
šShe/her who buys books like she's immortal and reads them like she's not š¤¹āāļøReads multiple books at once or nothing Wait! ~ Before you leave, do you have any recs for any of my shelves?
12077 points



4.02 average Ā Ā·Ā 84 reviews
Click a segment to filter
The prose is good. It's lyrical, immersive, and full of evocative descriptions. I genuinely appreciated the effort to give Aphrodite more depth than the shallow, vain goddess we usually see.
But it still ended up only being a 3.5 š read for me.
What I liked-
Saint's Aphrodite is thoughtful, caring, and genuinely invested in her followers. She actually feels the weight of her domain. Hephaestus also stood out as a refreshing take by being more sympathetic and human than the usual bitter, vengeful figure. The episodic structure, moving across different myths and time periods, was ambitious and kept things from feeling stale.
Where I feel it lacked-
Aphrodite spends most of the book reacting rather than shaping. She feels passive in her own story, which undercuts the authority and agency the narrative keeps promising. By the time she becomes more active, the pacing issues have already taken their toll. It's not a plot-driven novel but it's more like a portrait of her life told in fragments and this left me wanting a tighter narrative.
Ares felt underdeveloped and emotionally shallow. Their connection doesn't feel earned. There's not enough build-up to make their relationship compelling, which weakens what should be one of the most dynamic pairings in Greek myth.
Another problem where the book lost me the most. Saint takes a lot of creative liberties like Galatea fleeing to Artemis's forests and becoming her lover, Eros already being born with no father, Aphrodite's marriage to Hephaestus significantly altered. And that's fine if the changes serve a purpose. But here, they often feel arbitrary. Why make these changes if you're not going to explore the consequences? The story picks and chooses which myths to honour based on convenience, rather than building a coherent internal logic. The gods feel so human that they lose their divine weight and this could have been written about regular people and I'd have believed it.
If you're going to market this as a romance and fantasy, I need the romance to feel earned and the fantasy to feel immersive. I went in expecting a slow-burn enemies-to-lovers dynamic, which is what I'd expect from a romance-fantasy about Aphrodite and Ares. The book is more of a character portrait, so that expectation didn't quite match what was delivered. Maybe I wanted something the book wasn't trying to be but I also think the genre/marketing set up that expectation I wanted to see why Aphrodite and Ares, love and war, two opposing forces would be drawn to each other despite everything. Instead, the romance felt rushed and surface-level, and the mythological world lacked the weight and consequence that makes Greek retellings so compelling.
Finally, it's a beautiful book to read. Saint's prose is undeniable, but it's frustrating because it could have been so much more. If you're looking for a cozy, character-focused mythological read, you might enjoy this. But if you're expecting a gripping, plot-driven romance with meaningful mythological stakes, this one might leave you wanting.

Obv when I'm in this forum, you know I've been diving into Zev Handelās "Chinese Characters Across Asia" and while itās a brilliant linguistic history, I am most struck by his idea that the script provides profound "insights into human cognition and culture". The idea that our writing systems are such a deep part of our cognitive toolkit reminded me of some neuro-linguistic research I'd seen a while back, which prompted me to dive into a whole new search.
I found a fascinating 1971 study from the journal Science titled "American children with reading problems can easily learn to read English represented by Chinese characters." The core argument is that many dyslexic struggles stem from the sequential ordering of letters and the brain sometimes falters with left-to-right processing, leading to the classic confusion of words like "WAS" and "SAW". Because sinograms are 'holistic and morphographic', representing sound and meaning together as a single unit - they don't depend on that critical linear decoding process.
Handel actually uses this very principle in a "thought experiment" he shares with his students. They have to imagine they have no alphabet and must write English using Chinese characters as carriers of sound only. For example, using the characters for "horse" (ma) and "rice" (mi) to write the English word "Mommy" (马米). This exercise demonstrates how the mind can bypass phonetic confusion by mapping meaning units directly.
I also read a story about a 15-month-old child who independently recognized the "girl" radical (儳) in the characters for "Mama" (åŖ½) and "Sister" (å§) and asked why it wasn't in her puppy's name. At just over a year old, her mind was already acting as a "meaning-searching machine", tuned to symbols rather than phonemes.
Thinking about Handel's "insights into cognition" made me look back at my notes on Maryanne Wolf's Proust and the Squid. She points out that "Human beings were never born to read". Itās a recent cultural invention, so our brains have to "recycle" older neural structures to make it work. It also led me to a work by Stanislas Dehaene regarding the "Visual Word Form Area". While alphabetic readers rely heavily on the left hemisphere to break down sounds, logographic readers often recruit more of the right hemisphere to process symbols. Itās a high-speed shortcut to meaning that bypasses the phonological bottleneck entirely.
I agree that these things definitely affect us on a cognitive level but i donāt know for sure if this 100% right as there are nuances. Science is always evolving, and maybe we'll have a definitive answer in a few or more years but this made me question: Does this mean Chinese people don't have dyslexia?
Actually, I found research from the University of Hong Kong showing that Chinese speakers do experience dyslexia, but it acts differently. While English dyslexia is usually "phonological", Chinese dyslexia is often "visuospatial" because the characters are so visually complex. The struggle isn't about sounds, itās about the intricate memory required to distinguish between thousands of similar symbols.
Coincidentally I yoinked a book from @honeydijon, "A Myriad of Tongues" by Caleb Everett which my best obvious guess from that title is about supporting all of the above - how our linguistic environment acts as a cognitive toolkit, shaping how we categorize the world. I haven't picked it up yet, but itās all this making me rush to find the book.
All suggests that "disability" isn't an absolute trait; itās situational. If a brain that struggles with 'phonemes' can thrive with sinograms, then the problem isn't the brain but the tool we've forced it to use. Itās rare to find a work that validates the idea that a cognitive struggle might just be a different kind of strength waiting for the right symbol. Which also strengthens what I've been pasting everywhere that disability isn't an individual's inability but the society's inability to develop ways to accommodate people who are different!

Goddess of the River
Vaishnavi Patel
Maynificient commented...
Iāll admit as well that the focus on "rage" irked me. When the title itself reads Goddess, why are we constantly reading her through a limited human lens? Iāve been looking for a perspective that actually considers her divine depiction, so Iām honestly glad you posted this.
I'm aware that Hinduism is often more symbolic than literal. Im guessing that having that awareness definitely helped me in seeing the underlying messages.
Another message that can be derived from the book is that when you're capable of enormous power, you need to be even more responsible. Ganga doesn't need to "vent" like a human because her power is already absolute, her struggle is often about restraint rather than release.
šÆ% agree. The message here ismuch more profound, that the idea that the greater your power, the greater your need for responsibility and thought.
To add to that, I think the story highlights a different kind of strength i.e the strength of containment. Ganga isn't "weak" for being calm but she is so powerful that if she weren't calm, the world would literally end. There is a deep, quiet feminism in a woman (or Goddess) mastering her own vast nature rather than just reacting to the world around her. Itās about being the "source" rather than just the "storm".
Hinduism talks about most of the things in the Interpretation of 'energy'. Ganga can be/is seen as the shakti (energy) that flows from the heavens. For energy to be useful and not just destructive, it must have a vessel or a channel which is exactly what Shiva provides. Itās not about a man controlling a woman, itās about form meeting energy. And this aspect is talked about in the story.