*The Weight of Feathers Blog Tour*
Thank you to St. Martin for letting me be apart of such a wonderful Blog Tour! Before I get to my review, I want to mention that I LOVED this book, A LOT!
I was able to read this book thanks to St. Martin’s Press for a blog tour, THANK YOU TO ST. MARTINS PRESS!
There was SO much to love about this book, I was a bit surprised by how much I enjoyed it. The Weight of Feathers sounds so good, SO GOOD and it is. ASDFGHJKL:!
What I liked
- The characters in The Weight of Feathers made me swoon, cry, shake my fist, and all other emotions. What a roller coaster ride people! SHEESH! Cluck and Lace were absolutely adorable, and guess what? NO INSTANT LOVE IN THIS BOOK! Yes, you heard me right, no insta love! This seems to be based off of Romeo and Juliet but not in the love department XD
- It’s hard to get over the circuses the family created, they swam like mermaids, they flew like birds/fairies, SIGN ME UP NOW BEAUSE I LOVED IT! The idea is so original, I’ve never heard of it.
- There’s two points of views, Cluck and Lace. I can’t chose a favorite because they were both amazing. Cluck made me want to cry, he’s so charming, and adorable. Lace is strong, both characters are diverse and it is wonderful.
What I didn’t like
- As much as I loved The Weight of Feathers, it was hardish to get into. I quickly got over this but people, please push through :D!
In a Nutshell
The Weight of Feathers is an adorable story influenced by Romeo and Juliet. While it is easy to see Shakespeare influence on the story, Anna-Marie McLemore writes a unique tale that brings a whole new level to family feuds.
Now, I know! You probably want a hint at what this book is like right? Well here it is!
THE WEIGHT OF FEATHERS by Anna-Marie McLemore. Copyright © 2015 by the author and reprinted by permission of Thomas Dunne Books / St. Martin’s Griffin.
The feathers were Lace’s ﬁrst warning. They showed up between suitcases, in the trunk of her father’s station wagon, on the handles of came-with-the-car ﬁrst-aid kits so old the gauze had yellowed. They snagged on antennas, turning the local stations to static.
Lace’s mother found a feather in with the family’s costumes the day they crossed into Almendro, a town named for almond ﬁelds that once ﬁlled the air with the scent of sugary blossoms and bitter wood. But over the last few decades an adhesive plant had bought out the farms that could not survive the droughts, and the acres of almonds dwindled to a couple of orchards on the edge of town.
The wisp of that black feather caught on a cluster of sequins. Lace knew from the set to her mother’s eyes that she’d throw the whole mermaid tail in a bucket and burn it, elastane and all.
Lace grabbed the tail and held on. If her mother burned it, it would take Lace and her great-aunt at least a week to remake it. Tía Lora’s hands were growing stiff, and Lace’s were new and slow.
Her mother tried to pull the tail from her grip, but Lace balled the fabric in her hands.
“Let go,” her mother warned.
“It’s one feather.” Lace dug in her ﬁngers. “It’s not them.” Lace knew the danger of touching a Corbeau. Her abuela said she’d be better off petting a rattlesnake. But these feathers were not the Corbeaus’ skin. They didn’t hold the same poison as a Corbeau’s body.
“It’s cursed,” her mother said. One hard tug, and she won. She threw the costume tail into a bucket and lit it. The metal pail grew hot as a stove. The fumes off the melting sequins stung Lace’s throat.
“Did you have to burn the whole thing?” she asked.
“Better safe, mija,” her mother said, wetting down the undergrowth with day-old aguas frescas so the brush wouldn’t catch.
They could have cleaned the tail, blessed it, stripped away the feather’s touch. Burning it only gave the Corbeaus more power. Those feathers already had such weight. The ﬁre in the pail was an admission that, against them, Lace’s family had no guard.
Before Lace was born, the Palomas and the Corbeaus had just been competing acts, two of the only shows left that bothered with the Central Valley’s smallest towns. Back then it was just business, not hate. Even now Lace’s family sometimes ended up in the same town with a band of traveling singers or acrobats, and there were no ﬁghts, no blood. Only the wordless agreement that each of them were there to survive, and no grudges after. Every fall when the show season ended, Lace’s aunts swapped hot-plate recipes with a trio of trapeze artists. Her father traded homeschooling lesson plans with a troupe of Georgian folk dancers.
The Corbeaus never traded anything with anyone. They shared nothing, took nothing. They kept to themselves, only straying from the cheapest motel in town to give one of Lace’s cousins a black eye, or leave a dead ﬁsh at the riverbank. Lace and Martha found the last one, its eye shining like a wet marble.
Before Lace was born, these were bloodless threats, ways the Corbeaus tried to rattle her family before their shows. Now every Paloma knew there was nothing the Corbeaus wouldn’t do.
Lace’s mother watched the elastane threads curl inside a shell of ﬂame. “They’re coming,” she said.
“Did you think they wouldn’t?” Lace asked. Her mother smiled. “I can hope, can’t I?”
She could hope all she wanted. The Corbeaus wouldn’t give up the crowds that came with Almendro’s annual festival. So many tourists, all so eager to ﬁll their scrapbooks. That meant two weeks in Almendro. Two weeks when the younger Paloma men hardened their ﬁsts, and their mothers prayed they didn’t come home with broken ribs.
Lace’s grandmother set the schedule each year, and no one spoke up against Abuela. If they ever did, she’d pack their bags for them. Lace had watched Abuela cram her cousin Licha’s things into a suitcase, clearing her perfumes and lipsticks off the motel dresser with one sweep of her arm. When Lace visited her in Visalia and they went swimming, Licha’s two-piece showed that her escamas, the birthmarks that branded her a Paloma, had disappeared.
Lace’s mother taught her that those birthmarks kept them safe from the Corbeaus’ feathers. That family was el Diablo on earth, with dark wings strapped to their bodies, French on their tongues, a sprinkling of gypsy blood. When Lace slept, they went with her, living in nightmares made of a thousand wings.
Another black feather swirled on a downdraft. Lace watched it spin and fall. It settled in her hair, its slight weight like a moth’s feet.
Her mother snatched it off Lace’s head. “¡Madre mía!” she cried, and threw it into the ﬂames.
Lace’s cousins said the Corbeaus grew black feathers right out of their heads, like hair. She never believed it. It was another rumor that strengthened the Corbeaus’ place in their nightmares. But the truth, that wind pulled feathers off the wings they wore as costumes, wasn’t a strong enough warning to keep Paloma children from the woods.
“La magia negra,” her mother said. She always called those feathers black magic.
The ﬁre dimmed to embers. Lace’s mother gave the pail a hard kick. It tumbled down the bank and into the river, the hot metal hissing and sinking.
“Let them drown,” her mother said, and the last of the rim vanished.
Anna-Marie McLemore was born in the foothills of the San Gabriel Mountains and grew up in a Mexican-American family. She attended University of Southern California on a Trustee Scholarship. A Lambda Literary Fellow, she has had work featured by the Huntington-USC Institute on California and the West, CRATE Literary Magazine’s cratelit, Camera Obscura’s Bridge the Gap Series, and The Portland Review. The Weight of Feathers is her first novel.
Where can you find her?
“McLemore’s prose is ethereal and beguiling… The enchanting setup and the forbidden romance that blooms between these two outcasts will quickly draw readers in, along with the steady unspooling of the families’ history and mutual suspicions in this promising first novel.” —Publishers Weekly
“Readers beguiled by the languorous language—a striking mix of French and Spanish phrases, wry colloquialism, lush imagery, and elevated syntax—will find themselves falling under its spell. The third-person narration alternates between Lace and Cluck, doling out twists and building to a satisfying, romantic conclusion.” —Kirkus Reviews
“In this tale of magical realism, the magic is so deftly woven into the fabric of the story… Told with skillful poetic nuances, this Romeo-and-Juliet story of forbidden love will entice fans of Maggie Stiefvater’s Raven Cycle who wished for a little more romance.” —School Library Journal
“Anna-Marie McLemore’s debut novel is a very imaginative modern-day romance akin to Romeo and Juliet and is infused with the whimsy of magical realism.” —RT Book Reviews
“An air of mysterious fantasy enshrouds the whole book, pulling the reader through it as if in a spell. McLemore is a writer to watch.”—The Guardian
“You’ve never read a love story quite like this one. Anna-Marie McLemore has created in entirely imaginative world and rich characters that will pull you in as if she’s spinning magic herself.” —Bustle
“With prose as magical as its characters, The Weight of Feathers is an exciting debut.” —Paste Magazine
“McLemore’s debut novel has ties to Romeo and Juliet, David Almond’s mythical Skellig, and the real-life performances of Cirque du Soleil.” —Booklist
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