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    Description

    Eleanor West's Home for Wayward Children
    No Solicitations
    No Visitors
    No Quests

    Children have always disappeared under the right conditions - slipping through the shadows under a bed or at the back of a wardrobe, tumbling down rabbit holes and into old wells, and emerging somewhere...else. But magical lands have little need for used-up miracle children.

    Nancy tumbled once, but now she's back. The things she's experienced...they change a person. The children under Miss West's care understand all too well. And each of them is seeking a way back to their own fantasy world. But Nancy's arrival marks a change at the home. There's a darkness just around each corner, and when tragedy strikes, it's up to Nancy and her newfound schoolmates to get to the heart of things. No matter the cost.

    ©2016 Seanan McGuire (P)2016 Macmillan Audio

    Commentaires

    "Seanan McGuire has long been one of the smartest writers around, and with this novella we can easily see that her heart is as big as her brain. We know this story isn't true, but it is truth." [Charlaine Harris, New York Times best-selling author of the Sookie Stackhouse series (TV's True Blood)]

    Ce que les auditeurs disent de Every Heart a Doorway

    Notations
    Global
    • 4.5 out of 5 stars
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    Interprétation
    • 4.5 out of 5 stars
    • 5 étoiles
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    Histoire
    • 4 out of 5 stars
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    • 3 étoiles
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    • 2 étoiles
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    • 1 étoile
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    Commentaires - Veuillez sélectionner les onglets ci-dessous pour changer la provenance des commentaires.

    Il n'y a pas encore de critique disponible pour ce titre.
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    • Global
      5 out of 5 stars
    • Interprétation
      5 out of 5 stars
    • Histoire
      5 out of 5 stars
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    • tm
    • 12/07/2016

    Utterly Moving

    You always hope with books, that as you open them they will spread wider than the breadth of their pages and swallow you whole, allowing you to live an abbreviated other life without reservation. This is such a book. The reader seemed strange to me at first but then perfect as she unfolded the story around me like a grown up sized blanket fort. The plot was so novel. So believable a consequence to every childhood fantasy of travel to other worlds. I can give it only the best accolade I am able, that as I listened to it my own world fell away. Artfully written and read.

    111 personnes ont trouvé cela utile

    • Global
      4 out of 5 stars
    • Interprétation
      1 out of 5 stars
    • Histoire
      5 out of 5 stars
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    • Caitlin K.
    • 09/09/2017

    Great story, but off-putting narration

    What made the experience of listening to Every Heart a Doorway the most enjoyable?

    Relateable characterization

    What did you like best about this story?

    Very vivid imagination in describing the children's other worlds

    Would you be willing to try another one of Cynthia Hopkins’s performances?

    I would because I don't think the problem with the narration were her fault, but rather the production. It sounded like the story was being read by a Speak'n'Spell.

    34 personnes ont trouvé cela utile

    • Global
      5 out of 5 stars
    • Interprétation
      5 out of 5 stars
    • Histoire
      5 out of 5 stars
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    • Michelle Robbins
    • 04/12/2016

    It will stick with you

    I have read/listened to more of Seanan McGuire, since I originally found this story and I now know that the worldbuilding, the transfixing general concept, is a bit of a hallmark of the author.

    Because to be perfectly honest it wasn't the "story" that kept me listening transfixed, it was the characters - and the individual world each held within them. And just that concept itself, that heartbreaking concept, of children pulled into magical worlds - worlds where they finally finally fit - and then years later being tossed back out and floundering for their footing again. Wanting desperately to get back. And not being able to.

    Get this. Seriously, it might be short but it will stick with you.

    22 personnes ont trouvé cela utile

    • Global
      5 out of 5 stars
    • Interprétation
      5 out of 5 stars
    • Histoire
      5 out of 5 stars
    Image de profile pour Elisabeth Carey
    • Elisabeth Carey
    • 04/05/2016

    Truly a fairy tale for our time

    Nancy is the newest arrival at Eleanor West's Home for Wayward Children--in reality, children like Nancy, who have experienced unreality in the form of fantasy-like alternate worlds. They stumbled through doorways that shouldn't have been there, and found themselves in worlds where they felt more at home than they ever had in their "real" homes.

    Nancy spent time in the Halls of the Dead, learning stillness, silence, and patience. Nancy's roommate, Sumi, spent time in a "high nonsense" world and is in love with a Candy Corn farmer who is now, she assumes, lost to her. Kade sojourned in Faerie, and was thrown out when they realized he was only biologically female; Kade is a transgender boy. Jack (Jacqueline) and Jill (Jillian) are identical twins who spent time in a horror movie come to life, where Jill fell in love with a vampire and Jack trained to be a Mad Scientist. They all hope to get home again, and they all know their chances are really, really low. But at least they're among people who understand, people they can trust.

    Until students start dying. Sumi is killed and her very talented hands are stolen. A girl whose gift is her exceptional eyes is killed and her eyes taken out--very carefully.

    Nancy is the new girl, and her roommate was the first killed. Jack is a Mad Scientist. Christopher carries a bone flute with him, and talks about bones dancing. Tension and suspicion rise rapidly, and Miss West and all her students are afraid that authorities will find out and close down the school. They have to find the killer themselves, before they can't hide what's happening anymore.

    This is a beautifully well-done story, with very subtle and persuasive character development. It's scary the extent to which I recognize these kids. I swear, I grew up with some of them. They are very much real teenagers, of the kind who don't fit in. Their not fitting in is less the result of their time in imaginary lands, than the cause of it.

    It's just a wonderfully compelling story. Recommended.

    I bought this book.

    33 personnes ont trouvé cela utile

    • Global
      4 out of 5 stars
    • Interprétation
      3 out of 5 stars
    • Histoire
      5 out of 5 stars
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    • Leslie Larkins
    • 17/04/2016

    Great new world from Seanan McGuire

    I am always thrilled to get Seanan building a new world, but the narration definitely did not help the story and probably harmed it for me. The character voices were, for the most part, not distinctive and the overall reading was very flat. I think I need to read this one to fully enjoy it.

    14 personnes ont trouvé cela utile

    • Global
      2 out of 5 stars
    • Interprétation
      2 out of 5 stars
    • Histoire
      2 out of 5 stars
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    • Seedye
    • 02/05/2019

    Whiny teens and murder, not that it matters

    Ryan Murphy is a horrible writer/producer. He takes no interest in his characters or his stories. Every scene is a pastiche of movie scenes he liked, so none of the scenes matter. Any plot development in one episode is tossed in the next. Characters don’t develop, they change costumes. It’s clear Murphy doesn’t care about his world, his characters, his stories.

    Seanan McGuire is no Ryan Murphy, fortunately, although she seems to travel in the same circle. She sets up a genius premise — what happens to those misfit kids who stumble home from Narnia or Wonderland or Hogwarts and back into the mundane reality they so desperately wanted to escape? But the answer is, McGuire doesn’t care.

    She sets up an interesting central character, mostly outlined by the central premise, with one added trait: she’s asexual. But it doesn’t matter. The extent that being asexual impacts her life begins and ends with her coming out to her peers with a flat recital of what it means to be asexual, as though she’s reading a Wikipedia page. We do not experience life as an asexual through the eyes of the protagonist. Just this textbook definition, and disinterested reaction from her peers. Later, when a romantic possibility arises, you think you’ll finally get some heartfelt exploration into her experience, but then McGuire retreats into definitions, definitions, definitions. The protagonist doesn’t have to wrestle with making romantic connections while being asexual, and the object of her affection doesn’t seem impacted either way. It’s irrelevant. Her asexuality doesn’t matter. None of it matters.

    Standard YA fantasy tropes are deployed to describe a halfway home for these collected misfits. Then they just whine, whine, whine about how mundane this world is, and how whimsical their otherworld was. The details of these otherworlds seem barely fleshed-out, and largely unimportant for the story. We’re told these otherworlds are where these kids are truly meant to be, where they fit in and flourish, but then later we learn these otherworlds were actually nightmarish for most of these kids, that they didn’t fit in, and the experience was harrowing. Moments later — no matter, the kid will whine about being back in mundane reality. If we’re meant to see these kids’ lives balanced on a knife’s edge of contradiction — both glad to be home, and missing their captors, there’s certainly little in the book you could point at as evidence. Mostly, it just doesn’t matter.

    Finally, tragedy strikes. It takes out one of the most obnoxiously unlikeable characters ever written. I’ve never been so happy to see a character die that I was supposed to be sympathetic towards. The story shifts from fantasy to mystery genre. Except, no sleuthing is done. The kids sit around and whine, cast blame on the central goth children, and the adults are equaly whiny and useless non-entities.

    Then McGuire smashes her world further. The central premise of the story is that the whimsical magic of the otherworlds had to be left behind, wistfully inaccessible. But suddenly, one of the kids remembers he can do magic still, and that magic could solve the central mystery. The gang urges him to use the magic, which works, but rather than chase this new clue, they destroy it. It doesn’t matter. None of it matters.

    At this point, the mystery genre has given way to a serial-killer genre, with all of its tropes. Except, I couldn’t care about the killer’s motives. I didn’t care about any of the victims, and none were as obnoxious as the first, so I didn’t even get unintentional schadenfreude. The connections between the kids seem pretty superficial, so the impact of having one of their own die seemed non-existant. Mostly, they pause at whining about the loss of their beloved otherworld, to whine about how they could be next, before promptly returning to whining about their lost otherworld.

    The conclusion comes abruptly, with no suspense or foreshadowing. Instead, The Real Killer just walks into the scene and starts monologuing a manifesto, as one does in a serial-killer story. But usually, there’s a chase after clues to identify TRK, and maybe a chase to catch TRK. But no. It doesn’t matter. And as typical for the serial-killer genre, the manifesto distracts TRK so the heroes can prevail. Oh, and one of the inner circle happened to know all along, but doesn’t offer any explanation why the secret was kept. “Oh, btw, yeah, that’s TRK all right.” Then some more monologing about The Real Reason TRK killed.

    But, who cares, none of it mattered: not to the reader, not to the author, not to the characters.

    Then there’s the narrator. While having a narrator that sounds the same age as the protagonist seems like a natural fit, since the story is not told from a first-person perspective, it adds very little. I didn’t like her choices for voicing the characters, and her youthful timbre took away some much-needed gravitas. It was a bad fit.

    12 personnes ont trouvé cela utile

    • Global
      5 out of 5 stars
    • Interprétation
      5 out of 5 stars
    • Histoire
      5 out of 5 stars
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    • S. Yates
    • 26/03/2018

    A grim fairy tale

    4.5 stars. I thoroughly enjoyed this unique, little book. The story manages to combine the fantastical and ordinary, and is at once peculiar and familiar, ghoulish and whimsical, macabre and heartfelt. Eleanor West's Home for Wayward Children is a place that takes in the youth who have wandered into and then been ejected from other worlds (worlds that fall on a spectrum, or really in directions in four general cardinal directions -- nonsense, virtue, logic, and wicked). No two worlds identical, with wonders and horrors and rules of their own. The students each found secret doorways to these worlds, and such doorways are fickle at best, sometimes appearing only once never to be seen again. We are introduced to these concepts and the school by Nancy. In her late teens, she is the newest student and we see the school through her eyes.

    The students, while underpinned by the fantastic, are typical in other ways. There are cliques, rivalries, friendships, and bullying. Though almost every student at the school longs to return to their own worlds, worlds that in many cases are the only ones that feel like home, McGuire uses the otherworldly to explore issues of mental health, belonging, and that cusp between childhood and adulthood. These issues can be made more immediate by virtue of the worlds the students came from. In some, violence was all in the normal course, in others death was embraced, and in every case the students came back fundamentally changed.

    The story itself has its gruesome bits -- a string of murders occur and the killer removes parts of each victim for mysterious reasons. The adults at the school have no special powers to protect the students, and there is the mix of fear and accusation as everyone fears where the killer will next strike. Bonds are tested, and the ugliness of human nature highlighted. But even when it is very dark, there is still that bit of whimsy and goodness to keep it from being oppressive. McGuire (who writes under the name Mira Grant when doing SF/horror), strikes a lovely balance of the horrific and the lovely. And unlike her work as Grant, Every Heart a Doorway is lean and fast-paced, with none of the bloat that some of her other books have. I thoroughly enjoyed this strange little tale, and look forward to continuing the series, and the narrator was excellent.

    8 personnes ont trouvé cela utile

    • Global
      1 out of 5 stars
    • Interprétation
      1 out of 5 stars
    • Histoire
      2 out of 5 stars
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    • Monica
    • 05/10/2019

    Unengaging

    The reader's attempt at southern accents was horrible...painful. And the "plot" went nowhere. I kept hoping that it would get to a point where I could say, "I get it", but it never happened. A waste of 3 hours of my time. I couldn't make it to the end.

    7 personnes ont trouvé cela utile

    • Global
      1 out of 5 stars
    • Interprétation
      3 out of 5 stars
    • Histoire
      1 out of 5 stars
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    • K. K.
    • 19/04/2016

    Dark & a bit flat

    I've enjoyed this author's other work, so I tried this one. I have enjoyed the complexity of her characters and plots but this one fell flat. It is a good idea, but most of the characters lack dimension, and the better developed ones are ... I think the word I want is stylized. The performance is ok, but overall, I'm disappointed in this book.

    6 personnes ont trouvé cela utile

    • Global
      1 out of 5 stars
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      1 out of 5 stars
    • Histoire
      1 out of 5 stars
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    • Amazon Customer
    • 26/05/2020

    Original, interesting, and then so bad..

    I couldn't finish listening to this book. It started off with a really interesting storyline. I was hooked. I wanted to know more about the fantastical worlds and what happened there. There was so much potential for an amazing story. I was willing to ignore the narrator's flat, monotone, sighing voice for story. But then it took this weird turn into a murder mystery where the main character is asexual and another character is trans and there's random graphic sexual imagery about masturbation. It sounded like the author used these topics as props with a shock factor as opposed to organic character and storyline development. There was also random uses of the F word. I wouldn't recommend this book to children. I couldn't keep listening after the first murder. It was too weird. I looked up what happens at the end and am relieved I didn't waste more time listening.

    3 personnes ont trouvé cela utile

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    • Global
      3 out of 5 stars
    • Interprétation
      3 out of 5 stars
    • Histoire
      3 out of 5 stars
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    • fantasynews
    • 12/05/2016

    Tolle Charaktere, coole Ideen - nette Geschichte

    Alice fiel durch ein Kaninchenloch ins Wunderland für Bastian Balthasar Bux wird ein Buch zum Portal nach Phantásien.

    Die phantastische Literatur ist voll von jungen Weltenwechslern: Kinder, die ein Portal finden, durch das sie aus unserer Realität in eine andere gelangen. Kaum einer stellt sich die Frage, was aus diesen Kindern wird, wenn sie von ihren Abenteuern zurückkehren in ihr gewöhnliches Leben – und vielleicht feststellen müssen, dass sie nie mehr das Land der Wunder und Magie, das sie besucht haben, besuchen können.

    Diese Kinder und Jugendliche stellt Seanan McGuire ins Zentrum ihrer Novelle “Every Heart A Doorway“. Bei ihr sind die Weltenwechsler nicht (mehr) die Auserwählten, die sich durch Labyrinthe kämpfen, um ihren entführten Bruder vom Koboldkönig zu retten, sondern die Verlorenen, nach aufregenden Abenteuern gefangen in einer Welt, zu der sie nicht mehr ganz gehören. Außenseiter sind sie, melancholisch oder gar depressiv, zum Schrecken ihrer Familien für immer verändert und irgendwie gebrochen.

    Ein Zuhause, das ihnen ermöglicht, ihre Erfahrungen zu verarbeiten und sich – vielleicht – ein neues Leben aufzubauen, bietet ihnen die alte Eleanor West mit ihrer Internatsschule “Home For Wayward Children”. Nancy, die die letzten Jahre in einer Unterwelt der Toten verbracht hat, kommt mit gemischten Gefühlen im Heim an. Verzweifelt hofft sie darauf, hier etwas zu lernen, dass es ihr ermöglicht, in “ihre Anderswelt” zurückzukehren; vermutlich wird sie hier jedoch nur Hilfestellung erhalten, die wahrscheinliche Aussicht zu akzeptieren, dass dies nie geschehen wird.

    Was Eleanor West ihren Schülern jedoch vor allem bietet ist, ganz sie selbst zu sein; unter Menschen zu sein, die – so anders sie auch sein mögen – doch ähnliche Erfahrungen gemacht haben. Und so sehr sich Kade, Sumi, Jack und Jill auch von Nancy unterscheiden, so hilft es Nancy doch, sich nicht mehr verstellen zu müssen …

    Egal, was Seanan McGuire schreibt, es wandert meist ungefragt auf meine Lese-Liste. Die Frau trifft eigentlich fast immer meinen Nerv. Das ist bei “Every Heart A Doorway” nicht anders, auch wenn ich nicht so ganz in die Lobeshymnen mit einstimmen mag, die man sonst zu dieser Novelle zu hören bekommt.

    Die Grundidee ist faszinierend und man muss es der Autorin hoch anrechnen, dass sie diese sehr sorgfältig durchdacht hat und sehr facettenreich präsentiert. Ebenso begeistert bin ich von den unterschiedlichen Figuren, bei denen McGuire sehr darauf geachtet hat, ein breites Spektrum unterrschiedlichster Charaktere abzubilden: wichtige Rollen spielen sowohl eine transsexuelle Figur als auch eine asexuelle Figur, und das Gefühl des Außenseiter-Seins, des sich-selbst-finden-müssens korrespondiert sehr gut mit den Geschichten der “verlorenen Kinder”.

    Um die Handlung noch etwas aufzupeppen, geschieht bald nach Nancys Ankunft eine Serie schrecklicher Verbrechen und die Schüler von Eleanor Wests Heim sind hin- und hergerissen zwischen gegenseitigen Verdächtigungen und der Notwendigkeit, zusammenzuhalten, um den Täter zu finden …

    Das alles ist ungewöhnlich, innovativ, divers und kurzweilig – und auch wenn mir “Every Heart A Doorway” Spaß gemacht hat, so hat es mich doch nicht so von den Socken gehauen, wie ich das im Vorfeld erwartet habe. Vielleicht lag es daran, dass meine Erwartungen sehr hoch waren; wahrscheinlicher ist jedoch, dass es an der sehr melancholischen Geschichte liegt. Anders als etwa die Toby Daye-Serie, die auch düster sein kann, vor allem aber temporeich und magisch und bunt wirkt, wirkt “Every Heart A Doorway” aufgrund seiner Motive traurig und stagnierend und viel nachdenklich stimmender. Das muss auch mal sein, ist aber natürlich ein ganz anderes Lese-Erlebnis.

    Und auch, wenn ältere Leser zweifellos das Buch mit viel Genuss lesen können, so würde ich “Every Heart A Doorway” doch am ehesten als Jugendbuch oder All Ager bezeichnen. Das liegt an der Geschichte, am Thema, am Alter der Figuren – und nochmal Gratulation an Seanan McGuire, dass sie nicht mit falscher Scham auf den Zehenspitzen herumtrippelt, sondern bei einer Geschichte über jugendliche Protagonisten im Internat auch Dinge wie Homo- und Asexualität anspricht sowie das selbstverständliche Masturbieren bei Nacht.

    • Global
      3 out of 5 stars
    • Interprétation
      2 out of 5 stars
    • Histoire
      4 out of 5 stars
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    • florentinaminze
    • 09/02/2018

    Tolle Idee, langweilige Umsetzung

    Die Idee ist wirklich super, aber die Umsetzung ist einfach mangelhaft, was wirklich schade ist. Ich habe tatsächlich zwischendurch nachgeguckt, ob ich ausversehen eine gekürzte Version gekauft habe, nein, es ist die vollständige.
    Erst habe ich gedacht, dass Seanan McGuire mit diesem Buch ihr Debut hat, aber nein, sie hat schon sehr sehr viele Bücher geschrieben.
    Die Charaktere sind spannend, aber bleiben oberflächlich. Ich finde dieses Buch hätte eine sehr ausführliche Überarbeitung gebraucht bevor es veröffentlich wurde wäre, denn das Grundgeräst ist, wie gesagt, echt gut.