, ‘that one ca’n’t help growing older.’ ‘One ca’n’t, perhaps,’ said Humpty Dumpty; ‘but two can. With proper assistance, you might have left off at seven.’

‘they gave it me – for an un-birthday present.’ ‘I beg your pardon?’ Alice said with a puzzled air. ‘I’m not offended,’ said Humpty Dumpty. ‘I mean, what is an un-birthday present?’ ‘A present given when it isn’t your birthday, of course.’ Alice considered a little. ‘I like birthday presents best,’ she said at last. ‘You don’t know what you’re talking about!’ cried Humpty Dumpty. ‘How many days are there in a year?’ ‘Three hundred and sixty-five,’ said Alice. ‘And how many birthdays have you?’ ‘One.’ ‘And if you take one from three hundred and sixty-five, what remains?’ ‘Three hundred and sixty-four, of course.’

‘When I use a word,’ Humpty Dumpty said, in rather a scornful tone, ‘it means just what I choose it to mean – neither more nor less.’

‘The question is,’ said Alice, ‘whether you can make words mean so many different things.’ ‘The question is,’ said Humpty Dumpty, ‘which is to be master – that’s all.’

‘I can repeat poetry as well as other folk, if it comes to that –’ ‘Oh, it needn’t come to that!’ Alice hastily said, hoping to keep him from beginning.

‘I see nobody on the road,’ said Alice. ‘I only wish I had such eyes,’ the King remarked in a fretful tone. ‘To be able to see Nobody! And at that distance too! Why, it’s as much as I can do to see real people, by this light!’

‘Who did you pass on the road?’ the King went on, holding out his hand to the Messenger for some more hay. ‘Nobody,’ said the Messenger. ‘Quite right,’ said the King: ‘this young lady saw him too. So of course Nobody walks slower than you.’ ‘I do my best,’ the Messenger said in a sullen tone. ‘I’m sure nobody walks much faster than I do!’ ‘He ca’n’t do that,’ said the King, ‘or else he’d have been here first. However, now you’ve got your breath, you may tell us what’s happened in the town.’

‘I was wondering what the mouse-trap was for,’ said Alice. ‘It isn’t very likely there would be any mice on the horse’s back.’ ‘Not very likely, perhaps,’ said the Knight; ‘but, if they do come, I don’t choose to have them running all about.’

‘Always speak the truth – think before you speak – and write it down afterwards.’

 What do you suppose is the use of a child without any meaning? Even a joke should have some meaning – and a child’s more important than a joke, I hope. You couldn’t deny that, even if you tried with both hands.’ ‘I don’t deny things with my hands,’ Alice objected. ‘Nobody said you did,’ said the Red Queen. ‘I said you couldn’t if you tried.’ ‘She’s in that state of mind,’ said the White Queen, ‘that she wants to deny something – only she doesn’t know what to deny!’ ‘A nasty, vicious temper,’ the Red Queen remarked;

‘It’s too late to correct it,’ said the Red Queen: ‘when you’ve once said a thing, that fixes it, and you must take the consequences.’

 It is a very inconvenient habit of kittens (Alice had once made the remark) that, whatever you say to them, they always purr. ‘If they would only purr for “yes”, and mew for “no”, or any rule of that sort,’ she had said, ‘so that one could keep up a conversation! But how can you talk with a person if they always say the same thing?’

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