Travis M. Riddle

I have no words to describe how much I love this book, but I have so much to love so I'll try. I really felt some connection to every character introduced, and Oliver's emotional introspection never felt voyeuristic, despite that being the point of fiction. Oliver trying to make sense of Noah's suicide while being unable to communicate with the one person that would have had any explanation is excruciating to watch, and the hope that the knave gives him is so intoxicating my most cynical instincts (admittedly not any, I didn't lose hope until the very last minute) believed Oliver would find the gem, I even kind of hoped Eric could be brought back. Flashes of domesticity and nostalgia break up the pain of reality, and I found myself holding out for those scenes, apparently for myself and Oliver, as he is always just as uncomfortable with confronting his pain and confusion. The slice of life character development made the horrors that much more effective, I had real concerns for the characters, sharing Oliver's mistrust of the knave the whole time. Every mishandled interaction had me screaming at him (sometimes out loud but that's fine) and I haven't had such a visceral reaction to literature in a long time. The LGBT characters are so well handled, although I was on edge the entire time that they would have a bad run in, or one of the memories would include one. Aside from those memories, no one misgenders or deadnames Sophia, even when they're obviously making an effort, but at least they make an effort. Oliver never makes a gross comment about Ashley's ambiguous sexuality, and a formal coming out is never prompted for his or the audience's benefit. As a visually inclined person, I appreciate the vivid imagery, especially in the Narrows. Mainly I loved the small details, apparently insignificant things that a person wouldn't normally dial in on, are sprinkled in while characters are processing trauma. A glass sweating during a tense conversation, an off-hand comment about Sophia being a light sleeper becoming a key to their mission. Nothing feels like a plot device somehow, just a minor observation that proves Oliver cares about the friends he does have. I already know I have to read this again to catch all of the links between chapters. The care put into making this story so real is evident in every moment, down to page breaks not bringing you further than the next instant, just clearly transitioning from action to the moment of clarity when Oliver realizes what he's doing again, is something that I've noticed other authors miss. I could re-read this for years to come and I'm sure have noticed something new to gush over, however unsatisfying the results of their endeavors are.… (more)

I’ve seen Balam, Spring described several times as a cozy story about solving a mystery in a small town. That description makes me think it’s light and low-stakes, a casual read to meander through and then on from. But that is not the case here. Balam, Spring made me feel things; it got me invested in this tiny town’s mystery and its people. What started out as a simple, slice-of-life, enjoyable read ended up as a desperate marathon to finish the book and see the mystery solved. The writing is very polished and the style is immersive. The book is a standalone, tying everything up nicely in the one volume. The world is presented as-is, with no history lessons given to the reader. We really only see the small town of Balam in any detail, only seeing flashes of other towns and cities in characters’ reflections or histories. And those are more focused on the characters than the locales. The characters are where this book really shines; I found them to be just so well-done. It really was a joy to read.… (more)