Lost Voices (Lost Voices, #1), Waking Storms (Lost Voices, #2), and The Twice Lost (Lost Voices, #3). Lost Voices Trilogy has 6 entries in the series. cover image of Lost Voices · Lost Voices. Lost Voices Trilogy (Series). Book 1. Sarah Porter Author Julia Whelan. The first book in a trilogy, Lost Voices is a captivating and wildly original tale about finding a voice, Lost Voices ePub (Adobe DRM) download by Sarah Porter.
|Language:||English, Spanish, French|
|Genre:||Science & Research|
|Distribution:||Free* [*Registration needed]|
Editorial Reviews. capersterpmofor.tk Review. Fourteen-year-old Luce has had a tough life, but she reaches the depths of despair when she is assaulted and left on. Get Free Read & Download Files Lost Voices 1 Sarah Porter PDF. LOST VOICES 1 SARAH PORTER. Download: Lost Voices 1 Sarah Porter. LOST VOICES 1. Get Instant Access to Waking Storms (The Lost Voices Trilogy) x By Sarah Porter. #5ad46d EBOOK EPUB KINDLE PDF.
Jul 22, oliviasbooks rated it liked it Recommends it for: fans of "Sisters Red" and "A Curse Dark as Gold" Recommended to oliviasbooks by: Nic Shelves: urban-fantasy-paranormal , mermaids-underwater-breathers , thriller , sequel-no-thank-you , debut , young-adult-fiction , e-version , read , in-love-with-the-cover , cliffhanger Mermaids are my favorite creatures — always have been.
Consequently I notice with glee all those merfolk novels that lately have started popping up left and right. And I am very, very grateful to Hartcourt and to Netagalley for accepting my request for a review copy. Mermaids and other humanoid water-breathers can be tackled from completely opposite angles, because there is always a mystery around them: the "We-above-the-waterline-cannot-know-for-sure-factor".
Thus opposed to vampires getting s Mermaids are my favorite creatures — always have been. Thus opposed to vampires getting sucked dry can only end badly and other monsters they can be pictured as cutish and harmless glitter-girls living in pink mother-of-pearl cities, but there are also selkies, who are not to lose their seal skins, and legions of inhumanly beautiful and alluring, but cruel, calculating, heartless and cold-blooded hunters - out to mesmerize the male two-legger.
Sarah Porter grabbed the siren-theme from the Odyssey, recreated the unforgiving and bleak atmosphere of the European seas by moving the setting to even colder Alaska, cooked up a plausible reason for women to use their enchanted voices deathbringingly and wove a modern retelling for a young adult audience from the strings: Girls of all ages who die from being abused or reach the point when stomaching more abuse and violence simply isn't possible anymore, turn into magical creatures with superhuman strength, sea-serpent-like glittery tails, angelic, persuasive voices and perfect faces picture Luce as Alice Cullen with a tail — if they are coincidentally in the vincinity of any source of water.
Being disappointed from mankind and enraged for having been mistreated during their childhoods allows their bloodthirsty enchanted voices, who have a mind of their own, a good leverage.
The girls find a home within one of the matriarchic mermaid communities, but spend their days dreaming of wrecking the next ship, of enthralling helpless sailors and tourists until they kill themselves joyfully.
Luce Lucette is different. It becomes clear quickly, that her voice is unusually powerful, but more important is Luce's attitude toward her "killer voice". Luce's experience with abusive adults didn't last as long as that of many of her tribemates.
Even the lack of friends didn't matter so much to her during her nomadic life with her thieving father, since she had always felt loved and treasured by him. In contrast to the other mermaids Luce does not condemn humanity as a whole. She still can distinguish between good humans, bad humans and indifferent ones.
It is here, in the cold waters off the Alaskan coast that Luce finds a new home with a tribe of mermaids. As a metaskaza, or newly made mermaid, Luce has much to learn. The mermaids live by a strict, unbreakable code called the timahk — and of paramount importance to their code is that a mermaid can never physically harm another of her kind, and they cannot allow humans to know of their existence.
To break the timahk is to be exiled forever. The other thing that mermaids do, as Luce soon learns, is sing their deadly, hungry song, causing ships to crash and their human sailors to die, enrapt by the beauty of their murderers. As all the mermaids are girls that have known misery and pain at the hands of mortals, they take glee in their killing — all, except Luce. Luce must decide whether or not to go against her new family and break the timahk, and follow what she knows is right.
The idea of these maligned girls being reborn as mermaids with the ability to sing humans to their deaths, is a fascinating one, although it is a loaded premise. The nature of the mermaids and their natural inclination to kill and hurt is a dangerous proposition, but Sarah Porter handles the subtext with grace and sympathy. There are many questions I have, though, at the end of the novel.
The mermaid natural song also is one of death and destruction, but Luce is able to fight that urge for hate and death and make her own, powerful music.
Why is it that only girls are metaskaza? Who made these rules? While I have more questions than answers at this point, I have no doubt in my mind that these issues will be addressed in the next books as they are already hinted at in Lost Voices and I have every confidence in Ms.
Porter that this will be handled with both delicacy and gravity. As for characters, Luce is a strong heroine, and though she tends a little towards Mary Sue early on especially given that she has one of the best mermaid voices in the entire tribe despite being metaskaza , she grapples with serious, soul searching questions.
When she understands what her song can do, and how the other mermaids gleefully take part in sinking ships, she wrestles with her conscience and her desire to belong and be loved. I loved all of the other mermaids too — cruel, capricious, fickle, loving, scared, domineering, confident…this tribe runs the gamut. People can say terrible things to each other.
That she must have liked it or wanted it in some way. After all, she was basically saying that Samantha deserved to be thrown from a moving car, that Jenna deserved to be trapped in a burning house.
After a second Luce understood why. They actually believed what Anais was saying to them. At least they half believed it or they were afraid it was true: that their parents had left them or hurt them because of some deep, secret flaw in their own hearts. They were all ashamed. Just like Catarina. Even Samantha, who had insisted so loudly that no mermaid should ever allow herself to feel shame for one second.
And Luce had never felt so sorry for them. These girls are not at fault — and through Luce, Ms.
Porter gives them a voice.