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They have their own conflicted relationship due to the roles they've played in the family.

Toni is the smart but troublesome daughter, and Candy is the pretty but flaky one.

By literary, I mean that there were elements which fit thematically, but did not seem to forward the plot.

For example, in one scene, Candy talks about her sex life, and her opinions as to what men find sexy, and how they compare to the view of sex forwarded by one of their family gods.

They reminded me quite a bit of the sisters in Jennifer Weiners' IN HER SHOES, though not as exaggerated.

The strength and weakness of this book is in how much and how well it deals with the relationships between the characters, in particular, the female characters.

Men feel kind of secondary in this book, overshadowed by Elena, her daughters, Mary Jo, and the enigmatic "Little Lost Girl." It's a strength because the characters are fantastic.

If it had continued entirely on this vein, the plot would have centered around the conflict of Toni's conflicted relationship to her mother's magic.The main external conflicts (the gods, the hurricane) are dealt with early and in what felt like an offhand way, leaving the internal conflicts (who is the "Little Lost Girl", Toni's search for the courage to start her own business) dominant.Mockingbird starts out as a creepy urban fantasy and ends as a women's fiction novel, but in the middle it felt a little more literary to me.I get a sense of how a book will end based on what kind of a genre it is.Mocking bird starts out as a delicious urban fantasy about a family who has an arrangement/relationship with some gods of dubious morals.

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