front matter:

NOTE TO READERS: In a not-so-conventional fashion—that could also be used to describe Resende’s style of writing—readers are given guidance for the style and format in the first entry to the Spectral Braver series. He highlights the principles used to translate screenplay writing into the novel format and in the end, hints at an adjustment the reader might need to make, in order to fully experience the story.

From that, readers are set to expect a story written out of their norm and be willing enough to see the vision and hopefully see they story through to the end. Could this make readers apprehensive about what is to come? Possibly. But in the age of “trigger warnings” now being included in the front matter of published works, Resende’s note aims to give the same expective foresight as his contemporaries.

Dedication: In his dedication—in honor of his mother—Resende provides the inspiration and purpose for his work and also states intended reaction he hopes to spark in readers.

The first paragraph begins with the use of elevated style of writing/speech that descends into a casual tone and then into an inspired [word] by the dedications end.

Analysis/review

Purpose: The purpose of this analysis is to provide a more in-depth and objective review of the work. An assessment of the author’s use of characterization & themes, structure & narrative, and style, tone & language. Additionally, some chapters and scenes will be highlighted to support the thesis and provide more insight into the work.

Structure/narrative

Formatting: The differences in the formatting of Spectral Braver are apparent on the first page. Resende opens with his note readers and the dedication, followed by a shared title and copyright page.

[Minor change that I appreciated]

The story is told through a 3rd person subject voice and Resende makes use of narrative blurring to bring the reader closer to the story. In some places the author’s voice seemingly intrudes on the narrative and in others it acts as welcomed commentary, adding to the dynamism of the book.

Long chapters with frequent scenes breaks are employed here. Depending on the reader this could quicken pacing, but on the downside, taking longer to move through a chapter could cause the reader to feel no progress is being made.

A few inconsistencies arise with start and end of each scene having a passaged centered before and after scene break. Also, one instance when a dream-sequence didn’t begin the 3:33 timestamp and some areas where a double spacing at the start of a new scene happened. The reader is also left, at times, discerning the beginning of a flashback sequence.

Timing/Placement/Function: The final exposition in chapter one and the exposition in chapter 4: scene 9, could have done with the former being placed at the start of the book or at the end to provide an element of foreshadow or reflection. With the latter, by that point in the story its, philosophical weight seemed earned. The prose was elevated and haunting, reading like a warning.

Characterization/theme:

Protagonist: Ben Freeman and Felicity Craig have a layered relationship. Ben’s brash or “uncouth” , misanthropic, jaded personality provides an interesting contrasting to Felicity’s refined, conservative, and hopeful nature. They act as well-suited foils for one another, a catalyst for change in each of them, and something more.

Pages are spent with felicity chastising his use of obscene language and reckless behavior, brought about by his fearless and nonchalant attitude that magnifies her class, the fear that consumes her, and worrisome disposition. By the books end, Ben learns to restrain himself more and gains a love for “life.” At the same time Felicity conquers her fears and loosen herself up to enjoy a moment amongst the two of them. Their interactions are full of playful banter, deep introspective exchanges, and support for one another.

Felicity’s characterization was blemished by inconsistencies in her dialogue which was supposed to be that of a Victorian era woman:

"you do realize" and "kinda does"

These were two instances out of those present in the book. They have a more modern, casual, and confrontational tone than the speech a woman in 1860s would use. What might have fit better would have been:

"Surely you must understand..." and "[(It does), (in some measure)]

The second has room to play with based on the context of the line. This inconsistency with her dialogue persist throughout the story.

Themes: Major themes explored in the work are: grief; the soul; found family; and will. Each of these plays a significant role in propelling the narrative forward. Grief racks both of the main characters, who, through their will and aid of family must conquer a threat that plague the manor for since the 1800s. All of this is achieved through a series of flashbacks sequence and dream-walks that reveal the truth each of them search for within their souls, a call back to Resende’s dedication, the scene, and more passages from the book.

Epithets: Resende makes extensive use of identifiers to further drive characterization of the two protagonist, thirteen or more different identifiers for each character.

Ben: Youngster/Brawler/Sweet Man/Modern Man/Child-like adult

Felicity: Desiccated Husk/Fluttery Heart Maiden/Stately young lady/Magnanimous gorgeous femme or noble glow

In some areas, like when Ben is referred to as a youngster by the store clerk, makes sense or Felicity being called corpse lady because she is in fact a corpse without eyes. In other places, a pattern of redundancy or non-necessity can be detected, due to characterization provided through dialogue and other narration.

Style:

Tone: Resende alternates between a contemporary-casual voice and a classic-poetic voice, with some venturing between the two extremes. He imparts a free indirect style, omitting he/she at times and elliptical construct that implies the subject adding to the urgency of pacing that carries first third of the story.

[IPOC]

Frequent use of all there techniques are employed throughout the story

Interjection:

"REALLY NOT" and "WHAT DID YOU DO, JACK" and "veeeery" and " reaaally"

Punction-based Emphasis:

"???" and "!!!" and "?!" and "!"

Onomatopoeia:

"Waa" and "EYYYYY" and "GWOOOH" 

Colons: Generally a colon is used to set off a list of things, dramatic emphasis, or introduce an explanation or amplification. It’s the overuse of the technique that cause the colon to lose its weight in the narration.

In regard to the IPO, these could be seen as amateurish or a misuse of technique but that comes down to the intent of the author, its effectiveness, and the response of the reader.

[I recoiled at the sight of the first IPO but as I read on I accepted as a matter of style and considered the purpose it serves to the narrative. My conclusion, in some places it worked, others it didn’t.]

Setting/Plot:

Setting: It is summer, 2023 in Sleepy Hallow. Resende does well highlighting the urbanization of the town around the manor that has remained since the 1800s. Good attention to detail as urbanization began in the mid 1800s, the Metro-North Hudson line servicing its two stations, and post WWII suburbanization help set the scene for the manor, that time lost, being situated in middle of two modern homes.

Though, the young female neighbor who has resided in her current, modern home for five years, speaks in a rural accent. I questioned if someone, given the information provided, would be using such an accent when modern Sleepy is now at most, semi-rural in atmosphere because of urbanization.

Plot: Ben and Felicity journey into a world racked with grief and by the power of their will and reflecting on their past are they able to connect fully with one another, share a slice of pizza, gaze into each other’s eyes, and defeat the demon seeking to drag them to, ‘hell.’ The plot is simple to follow and without the presence of other side character arcs, the reader can focus all their attention on the main characters.

Pacing: The first third of the book moves at a rapid enough pace. In this time much of the setup happens for the character and story and a right call was made to move this section along.

The next third, around chapter 4 appeared to feature less of the inconsistencies and issues discussed in this analysis. In this section, Resende seemed to allow himself room to breath and flow into the writing. While not void of errors or questionable execution, a good bit less of it made this middle, a breeze to get through.

Then, the story seemed to drag the closer to its conclusion around chapter 7. One instance in chapter eight was a memory loss scene that served no purpose for plot at this point and more of the same things being discussed and explored. The inconsistencies from earlier chapters returned and the tone took on a silliness likened to fairly odd parents.

[The silliness is not inherently a bad thing, but the critique lies in the inconsistency of its application.]

Opening Chapter:

Shift in Language: The reader his placed immediately into the fantastic, supernatural world of Resende by way of a dream-walking experience through the perspective of Ben Freeman, who serves as one of the stories main protagonist in the beginning scene. The scene is filled with scene setting detail, disorienting action, and full-forced introduction into Resende’s writing style.

The language implored in the chapter shifts between Hemingway-esque, formal and detached language to poetic and elevated to more casual and contemporary. The shifts in the tone of narration in lines such as:

‘Further chances are best not taken’

and

‘one does not stop to wonder why

and

‘more of these get wrecked’

In the first line, the language is a direct, spare, and cautionary warning that doesn’t make use of poetic flourishes like the one to follow.

The second passage has a poetic cadence, that is formal and timeless that could be spoken by a wise elder or the narrator.

Contemporary slang is used in the third which matches the tone and action present where it is utilized.

Two questions:

1. Is there a purpose for these shifts?

2. Are the shifts a matter of intention or the result of inspiration left unchecked?

[These two questions I asked throughout my first and second read through of the book]

Tense and Narration: At first glance it could be easy to read over the passage to be presented and critique maybe the use of tense or clarity of narration. Instead, consider the style Resende guides the reader to think of when reading:

“Darts out of the room and goes down the stairs in a rush…that place felt weird, there’s absolutely no way he would spend more than five minutes in there, if he could help it. Might not go there again.”

“Darts out of the room” is written in present tense and “that place felt weird” is past. The reader could be left asking, wouldn’t he still be feeling the weirdness of the place? But, what Resende does here is utilize technique of narrative blurring that those familiar with the works of N.K. Jemisin or Joe Abercrombie:

"This is what death smells like." 'The Fifth Season'

"This one’s clever. Thinks he’s clever, anyway." 'The Blade Itself'

What the author with this technique is intentional blur the lines between narrative speech or character inner-dialogue. When used good—like what Resende does with, “that place felt weird.” and “Might not go there again.” placing them after two present tense statements—it can bring the reader deeper into the story and closer to the character. The issue would arise with lack of restraint or poor execution which will be touched on in another section.

[My first read of the passage, I disregarded it after questioning the structure, from the jump between present to past tense then the ambiguous last line. It wasn’t until after my second read and time spent on it I learned of the technique and was able to identify it here. An impressive passage.]

Final Scene: If it could be called that, instead of a sequence of action and dialogue the reader is give mythic or philosophical authorial exposition on the soul and he afterlife, far from the modern, casual, charactered-centered narration that dominated the chapter. There’s a finality of reflection in the tone.

"No stories are told by those who leave us, only those who remain."

Aside from this Resende maintains consistent tone and language, affecting a formal and poetic register while making good use of deliberate symbolism, abstract concepts, and motifs to convey his message. The questions is raised on whether or not the story has earned the gravitas of the exposition.

[I enjoyed the exposition, it was the highlight on the chapter on my first read, but I felt it would’ve been better placed at the start or end of the book]