A novel about Dracula that doesn't involve vampires?! Be still my heart!
Needless to say, when I was offered to be on the tour for this one, I leapt at...moreA novel about Dracula that doesn't involve vampires?! Be still my heart!
Needless to say, when I was offered to be on the tour for this one, I leapt at the chance, and my leap was rewarded: this is a great novel of court intrigue, war, and love -- and I'm happy to say, this isn't a Tudor-esque fic simply plunked into Transylvania.
Alternating between 1474 and 1454, the novel follows Ilona Szilágyi, a Hungarian noblewoman, and her friendship, courtship and love affair with Vlad Dracula.
My historical knowledge of Vlad Dracula is fuzzy (or, really, nonexistent), and Lancaster's novel quickly and neatly delves into his violent and heartbreaking life -- hostage to the Ottomans, a pawn during war, an ambitious military leader regarded with awe and horror for his unapologetically brutal ways -- who becomes a Prince and eventual political prisoner. Vlad's ambitions are boundless as is his determination to remain a ruler, and he allows himself to be used by the Wallachians and Hungarians to remain in power. Lancaster opens with Machiavelli's quote (better a prince be feared than loved), which is coined some forty years after Vlad's reign and yet exemplifies his leadership style.
And still, knowing all that, I was kind of into Vlad. Even with a mustache and his cruel military prowess, I was digging him! It helped that our heroine, Ilona, was fun, a realistic mix of innocence and boldness, a bit fiery and a bit shy; I could relate to her, and when she was smitten, I was a tiny bit smitten.
Lancaster's writing is effortless, geeky with detail without feeling like infodumping or oversharing. She plunges us into the story, opening with the end of Vlad's imprisonment before taking us back to his youth, when he first met the impetuous Ilona. The political tangle of that region is lightly explained but really offered through context, and I appreciated that. (For those who are curious, you can read Chapter One on Lancaster's website.)
There's a long cast of characters at the beginning of the book as well as a map of the region. There's no Author's Note or Afterward, which I would have liked -- I'm intensely curious about this era and the players now!
I'm unsure how to describe this one: it's beach-y fun to read, but it isn't a bodice ripper or a sexed up historical ala Philippa Gregory. It isn't the weighty military historical necessarily but it's obviously a novel of war and conflict. It's a tiny bit coming-of-age for our young noblewoman; it's a bit middle-age-looking-back-at-youth as well. Whatever it is, it's fun, and effortless to read, and worth picking up if you like court intrigue but want a little variation, or if you're curious about Eastern Europe in the 15th century, or even if you just want to know a bit about the historical Dracula. (And, at the moment, it's $2.99 as an ebook.) (less)
I was captivated by this book from the first line and my time with this book was nearly obsessive. Every free second I needed to read; and now that I'...moreI was captivated by this book from the first line and my time with this book was nearly obsessive. Every free second I needed to read; and now that I'm done, I'm pretty sure I won't be able to do this book justice. (The very short review: I loved this imaginative, thoughtful book.)
Set in New York City, 1899, the novel follows two very unusual immigrants: a female golem, created to be a bride/sex slave to a man who dies on their journey to the US and a jinni (genie), released from a flask accidentally by a timsmith.
The golem is found by a rabbi who guesses her true identity, and they live in uncomfortable closeness. The golem, built to serve but living without a master, finds herself tugged at by every wish, desire, and yearning around her. The rabbi, unable to bring himself to destroy her, instead tries to introduce her into the wider Jewish world in the Lower East Side. Unable to sleep and unable to rest, the golem finds employment in a bakery but still attracts attention, despite her best attempts to obey the rabbi's suggestions.
The jinni, on the other hand, a powerful creature chained into human form by iron, chafes and bucks at his mortal shell. Almost a thousand years have passed since he was last free, and while he has a myriad of memories, he has no memory of his entrapment and what might have happened while trapped. Hidden in 'Little Syria' -- a neighborhood of Christian and Muslim Syrians in lower Manhattan -- the jinni is styled as the tinsmith's new assistant and immediately attracts nosy interest from his neighbors. In an impetuous move, motivated by curiosity and a smidgen of lust, the jinni meets a society woman who immediately captures his interest and attention with tragic results.
All this happens in the first hundred pages, and the remaining three hundred plus pages unfolds these two threads. But within these stories are a myriad other stories, like a fairy tale or Scheherazade's, overlapping and meeting, occasionally tangling: the hermit who made the golem, the wizard who entrapped the jinni, the society woman, an itinerant ice cream seller with a complicated and strange affliction.
The jacket blurb says this is in the vein of A Discovery of Witches, which originally put me off since I didn't like ADOW, but I found this a richer, more nuanced novel.
Depending on the kind of reader you are, this can be simply a fantastical mix of myth and history or a literary exploration of faith, self directed identity, free will, the stuff that makes us human. Through the golem and jinni, we see firsthand the tumultuous, explosive, earthy world of early 20th century New York City; as they struggle with the whys of their existence, we puzzle through the bigger philosophical questions about life and choice. But at no point is this book pedantic or political; Wecker's characters wrestle with the same issues so many of us do and have, in the end, to answer to themselves, those they love, and the values they chose to hold.
Those who liked Neil Gaiman's American Gods might enjoy this one; those who like unusual historical novels will certainly dig this book. While it is a supernatural story or a historical fantasy, the 'magic' is tempered and controlled, and I think anyone who allergic to paranormal stories should give this one a try. (You can read an excerpt here, if it that helps!) I will say this one will end up on my holiday gift list for many folks -- it's a book that made me feel joyous as a reader, relishing the pleasure of being lost in a story so real I had to remind myself where I was every time I lifted my nose from the page. (less)
I was a bit apprehensive when I got this book: with a white heroine proudly emblazoned on the cover and a premise set during the 19th century Anglo-Zu...moreI was a bit apprehensive when I got this book: with a white heroine proudly emblazoned on the cover and a premise set during the 19th century Anglo-Zulu War in South Africa, I was afraid it would be White Man's Burden meets The Power of One. (And I say this as someone who loves The Power of One, but let's be real, it's problematic.) Instead, this is a lovely historical romance with a bold heroine living in two worlds, belonging to neither, and a fascinating armchair escape to an era and locale rarely seen in historical fiction.
Set in 1878 in the eastern coastal region of what is now South Africa, the story follows Elizabeth Jones, a white Englishwoman who was washed up on the coast at fourteen when her ship wrecked. Taken in by the local Zulu tribe, she is raised alongside them, her rescuer Lindani virtually a brother to her. Now twenty, Elizabeth and her Zulu family watch in horror as the British army masses against them, clearly bent on war. At the behest of the Zulu king, Elizabeth crops her hair short and dons stolen British uniforms to infiltrate the army and report back to the Zulu what the British plan.
Through a tiny bit of helpful coincidence (which I forgive, because otherwise, things would have progressed way too slowly), Elizabeth ends up masquerading as a batman (a personal servant) to Captain Jack Burdell. Jack is a seasoned soldier and a gentleman farmer, recently disillusioned with army life, a sentiment that grows when he reads his father's journals and finds his father felt the same way.
Fairly quickly, Jack sees through Elizabeth's disguise, but buys her cover story, and the two fight off their sexual interest. Elizabeth, who witnessed the British Army at their worst as a child, finds herself softening toward the soldiers around her, less convinced she wants to be party to anyone's annihilation, Zulu or British. As the story marches (literally) toward battle, Elizabeth has to learn who to trust and what world she wants to live in -- and of course, what the cost of that choice will be.
While the romance is straight-forward, I so loved Diener's acknowledgment of the hypocrisy of the mores and values held by Victorian British. In one scene, when Jack learns Elizabeth dressed in traditional Zulu fashion -- that is, topless -- all her life, he is aghast. For a moment, his sexual desire for her dissipates as he makes the erroneous leap that she was ravaged by the Zulu. Her semi-nudity, he's convinced, was sexually explicit -- whereas the reality, as Elizabeth points out, is that no Zulu stared at her breasts the way Jack stared at them. The repressed Victorians are the savage ones here.
Diener's premise, while seemingly far-fetched, is based on some historical tidbits, including the real-life survival story of a ship-wrecked child adopted by locals as well as the fact that after the battle of Isandlwana, survivors were questioned as to whether they had seen a woman on the battlefield. (As Diener writes, why would anyone ask that question?, and I agree!) Every chapter opens with a historical quote from the Zulu or British from this time, prescient and heartbreaking, and there's a glossary of Zulu phrases as well as an extensive bibliography.
I raced through this book in a day, following the Boston Marathon bombings and it was just the read I needed. Easily losing myself in the story, it had a romance I was rooting for and a larger historical arc that was tense and fascinating. (Being unfamiliar with the Battle of Isandlwana, I raced to the end to see how it resolved.) Fans of unique historical settings will enjoy this, as well as anyone who hankers for a historical romance that is spicy, a little complicated, and very bittersweet.(less)
I had such a flippin' great time with this book. From the first page, I was sucked in, and the only reason I didn't finish this one in a day is that I...moreI had such a flippin' great time with this book. From the first page, I was sucked in, and the only reason I didn't finish this one in a day is that I made myself slow down and enjoy the journey -- I could have taken another 300 pages and been only slightly satisfied.
Set in 1854, the novel opens with 'the artist', a violent serial killer bent on replicating -- and improving upon -- a series of violent murders from 1811. (And ew, are they grim.) For the police and the London public, these crimes are chilling and frightening, and one suspect immediately comes to mind: writer/philosopher/laudanum-addict Thomas DeQuincey whose essay 'On Murder Considered as One of the Fine Arts' detailed the 1811 murders and seemingly offered admiration for the killer.
DeQuincey, now in his 60s, is still infamous for his Confessions of an Opium-Eater, perhaps the first tell-all drug memoir published. Chased by creditors, DeQuincey returns to London after a mysterious missive promises to reunite him with a woman from his past, accompanied by his smart, pragmatic, bloomer-wearing daughter, Emily.
Two London police officers -- an Irish detective named Ryan and a British constable named Becker -- are tasked with arresting notorious writer/drug addict Thomas DeQuincey for the murders -- and that's when things get really hairy.
This book hit every note for me: wonderful sense of place and era, fascinating characters, a gossipy treatment of history, and a narrative style that has as much personality as the characters. In the (wonderfully fascinating) Afterward, Morrell explains this novel is his take on the 19th century novel; he employs a third-person omniscient viewpoint and intersperses the narrative with excerpts from diary entries. The effect is fun without being exhausting (Jonathan Strange & Mr Norrell was fun, but felt a bit much at times) and offered that lovely mix of 'education' (the narrative is peppered with trivia about the era) and escapism (there were some moments that were positively cinematic).
Hands down, Emily was my favorite character -- she might rank up there with my favorite heroines -- as she was smart, sympathetic, 'modern' (for the times), and vibrant. Morrell conveyed a Victorian woman raised with a rather unconventional thinker of father who still felt authentic to the era. She wasn't a contemporary woman in corsets (because Emily doesn't wear them, but you know what I mean.). I enjoyed every character, though, even our creepy 'artist of death', and I couldn't stop reading. There's non-stop action but the feel of the book isn't bombastic or exhausting -- having the cerebral DeQuincey helped temper the speed, I think, and balanced out the police officers and murders. He was certainly a fascinating foil for the story.
If you like Victorian London, take this trip. If you like historical mysteries, consider this one: the focus is less on the mystery since we know 'who' the murderer is (just not his name) and has a hint of the police procedural with a good helping of psychological profiling. I can't say whether or not DeQuincey nerds will approve of Morrell's portrayal of him and his daughter, but I just loved him and am super eager to read his works. (I kind of wish this would become a series with DeQuincey and company.)(less)
I was interested in this book because my paternal grandmother's family were Sicilians who ended up in West Virginia and western Maryland coal country....moreI was interested in this book because my paternal grandmother's family were Sicilians who ended up in West Virginia and western Maryland coal country. We're a taciturn people on my father's side of the family; my wife and sister-in-law marvel at the long, drawn out conversations we have about weather -- the current weather, the past weather, the weather to come -- but for my brother and I, that's just how you communicate with those relatives.
My wife and sister-in-law, being bolder, nosier people who didn't get the memo that one talks about the weather, are unabashed questioners, a trait I've come to deeply appreciate as they've elicited some of the loveliest and surprising stories from that side of the family. Unfortunately, my grandmother passed away after she and my wife met only once, and that brief glimpse into her family's life was eye-opening and fascinating. It's one of my greatest regrets I didn't get to talk to her about more than the weather.
In some ways, this book felt like I got a chance to continue that conversation.
Spanning almost fifty years, from 1924 to 1973, this novel is a collection of vignettes following a West Virginia family. Emma, a 16-year old Sicilian immigrant, loathes her mother's joyless existence and marries impetuously. Caleb, her new husband, works for the railroads and has a generous but drifting kind of focus that emerges even more strongly in his son Dean. Tragedy forces Dean from his family's land and upon his return, his devotion to the ground, the earth, the animals, and even the people he crosses creates joy and anguish in equal part. His daughter comes of age when her immigrant Italian relatives are old and frightening and the lure of the world outside of her family's property lines calls her more than her family's link to the land.
Tekulve's writing style is pretty, poetic, but not ornate or obfuscated. Each chapter feels like a self-contained short story in many ways; together, they show the arc of a family and place, but individually, there's a brilliant, bright, or blinding moment that stings or illuminates. I got the sense that some of the pieces were composed independently of the volume: Tekulve occasionally repeats an incident or a particular turn of phrase from one story in another, as if trying to offer context to a chapter were it removed from the collection. I didn't mind the repetition as it sort of emphasized the almost fairy tale quality to the family: fatherless children, magical gardens, temptations.
The familiarity of Tekulve's characters and place resonated with me as much as the writing. She articulated the nuances of rural poverty that felt authentic rather than shocking or exploitative. In her description of the Sypher family property, with the creeks and trees, random cabins, farm animals semi-feral, men obsessively working the land -- hauling, pulling, cutting, chopping -- I was reminded of my grandfather, father, and even now, my brother. (A trip to see that part of the family isn't complete without something being hauled, a cabin or milk house explored.)
I will admit to laughing a few times Tekulve's characters remarked on the West Virginia landscape as resembling Sicily; my family was stationed in Sicily for a few years when I was a child, and the country was gripped in a terrible drought the entire time we were there. My memory of Sicily is of a dry, stony, yellowed place, scrub and withering trees rather than the sort of verdant hilliness I associate with West Virginia. It wasn't until a few years ago when traveling in the Mediterranean did I see Sicily as it usually is -- fresh, green, hilly but alive -- but I still can't shake the sense of it as I knew it.
The vignette-y style reminded me immediately of Jennifer Haigh's Baker Towers and Ursula Hegi's Floating in My Mother's Palm, so readers who enjoy those kind of family sagas will enjoy this volume (grandmother with Sicilian background not needed). Highly recommended for fans of immigrant stories and rural American life in the first half of the 20th century.(less)
I've been having a rough few weeks, and most of last week and this past week, I've just wanted to veg with movies rather than read. This book was just...moreI've been having a rough few weeks, and most of last week and this past week, I've just wanted to veg with movies rather than read. This book was just what I needed, and I inhaled it in a matter of hours.
While this cover made me think 'bodice ripper' -- lots of heaving bosoms, sex in every chapter, silly scenarios that could have been solved with a two-minute covo -- what I got instead was a fun historical romance with a complicated heroine, a bohunky hero, and only two (albeit graphic) sex scenes. (The first sex scene didn't arrive until more than 200 pages into the story!)
[Note: The following plot summary may be triggering for some.] Set in some ambigu-historical era in Scotland, the novel follows Genevieve McInnis, a young woman kidnapped on the way to her wedding and held hostage for more than a year, repeatedly raped and abused by her captor, Ian McHugh. Marred by a scar across one side of her face -- another gift from her captor, to make no other men want her -- Genevieve is loathed by the residents of the keep where she's trapped, seen as a collaborator with their evil laird.
Friendless and alone, Genevieve is briefly relieved when members of the Montgomery and Armstrong clans capture the McHugh keep. (We learn that McHugh kidnapped another woman, Eveline Armstrong Montgomery, the story of which is detailed in Banks' previous novel, Never Seduce a Scot.)
Sure that her 'sullied' status will make her unwelcome to anyone as a bride, Genevieve begs Bowen Montgomery to send her to a convent, a demand Bowen agrees to. Moved by her story, he finds himself falling into lust -- and perhaps love -- with her just as Genevieve struggles with her own surprising interest in him. There's an obstacle or two, some revelations, and a satisfyingly happy ending.
While the plot itself isn't that unusual -- kidnapped heroine, handsome liberator -- I was pleasantly surprised by the handling of Genevieve's experiences. Even now, victims of sexual violence are blamed for what happened to them, and historically, Genevieve could have been abandoned or exiled for something out of her control. Worse, victims blame themselves, and I had zero interest in wallowing through a novel with that element. Happily, Banks instead gives Genevieve the space to heal, men who weren't total pigs, and opportunities for Genevieve to exert her own agency.
There's two sex scenes, romance novel-y graphic, but no more so than any Phillipa Gregory novel (I'm thinking Wildacre in particular -- which is like the V.C. Andrews of hist fic.).
I'm definitely now a Banks fangirl for when I need a historical romance -- this was quick, romantic, emotional escapist fun.(less)
This 156-page novel harkens back to the Victorian potboiler and 19th century penny dreadful: the characters are a bit predictable and the plot is brea...moreThis 156-page novel harkens back to the Victorian potboiler and 19th century penny dreadful: the characters are a bit predictable and the plot is breakneck, and that's where the pleasure of this book comes from -- you know what you're going to get, and it's fluffy, junky fun.
Set in 1894, the novel follows the angelically beautiful, likely virginal, excessively talented Ilyse Charpentier, star of Paris' cabaret scene. Affectionately nicknamed 'La Petite Coquette', she's been financially supported by the cartoonishly evil Count Sergei Rakmananovich whose obsessive designs have ruined more than one rising star (including Ilyse's bestie Manon).
Still, the Count is especially obsessed with Ilyse and goes to wild lengths to force her to marry him, including an elaborate scheme to befriend her estranged brother, threatening Ilyse's One True Love (a feisty Englishman named Ian), and kidnapping her. There's some insta-love for Ilyse, a harrowing family loss, lots of pep talks, and some over-the-top insidiousness that is laughable and entertaining. (With the kind of week I've had, this book was just what I needed!)
Jenny Q from Let Them Read Books summarized this book perfectly, I think, and if you read this as a kind of vaudevillian take on the damsel-in-distress motif, you'll have a good time. At the moment, the book is available to borrow for Amazon Prime members, so if you're also in need of a Moulin Rogue-ish dramatic adventure, give this one a try!(less)
Spanning 1843 through 1981, this novel follows the Janson family, through Jo-Dee Janson Cipriano (a fictional take on the author, Jo-Ann Costa, I pres...moreSpanning 1843 through 1981, this novel follows the Janson family, through Jo-Dee Janson Cipriano (a fictional take on the author, Jo-Ann Costa, I presume), a young woman fascinated by her great-grandfather, Big Daddy -- Horatio 'Ratio' Gage Janson. Rude, unruly, wild, downright 'randy' (according to her mother), Jo-Dee knows Big Daddy only as a wizened old man on the verge of death. His passing prompts her to seek out the truth of his story, propelled by a curiosity to know just how bad, how wild, and how randy he really was.
In proper gothic tradition, the circumstances of Big Daddy's birth are shrouded in secrecy and lies. His mother, the stunningly gorgeous and staggeringly selfish Mina Satterley is a Southern belle forced into exile from her family's plantation with the arrival of the Civil War. Her husband, sweet Clay Man Janson, besotted with her since a boy, has become a soldier and is presumed dead, unloved by Mina and unknown by Ratio. Mina has taken up with an Alabama senator for her keep, a man who loathes Ratio but offers employment to keep the boy out of trouble. Charmed, perhaps, with a good luck amulet from a childhood incident with the circus, Ratio manages well -- but still gets himself into trouble with the surety of a compass finding north.
Some of the characters -- Ratio primary -- are hard to like. They're cruel, mean, rude, ignorant, violent, selfish -- but they are fascinating. Like a car accident or a sordid argument, you can't look away -- and really, why look away?
Costa has a sharp sense of her characters and the appeal of a sordid, tangled drama, but I occasionally found the writing clunky. I preferred the historical sections as the more contemporary ones rang a tad awkward. I also have to confess that the use of dialect in dialogue was off-putting and distracting for me; I appreciate the desire to indicate a different style of speaking, but as all her white Southern characters speak grammatically correct English, it was noticeable that the slaves and freed people of color all spoke something more muddled and broken.
Still, there's a lovely kind of spoken rhythm to the story -- mimicking in some ways the storytelling that we see happen in the book, as happens at the Janson's reunion in 1981, relatives replaying and rehashing their shared familial memory -- and the reader is invited into that circle. If you like tawdry Southern family drama that steers toward Capote-meets-Leonard rather than V.C. Andrews, this is your book.(less)
This book is the sequel to Rocamora, a beefy historical novel following Isaac Vicente de Rocamora. Continuing the tale of real-life Dominican-priest-...moreThis book is the sequel to Rocamora, a beefy historical novel following Isaac Vicente de Rocamora. Continuing the tale of real-life Dominican-priest-turned-Jewish-physician, Platt's book again delves deeply into 17th century life, this time focusing on Jewish communities in Amsterdam rather than the grim drama of the Spanish court.
I preferred this book to the first one, perhaps because of the more domestic focus. Vicente -- now Isaac -- is settling in his new home as a Jewish man, honoring his family's history in a way he couldn't while in Spain.
The reader follows Vicente through his education -- a bit of a crash course, as he's in his 40s and spent a good deal of his life absorbing Catholic doctrine -- and his courtship with the young, beautiful Abigail. A man who has run through a number of passionate, beautiful lovers, Isaac's focus on his family and his community is a refreshing change from the blood, guts, gore, and court intrigue found in Rocamora -- a shift seemingly so absurd I wouldn't believe it were it not based in fact!
As with his first book, Platt's meticulous research is clear and I found the historical details fascinating. Jewish culture and community in this era wasn't homogenized -- as with any broad denomination, there are various factions and levels of conservatism -- and Platt lightly touches upon the prejudices and tensions between these smaller groups.
Where Rocamora had plot so rich it dripped off the page, House of Rocamora is a quieter, slower novel, focused more on the man rather than the man's actions. I preferred this shift and enjoyed watching the man of action settle into life as a community leader, as a husband and father, and later, as a widower.
By the end of the novel, the story shifts to one of Isaac's children, and as with the first book, I found the ending could both be satisfying and a cliff-hanger, depending on your mood!
This edition has some lovely extras to help the reader: a map, a preface to set the mood and place, and information about the cost of living in the area -- helpful in evoking and imagining life there!(less)
This immense novel clocks in at nearly 400 pages and is set among the tumultuous, violent, vibrant world of 17th century Spain. Growing up amidst a cu...moreThis immense novel clocks in at nearly 400 pages and is set among the tumultuous, violent, vibrant world of 17th century Spain. Growing up amidst a culture obsessed with limpieza de sangre, or the 'purity' of one's background, our hero Vicente de Rocamora juggles the truth of his heritage with his ambitions -- and that of his family.
The feel of the novel is like Margaret George meets Emilio Salgari: meaty, weighty, huge, enormously detailed, with a kind of swashbuckling hero and a melodramatic setting.
Unsure of his own heritage and his limpieza de sangre, a teenaged Vicente is forced by his very vile relatives to become Dominican priest. His nautral intelligence and curiosity give him wisdom and the foresight to grab opportunities when they come; his natural charisma leads him to ladies. Becoming confessor to the King's sister, Infanta Maria (later the Empress of Austria), Vicente uses his influence and stature to get revenge on those who betrayed him and to wrest control of the Inquisition, hoping to put an end to the outrageous torture and stifling effect religion had on Spanish society. (And there is torture in this one -- I sometimes found it hard to read!)
All this might seem pretty over-the-top, but Vicente de Rocamora is a real historical figure, whose life is the stuff of novels. Platt has clearly done his research: every page drips with details of the era, and the effect is almost overwhelming. (It is undoubtedly educational.)
There's a real saga-like feel to this one, too, as if we've followed Vicente his whole life, although the book only covers 26 years -- 1617 to 1643. I think the book could have used a little tightening and some editing down, but overall, it's a pretty grand historical adventure.
Also, this book has the most amazing conclusion -- jaw-dropping, cinematic, really -- and makes for a fine ending or cliffhanger, depending on your mood. (Which, if you find it to be cliff-hanger-y, you'll be happy: there's a sequel!)
There are three pages of historical notes, and opens with a summary of the rest of Vicente's life, so if you plan to read the sequel, considering skipping down the page. There's info on the value of money during the era as well as an extensive cast list (helpful for keeping everyone straight!). (less)
I have long wanted to read Zafón's novels; everyone I know raves about The Shadow of the Wind. This is the third book in Zafón's quartet, and the boo...more I have long wanted to read Zafón's novels; everyone I know raves about The Shadow of the Wind. This is the third book in Zafón's quartet, and the book opens with a promise that each book can be read as a standalone, and in any order. I hear that about almost all books in a series, so I was dubious, but I inhaled this book without any confusion.
This is a book lover's book, a novel with a story-in-a-story motif, vibrant characters -- including villainous villains -- and evocative locales. Opening Christmas 1957 in Barcelona, Spain, we follow Daniel Sempere, who runs a family bookstore with his father. Amid anxieties about a letter to his wife from her ex-fiancee, Daniel is chilled by the arrival of a creepy man who purchases one of the most expensive books in his store, a gorgeous vintage copy of The Count of Monte Cristo. More disturbingly, the stranger dedicates it to Daniel's friend Fermín Romero de Torres, who in turn shares the story of his violent imprisonment during Franco's regime in 1930 -- a story that echoes Dumas' classic tale.
I raced through this book -- it's about 300 pages in paperback, but reads like 150! -- and found myself captivated. Zafón mixes clever black humor -- usually snappy comebacks by the moody Fermín -- with lurid descriptions of prison life. There's almost a magical quality to the story without it going straight to magical realism; a fantasy element without fantasy. Perhaps it's the mood that harkens to Dumas' The Count of Monte Cristo -- grandiose adventure, seemingly impossible scenarios, bigger-than-life personalities. I didn't know where this story intersected with the previous two novels but didn't feel like I was missing anything; now I'm eager to read both before the fourth and final book comes out.
Sadly, there's no biography for the translator, Lucia Graves, in my edition. (I'm intensely curious about translators -- they shape a story, intentionally or not!) Graves is the daughter of Robert Graves, and was nominated for an award for her translation of another Zafón book. Particularly intriguing for me is Graves' connection to the setting and era of this book: Graves lived in Majorca during Franco's dictatorship and later, as an adult when first married.
For those new to Zafón, consider this -- fans might not think this is the best one to start with, but as someone who plunged in and came out happy, I think it works! Those who like historical fiction that is a bitterly fun and a little dark will like this -- while it's not The Orphan Master's Son-level of black comedy, it's up there, so if you enjoyed that one, you'll like this too!(less)
Set in 1903, this steampunk-flavored historical fantasy follows Miss Eleanor "Elle" Chance, a woman of good breeding and some social standing, who bec...moreSet in 1903, this steampunk-flavored historical fantasy follows Miss Eleanor "Elle" Chance, a woman of good breeding and some social standing, who became a dirigible pilot against her father's wishes. Elle has her own dirigible and some sketchy clients, and at the novel's open, she's in Paris to make a very shady delivery: human cargo. Uneasy, Elle's apprehension only worsens when an absinthe fairy hides in her diamond bracelet (Elle's preferred form of payment), and as she leaves for the airfield, she's jumped by thugs.
Things get very hairy after this. Her father is kidnapped, she sets off on a gyrocopter trip across the Continent, develops a crush on her human cargo (it doesn't help he's a hundred year old heartthrob of a Warlock, and Lord to boot!), learns a shocker of a secret about herself and her family history, and has further adventures on the Orient Express.
There's a supernatural element that goes hand-in-hand with the novel's alterna-history setting: the non-magic 'Light' world lives in tense balance with the paranormal 'Shadow' world . In the course of the novel, Elle discovers she -- and her family -- are rather at the center of that struggle, forcing her to reconsider everything she's taken as fact.
This was a wonderfully fluffy read with a strong romance novel arc for Elle and our agéd Warlock (which I really liked). The steampunk flavor and paranormal world-building was enough to give me a sense of the world without making me feel mired, but detail geeks might feel things are thin. For the most part, I enjoyed the characters, but I will say I found the secondary characters a little more robust than Elle. There was even a vampire character I liked! (I wouldn't mind a novel about her.) A tertiary character, this vampire was a train companion who makes a throwaway comment about her uncle's unseemly infatuation with a barrister's wife in Whitby, followed by an eye roll and "Men," which had me rolling out my bed with laughter.
I had a great time with this book although I will admit it's a bit uneven in places. I liked Elle for the most part, but as with so many novels dependent on a truly charismatic heroine, Elle felt a bit flat. And to be fair, creating a Victorian heroine of breeding who is both reasonably independent and not a caricatured comic book super heroine is tough -- there needs to be a balance of vulnerable and bold, a nod to social mores and values, and a believable sense of what said heroine can withstand. Additionally, Elle is saddled with the burden of being one of those gamechanging VIPs, and unfortunately, her personality was just a tad too flat for me to totally buy her as the epic heroine but I'm hopeful Schwarz can flesh her out more in future books.
I was strongly reminded of Gail Carriger's Parasol Protectorate books with this one; while Carriger's novels lean more toward comedic, both have similar elements -- conspiracy, secret cabals, Italy, supernatural romance -- but this one leans more toward adventure rather than comedy of manners.
I understand this is the first in a series; the novel ends satisfactorily for those who don't want to add a new series to their queue, and I'm looking forward to seeing how Schwarz unfolds Elle's story.(less)
This book continues the story of time traveling Alex and her 17th century husband Matthew started in A Rip in the Veil. Sadly, while others found thi...moreThis book continues the story of time traveling Alex and her 17th century husband Matthew started in A Rip in the Veil. Sadly, while others found this one to be the stronger novel, I have to admit I far preferred A Rip in the Veil!
Set in the 17th century, the story picks up sometime later (months?) after the first book ends. As with the previous novel, the action starts immediately: Matthew is sold into slavery by his villainous brother, shipped over to the Colonies, where he's abused and used. His wife Alex, modern lady that she is, doesn't accept this, and sets off after him. (This is the first ten pages.) From there, Belfrage continues the action -- rescue, attacks, betrayals, more time travel, soap opera-ish twists, and modern sentiments clashing with historical ones.
I can't quite nail down what felt so different in this book than the previous one other than I just was less taken with Alex and Matthew, our romantic leads. Even though I would normally admire a woman like Alex -- tough, pragmatic, capable of being more than just a mother -- I was actually quite put off by the callousness she displayed toward her children. After easily abandoning her first child (and subsequently rejecting him), she left her second one to embark on a trip that could have killed her. (When she's pregnant again, there's a scene where she thinks about how reassuring it is being pregnant, and honestly, all I could think was, when are you leaving this kid behind?)
I also found the sexytimes between Alex and her husband a bit much -- both in frequency -- and at times, the level of violence. Matthew is understandably damaged from his time in near slavery in the Colonies, but regardless of the psychic wounds, I'm never ever going to get behind rape, even when the author tells me the heroine is okay with it.
Still, there's something to be said for an otherwise fluffy-ish novel having some complicated grounding, dark emotions, and a heroine who isn't insta-happy-homemaker. The villains are particularly evil but family ties run deep, and Alex (and we the readers) have to accept brushing elbows with some unsavory people. Her family's ability to evoke 'time nodes' through art is again addressed in this book, a gift and a curse that affects more than just Alex.
For a sense of the novel, the author has the first three chapters available online, and unlike the first book, this one ends on a cliff hanger -- so be prepared to yearn for the third book in the series!(less)
It's no secret the Tudor era is not a favorite of mine but Nancy Bilyeau makes me sing a different tune: first, with her fabulous novel The Crown and...moreIt's no secret the Tudor era is not a favorite of mine but Nancy Bilyeau makes me sing a different tune: first, with her fabulous novel The Crown and again this year with the sequel, The Chalice.
Returning to the 16th century and her ex-nun Joanna Stafford, this novel delves more into Joanna's life and past as well as the drama Henry VIII's decisions were wrecking on the country. As with The Crown, Bilyeau opens her novel with another fantastic first sentence -- When preparing for martyrdom on the night of December 28, 1538, I did not think of those I love. -- and the story races from there.
Joanna struggles to make sense of her life and the rapid changes she's endured: once a dedicated nun, she's now living a secular life due only to a decree of the King and by no choice of her own. Raising her cousin's child -- a woman burned at the stake for treason -- Joanna hopes to make a living weaving tapestries when conspiracy and danger find her again. Brought to London with the promise she won't be forced to go to court, Joanna instead is embroiled in a plot to return England to the Catholic Church when she factors into three prophesies, including one by Elizabeth Barton, the Mad Maid of Kent. (Which, if there's going to be religious conspiracies, give me an oracle nun, and I'm in heaven.)
Although from a noble family, Joanna is hardly a typical courtier, which makes Bilyeau's novels such a refreshing entry in the Tudor genre. Bilyeau articulates what it might have been like for those who took religious vows, forced by edict to abandon their life and their beliefs. While the dissolution of those institutions might have ferreted out those who weren't truly religious, for those who were devoted -- like Joanna -- the world has upended. She still believes Henry VIII is divinely ordained, for example, and is rocked to the core when those around her suggest he isn't.
There are some hints of romance in this book, but there's a twist: Henry VIII banned former clergy, nuns, and monks from ever marrying. Still, Joanna feels some attraction to men now -- a monk she's known, a sheriff she just recently met -- and she has to navigate this new tension as well.
I'm not super familiar with this era, so I can't say how many liberties Bilyeau has taken (if any) but I loved the mix of historical and fiction. Joanna is able to move through two worlds -- court life and religious life -- comfortably, and as an educated woman, has a smart 'voice' through which to tell her story. (Although I will admit, she maddened me at times with her choices!)
For Tudor fans, I think this is a must (I've read a few reviews by folks who say this one can be read as a fine standalone, but I encourage you to start with The Crown), and for those tired of Tudor novels, but interested in meaty hist fic, pick up these two. Joanna Stafford might be one of my top ten favorite heroines and I'm dying for the third book.(less)
Though the blurb for this book implies the novel is solely about our time traveling heroine and her amour, I actually found this to be a plot-and-char...moreThough the blurb for this book implies the novel is solely about our time traveling heroine and her amour, I actually found this to be a plot-and-character heavy action romance set in Scotland, about family, obligation, betrayal, disappointment, and resilience.
Alex Lind is a programmer, taking a shortcut to a business meeting through the Scottish moors when her BMW craps out. She gets out of her car to see what her options might be when a kind of storm springs up. She's struck by lightning and pulled through a hole in the earth -- and wakes up in 1658. There, she meets Matthew Graham, an escaped convict (thankfully not a murderer or rapist), who takes care of Alex. She's seriously injured from her fall, and moors are filled with danger.
Back in contemporary Scotland, her boyfriend and colleagues search frantically for Alex, confused and worried since Alex had mysterious disappeared some years before -- a disappearance that resulted in her young son. Additionally, a mysterious robber keeps trying to steal something from Alex's father, and a client of Alex's has an angry -- and violent -- fascination with her and her family.
This is not your standard time-slip story, where our heroine goes back in time and mucks through it (I'm thinking Outlander, and this book does beg comparison with Gabaldon's novel. However, other than time travel and Scotland, the two aren't similar. There's certainly a strong romantic element as well as the inevitable acceptance of historical patriarchal attitudes about women but the heroine, hero, and plot threads are different.). Belfrage introduces a magical world system of 'time nodes', a family of time-travelers, artists, and scientists trying to control this power. Alex's mother is a complicated woman with a complicated history, and as Alex's contemporary family and friends try to find her, a greater mystery emerges.
Time slip historical fiction -- novels in which contemporary people travel back in time -- are a bit like backpacking to me: I love the idea, but I don't like the work. The inevitable modern-person-responding-to-the-past/historical-person-responding-to-the-interloper thing exhausts me -- it needs to feel real but can't dominate the whole book. In this case, I thought Belfrage handled the present-to-past thing well -- her characters were in shock, talked about it, disbelieved, and eventually moved on in a reasonable amount of time. (Belfrage's jump to sex between her hero and heroine, on the other hand, felt a bit rushed to me, as did our heroine's ease with which she moved on from her son.)
This book was fun but not without a few problems for me. The writing was a tiny bit clunky at times and Belfrage jumped between multiple points-of-view in a single paragraph, which I found jarring. The start of the book literally plunges you in and it took me some time to make sense of all the players but by 60 pages, I had a sense of the story and didn't want to stop reading. While there were some inconsistencies with Alex throughout the novel in terms of behavior and attitudes, I gave it a pass because people are inconsistent and I didn't mind the story.
Overall, a fun action-y novel with some interesting magical-ish world building. Recommended for folks who want a little fluff, a little history, and a lot of sexytimes. While there is a sequel, the novel ends satisfactorily so cliff-hangers -- but if you want more, there's a sequel and Belfrage is working on a third book in the series.(less)
This is a messed up book. It's also odd, imaginative, a little gimmick-y, gross, captivating, fascinating, horrifying, and weird.
Set in the mid-1700s...moreThis is a messed up book. It's also odd, imaginative, a little gimmick-y, gross, captivating, fascinating, horrifying, and weird.
Set in the mid-1700s, our narrator is Tristan Hart, a young man of some means and some madness. Growing up with a depressed widower father, Tristan's best friend was the ethereal Nathaniel Ravenscroft, a handsome and daring young man who eventually runs off with gypsies. Tristan grows up a rather ordinary boy until an incident with a tutor brands him high-strung and prone to nerves.
It is only his father's friend, novelist and magistrate Henry Fielding, who prises Tristan from the country and into medical school in London. There, Tristan learns he is gifted at the art and science of surgery and that his sole sexual pleasure comes from provoking pain.
That's just the first half of the novel; the other half is Tristan learning to live with himself, his bouts of 'illness' and brushes with the supernatural, his love affair with a young teenager who matches his hunger for pain, and his passion for medical research.
The novel is written in an archiac homage to 18th century literature, with all nouns and some adjectives capitalized, and unusual spelling. Although I started to grow accustomed to Wolf's archaic writing style, I also found it slightly obfuscated the action, especially the moments when Tristan was going mad/experiencing something supernatural. I'm undecided if this purposefully overwrought manner is awesome or too much of a gimmick. Here's a sample:
I bade my Father's Gamekeeper bring me live Subjects for Experimentation and Study, and within a Fortnight of my Return my Cages had begun to fill, and my Laboratory to rustle. Yet, despite my stated Design, I found My Self incapable of performing a Dissection upon any of these, for the mere Effort of preparing Board and Instruments seemed beyond me. (p311)
This book is gruesome and at times, was almost too disturbing (for me) to read. Wolf -- through Tristan -- lingers over his experiments in pain, his fantasies, which are not my speed and I found this book distressing at moments -- and suuuuuuuuuuuper addictive.
While reading, I was reminded of Patrick Süskind's Perfume: The Story of a Murderer, Bret Easton Ellis if he adopted 18th century literary stylings, and the film Secretary. I'm totally undecided about how I ultimately feel having finished this novel. If you like dark, evocative, brilliant, chilling, creepy, overwrought, twisted and wicked fun, some literary gymnastics, historicals that feel historical, and very unreliable narrators, this is your book.(less)
Alternating between the past and the present, this novel tells the story of a tapestry, and the individuals affected by it. In 1520, Belgian Beatrice...moreAlternating between the past and the present, this novel tells the story of a tapestry, and the individuals affected by it. In 1520, Belgian Beatrice tells the story of the making of the tapestry in her father's shop. She and her sister Marie care for her father after their mother's unexpected death, and the arrival of the slimy Father Bernardo from the Vatican changes everything.
In contemporary Newport Beach, California, Detective Claire DeMaer investigates art theft. When her flashy interior decorate friend Nora begs her to attend a party of Nora's newest client, and lover, Claire agrees -- and to her surprise, spots a tapestry identified by Interpol as stolen from the Vatican. She confronts the owner, who confesses to stealing it, but alleges the Vatican stole it from his family first. That claim sends Claire chasing the truth.
This is the first in a series following Claire and it's a good start. I enjoyed the historical sections of the story, reminiscent of Tracy Chevalier's The Lady and the Unicorn, and young Beatrice's search for justice and vengeance in a time when priests were untouchable, their crimes accepted. In revenge, she decides to alter the cartoons -- or patterns -- to the tapestry to include, via symbols, the story of her sister's tragedy.
The contemporary sections felt a little uneven to me, and I didn't quite enjoy Claire's story as much as Beatrice's. A good deal of Claire's story -- her motivation as well as her back story -- is tied up with her best friend Nora, who frankly seemed awful. Claire's investigation of the tapestry's provenance is dependent on at least two professionals bending the rules or turning a blind eye to her technically illegal behavior, which might be true in these circles, but also felt a little coincidental.
The novel moves pretty briskly, which is good given that it's 237 pages. Staes conveys the background need to understand the story -- the making of tapestries, how an art theft investigation unfolds -- without any awkward infodumps, and there were two twists to the story I hadn't anticipated but enjoyed greatly. With a throwaway shout out to one of my favorite musical groups -- The Mediæval Bæbes -- and the inclusion of a new-to-me medieval poet, Vittoria Colonna, I ended the book satisfied. Staes includes a cast of characters, terminology guide, and resources at the end of the book.(less)
I feel kind of terrible writing this review because this book is awesome ... and not available in the U.S. (It is available in the UK.) As usual, with...moreI feel kind of terrible writing this review because this book is awesome ... and not available in the U.S. (It is available in the UK.) As usual, with a book I love this much, I'm having a hard time writing a coherent review. I really ought to just do a video review so I can wave my hands and make excited noises -- that'd probably convey more.
I'm a sucker for a fairy tale retold, especially when they're placed in a historical era, marrying 'real' with 'fantasy'. In this case, the fairy tale is Rapunzel, and the historical eras are 17th century France and 16th century Venice. Told in a story-within-a-story style, Forsyth manages to write a wonderfully solid historical novel with all the details I like -- customs, costumes, and characters -- as well as a fairy tale fantasy that resonates and delights. Shifting between three perspectives, this brick of a novel (about 500 pages) had me hanging on every word, literally, and I was lugging this thing with me everywhere and reading it with every free second.
Opening in late 17th century France, the novel focuses first on Charlotte-Rose de la Force, a witty noblewoman banished to a convent by the Sun King, Louis XIV. There, the woman once bedecked in jewels and luxurious fabrics finds herself stripped of her belongings (including her writing implements), head shorn, condemned to lowly tasks. When a nun takes Charlotte-Rose under her wing, she enchants the Frenchwoman with a tale from her own life, and the story shifts to Renaissance Venice. One of Titian's muses, Selena Leonelli, has taken to witchcraft to preserve her youth, and when a neighbor steals greens from her yard, the witch takes their Margherita for use in her own dark magic.
De La Force is the real life author of a Rapunzel variation, and Forsyth's novel guesses at how this Frenchwoman might have heard of the Venetian original. Using the Venetian motifs in her own version, Forsyth mixes magic and history, and comes up with a delicious and heartbreaking treat.
Forsyth's writing is evocative and pretty without feeling heavy or ornate; she conveys a sense of time and place without the dreaded infodump. What I appreciated, She also doesn't mince words about the way women were treated in these eras -- she creates strong heroines who are quite real but don't reek of anachronism.
Like others on this tour, I'm totally unwilling to part with my copy of this book. I had hoped to offer a giveaway but Book Depository doesn't have this one available yet. Keep your eye out -- if you like fairy tales, French history, and escapist historical fiction, you'll want this novel.(less)
I'm not a Napoleon fangirl but I love novels set during his time. I cut my teeth on Georgette Heyer and the Georgian-era is still a favorite. And whil...moreI'm not a Napoleon fangirl but I love novels set during his time. I cut my teeth on Georgette Heyer and the Georgian-era is still a favorite. And while I like books set during wartime, I'm not really drawn to the combat narrative -- I like stories about those at home -- but recently, I've found that novels set squarely in the battlefield have been engaging and this book is no exception.
Opening in 1814, Mace drops us in the middle of a violent skirmish in Toulouse, France, in which famed British military hero, the Duke of Wellington, is driving back Napoleon's armies. Alternating between French and British viewpoints, Mace sets up a rather complicated back story fairly easily, contexting the conflict that just happened and establishing what's to come. It took me about two chapters to get totally up to speed, I admit, but by the third chapter, I was hooked. As the European powers wage peace, Napoleon frets in exile, and it is only a matter of time before he returns to Europe to take back France, an invasion that culminates in the Battle of Waterloo.
Mace weaves these bursts of conflict in with a few character-driven threads (or perhaps the other way around) and as a result, I was caught up in the drama of both 'what will Napoleon do next??' and 'I hope that sweet British widower will remarry that nice Englishwoman!'. Reminiscent of Heyer, Mace's novel touches upon the rigid class stratification in the British Army, the societal changes happening in the world around them, and the shocking reality of life for a 19th century soldier. Being the opposite of a war buff, I wouldn't know my bayonet from my ... some other 'b' term, but Mace peppers the narrative with tidbits and hints to help the reader envision the scene and understand what is going on.
What really impressed me -- because I love it when done well -- is that Mace balances a light touch (hints of a courtship between two characters) with a darker one (the behavior of the 'good guys' during a particularly hellish combat moment). In his 'Final Thoughts' (more on that later), he reveals he strove to create some ambiguity about who were the 'good guys' and 'bad guys', and he nailed it: I was for the British and French constantly.
This particular edition was a treat to read, an enhanced e-book loaded with extras. The novel clocks in at about 480 pages with a rich collection of appendices to answer any armchair historian's questions, from a detailed list of military ranks with explanation, a historical afterward that shares the fate of the major historical players, and perhaps my favorite section, an annotated list of what historical regiments from this novel still exist and in what form. The book is peppered with illustrations -- either historical or contemporary renditions of the events at the time -- which I loved and appreciated.
Mace's 'Final Thoughts', in which he shares his thoughts on writing this novel, was a pleasure to read. I love reading about the craft of writing as much as the actual product and Mace echoes that refrain I've heard from other historical novelists, a desire to balance accuracy with entertainment.
You can read a preview chapter at the publisher website to get a sense of Mace's style but I will again mention it took me two chapters -- and was worth it. A wonderfully rich and detailed chunkster for those who like Georgian-era historical fiction, war stories, or the Franco/Anglo divide.(less)
This 100 page novella is a horrifying snapshot of a suicidal mission. Technically a prequel to I Stood With Wellington (which I loved), this can be re...moreThis 100 page novella is a horrifying snapshot of a suicidal mission. Technically a prequel to I Stood With Wellington (which I loved), this can be read alone. (As can I Stood With Wellington.)
Set in 1812, Mace takes the reader into the siege of a Spanish fortress, focusing on the group of soldiers known as the 'Forlorn Hope' -- the first wave of attackers expected to die, meant only to pave the way for further assault. Mixing gritty details and cinematic elements in his combat scenes with a focus on a few individuals -- both French and British -- Mace hooked me on this story.
I'm not typically a reader of combat/military fiction, but this is a story of soldiers -- good, bad and everything in between -- and the military culture of 19th century armies. From the 'ranks' to the officers, we're given glimpses of the snobbery, prejudices, and camaraderie common in the time.
Mace builds tension methodically, ticking away the hours to the siege, introducing us to some of the men participating. A young officer volunteers impetuously, aching at the sudden death of his wife. When the breach is delayed, he finds himself less certain about his decision but is committed nonetheless. A young raconteur fears he'll die without knowing love; a terminally ill man chooses this death over a more protracted one.
Even though I technically 'knew' what happened at Badajoz from characters referencing it in I Stood With Wellington, I was still glued to this book. It was quite a nail-biter, shockingly gory at moments (but not gratuitously), and thankfully ended beyond the last moments of Badajoz.
As with I Stood With Wellington, Mace's Notes are fascinating to read. Again sharing his goals and desires in writing this novella, he also reflects on his sources and the historical and fictional characters featured.
At about 100 pages, this was a zippy read, a wonderful introduction to Mace's writing style and a good dip into a historical novel that mixes well military and combat narrative with character-driven plot.(less)
From the first line, I knew this wasn't my book. Tell-not-show is my reader-ly pet peeve, especially in historical fiction, and the opening chapters f...moreFrom the first line, I knew this wasn't my book. Tell-not-show is my reader-ly pet peeve, especially in historical fiction, and the opening chapters felt heavy with telling. I ended up DNFing this book at 104 pages as I just couldn't stand Simons' writing style.
Set in 1899, Sicilian Gina -- on the cusp of turning 15 -- emigrates to the US with her mother and older brother. Upon landing in Boston, they meet Harry Barrington and Ben Shaw, Boston brahmins who manage apartments for newly arrived immigrants (they're the nicest slumlords in history). Ben is hot for Gina, but we the reader know Harry secretly wants her, five year age difference, economic status, and cultural backgrounds be damned. (Also, this is a prequel to Simons' wildly popular Tatiana and Alexander books, featuring Alexander's parents. Even without having read those three books, I had a hunch where this was going.)
Actually, I can't say for certain that's what happened, having stopped just one hundred pages in, but Simons isn't subtle with her set up nor the way she unfolds the story. Gina is childish but winsome, exaggeratedly naive and yet unconsciously sexual; she skips up church stairs but also rebelliously unpins her hair during a candlelit dinner with the two strange men she just met. She's a sweet, naive 14 year old who relishes rendering men speechless.
Ben Shaw is related to Robert Gould Shaw, and for any reader who doesn't know who he is, Simons stops just short of describing him as Matthew Broderick in Glory. Harry Barrington (who, I admit, I kept calling Harry Barry in my head) is cold and bemused and aloof, unimpressed with Ben's hot interest in Gina, telegraphing to all their eventual getting together-ness.
Simons infodumps by having Ben and Harry do this frenetic bantering thing -- which was exhausting -- but Gina finds it delightful, of course. It gave great historical context to early 20th century Boston, but it felt so unnatural and forced, I couldn't shake the feeling of getting a lecture.
In addition to the characters, I found Simons' writing style to be off-putting: she has this weird joke-y commentary thing going on with Harry's scenes, while we're omniscient third person with Gina. From a dinner with Harry and company:
"...The bananas need to be collected, appraised, counted, packaged and crated. Someone has to do all this."
"And someone has to make the crates," Herman said, seeing the nails because all he carried was a hammer.
"First they have to procure the lumber to make the crates," Orville cut in, seeing the nails because all he carried was a hammer.
"Absolutely," Ben agreed, who carried a number of tools with him. (p71)
And from the aforementioned candlelit dinner with Gina, her brother, and Ben and Harry:
He kicked the chair again, harder. She looked over at him. What, she mouthed with irritation. He gestured to her hair with his eyes.
You want me to tie up my hair, she rhetorically mutely asked him. Fine, here you go. Raising her hands to her head, she pulled out all the pins and laid them on the table, in front of her plate. ... (p37)
I will say, she makes her characters big and bold and strong, and if you like those flavors in your fiction, you might enjoy this one. For me, everyone grated, so much so, that by page 64 I was counting down those last forty as I worked my way to one hundred. (less)
This is another juicy slice of historical awesomeness from Stephanie Dray. I've fallen hard for Dray's Cleopatra's Daughter series, a kind of magical...moreThis is another juicy slice of historical awesomeness from Stephanie Dray. I've fallen hard for Dray's Cleopatra's Daughter series, a kind of magical historical trilogy that is dark, unapologetic, epic, and fun. So when I saw this short story, I did grabby hands and got started.
I know nothing of the historical Arsinoe II, but being aware of Dray's dedication to historical accuracy, I sat back and let the story unfold.
Arsinoe is one of the pharaoh's daughters, sweet and eager to be loved, teased mercilessly by her older, ambitious half-sister. When contracted into marriage to the King of Thrace, she finds some measure of happiness in her new home among her friendly in-laws. But good things rarely happen to royalty, and Arsinoe has some pretty awful things happen.
This is a short story -- which was too bad because I seriously wanted more! This story is more straight-up historical (rather than magical historical or historical fantasy), for those who care, and is a great intro to Stephanie Dray if you're new to her. (less)
I just loved this book. Loved, loved, loved. It was flippant and fun, total escapism, with a minxy heroine I adored from the first page, a long list o...moreI just loved this book. Loved, loved, loved. It was flippant and fun, total escapism, with a minxy heroine I adored from the first page, a long list of exotic locales to divert, and piles of dramatic intrigue to keep me engaged.
Set in the late 1880s through 1910s, the story follows May Dugas, a small town Michigan girl with a foxy figure, clever mind, and an impatience with ordinary life. Told in first person, May's 'voice' is sophisticated, wily, artificially innocent, glib.
The novel opens in 1917, with May on trial, accused of swindling more than $50,000 from a former friend, Miss Frank Shaver. Returned to her childhood hometown of Menominee, Michigan, May has been dubbed by the Pinkertons as 'the most dangerous woman in America'. (And without having murdered a soul!) Notorious, rich, and titled (she's a baroness now!), May tells the reader the truth of how she came to that point. (I didn't put truth in quotes because I've decided she's sharing the truth -- I'm like her innumerable suitors, smitten past the point of reason!)
May reminded me of Lola Montez, another notorious adventuress with lovers and scandals trailing behind her like the train on her dress. May's story strains credulity until you remember, like Ms. Montez, May was a real woman. Biaggio does a wonderful job of making May's escapades seem feasible, albeit excessive, and I was with her every ill-timed, poorly-conceived, and ambitiously bold step of the way.
The other characters in the book -- especially the men -- are rather flat (and I don't think that's a bad thing!), but that's to be expected with May. She's the star of her own story, and with good reason: men are drawn to her for same reasons we are. Biaggio balances May's self-centered ruminations, justifications, and pep talks with lovely tidbits and details about the era, setting, clothes, and mores. (Biaggio doesn't stint on describing May's flashy jewels and I could practically see them winking at me from between the lines.)
The novel alternates with the trial and May's account of her life. I will say, I've recently tired of dual story lines, especially when they break up the flow and action of the story, but in this case, I actually enjoyed the two timelines. Both lines are fascinating, and thankfully Biaggio ends each chapter neatly, with no wild cliffhangers -- which means I can go into the new chapter relatively relaxed. (Relatively, as overall, I couldn't stop mentally screaming, 'So how does it all end for May?!')
I think this would make a wonderful audiobook due to the first-person narration and May's lively tone. (Although having just listened to sample of it, I might take this claim back. I found the narrator a bit flat.) Despite May's sexual prowess, this book is light on tawdry details, so no need to worry about detailed or flowery descriptions of her and her lovers. In the end, this was a straight up enjoyable novel -- the kind of book that sucked me in, made me miss my subway stops, and had me reading as I walked up the sidewalk home. If you like your hist fic with a hint of grandeur and a heavy dollop of drama, consider this!(less)
This first novel is a promising start to a nautical-based series set in the tumultuous late 18th century.
While the opening chapter offers a rather cl...moreThis first novel is a promising start to a nautical-based series set in the tumultuous late 18th century.
While the opening chapter offers a rather clunky introduction of our three leads (to us and each other), Peacock's story smooths out and things feel less contrived and awkward. Noble born Edward Deveare runs off to sea to avoid being shipped off to sea by his hostile and greedy paternal grandfather. Country carpenter Jemmy Sweetman runs off to sea because he hates his gin-drunk father. Wealthy French radical Louis Saulnier ends up at sea after his radical views get him in trouble at home.
Once at sea, all three young men grow up fast, and inevitably, their separate stories eventually connect -- but not after some serious agony and pain. The secondary cast of this book is large, but all rather intriguing, from Edward's dramatic mother to Louis' lace maker mistress to the cruel captain drives Jemmy to desert. I rather wished some of the secondary characters got more time in the book -- but then again I'm always partial to the stories of women.
The best parts of the book are when Peacock paints life at sea. Her descriptions are wonderfully vivid and often shocking, from the pungent scent of life below deck to the horrifying cruelties of Naval discipline and punishment. I often found myself pausing to chew over a scene that was visceral or gave me a historical 'oh, fascinating!' moment. (This whole book made me randomly curious about the development of the modern navy as I was horrified at how the British Navy worked in the 18th century. Paying for meals on a ship?! One's own uniforms?! Laundry?! Everyone drunk?!)
My edition came with a two-page supplement offering family trees of the three main leads as well as a crew list for the ships featured in the story. It was nice to have, although I will say, I had Wiki open so I could ascertain where on the ship people were -- that was more baffling to me than anything else!
My interest in nautical fiction comes from liking Master and Commander (the movie) and having a hot crush on Austen's Captain Wentworth. So needless to say, my knowledge of this genre is thin. I can't say whether the ship-speak and boat bits were accurate or not. As when I read super science-y scifi, I glossed over the super technical bits, but I still enjoyed the ambiance Peacock created and it satisfied my snapping-sails-blue-ocean-wool-uniforms-gritty-realism craving. For those who want hist fic that isn't heavy on romance, this is one for you.
From the end of the story, I'd guess this is the first in a series, and I'm curious to see where our boys end up. This is my second Fireship Press book and I'm impressed with their offerings. If you like nautical fic, take a look at this and their other offerings!(less)
I'm no fan of the Tudors but having enjoyed Bogdan's previous novel, I decided to give this one -- with its focus on Margaret Tudor, sister of Henry V...moreI'm no fan of the Tudors but having enjoyed Bogdan's previous novel, I decided to give this one -- with its focus on Margaret Tudor, sister of Henry VIII -- a go, and I'm glad.
This is a wonderfully readable hist fic that hits the elements of what I like in a read: historical ambiance that feels real, a main character I like, historical relationships articulated in a way that seems believable, and enough drama and emotion to make me care.
The Margaret of this novel is Margaret Tudor, sister of Henry VIII. Raised by her father Henry VII to embrace her God-given sovereignty, she is a girl who wants love after so much loss -- her brother Arthur, her mother, her other siblings who died as infants.
Margaret is married at 13 to James IV, King of Scotland, told to keep peace between the two kingdoms. Her new husband is 30, an experienced lover of women, and father to five bastards. Margaret drowns herself in fripperies and fetes, basking in her husband's sweet attentions. But tragedy strikes -- thanks to her brother, Henry, now king -- and suddenly the sweet girl yearning for love finds herself struggling for so much more. Her infant son is crowned King and she risks losing her position as regent if she marries. And yet, on her mind, always, is the desire to be loved for herself, and that motivates her decisions as much as her passion to defend her son's birthright.
Bogdan handled well the historical issues that always give me the squicks, like 13-year old brides, and I liked her characterizations. (I'm not a Henry VIII fan so that he shows up like a jerk in this book is fine with me.) I was taken with Margaret, who could potentially be cloying to some readers: she's so desperately needy for love, she'll take affection at any turn, and hungers for it in almost all her interactions. (It means she also makes some frustrating life choices.)
In her author's note, Bogdan expressly states this novel is "a dramatic interpretation meant to entertain". As I'm not wedded to this era, that was just fine for me, and I was deeply entertained by this book. Moved, amused, saddened, gladdened, this was a quick read of a less-known royal that I enjoyed. Very much worth breaking my Tudor ban! (less)
It's no secret I love historical fiction that doesn't focus on royals. I love seeing women's work portrayed realistically, and heroines who have some...moreIt's no secret I love historical fiction that doesn't focus on royals. I love seeing women's work portrayed realistically, and heroines who have some oomph without being anachronistic. Sam Thomas' The Midwife's Tale might have a kind of 'yawn' title, but the book is wonderful.
Set in York, 1644, in the middle of the first English Civil War, the story follows Lady Bridget Hodgson, a midwife of means. (This surprised me at first -- I didn't realize 'gentry' had jobs like this, but what do I know?) Her sister's maidservant arrives looking for work, and the young woman is shockingly adept at skills Bridget finds deeply alarming.
Any attention she might have to focus on Martha, however, is distracted when she learns her friend Esther has been arrested -- and sentenced to burn -- for the murder of her husband. Bridget is sure of Esther's innocence, Martha less so, and the two women embark on a campaign to solve the murder while avoiding getting murdered themselves. (War, plus unsavory figures from the past.)
Pretty much this whole book worked for me. It had a lovely mix of action, descriptive narrative that made for armchair time travel, and evocative characters who felt real. I need to say a little more about the characters: while I love me some feminists, I hate historical fiction heroines who are too feisty and flouncy for their own good. In Thomas' Bridget, I found a heroine who was strong and knew her place -- she was well-born and had money -- but who also had prejudices and biases of the time (she was wicked unsympathetic to unmarried pregnant women, for example.).
Thomas based his novel on a historical Bridget and her assistant Martha, which made the story all the more interesting to me. I'm no expert on 17th century York, so I can't say whether any historical details were messed with or inaccurate, but the world he presented to me was fascinating, alien, and compelling. I wouldn't want to live there, but I enjoyed this visit.
I read this book in about a day -- it has a marvelous first line that hooks you: 'On the night I delivered Mercy Harris of a bastard child, the King's soldiers burned the city's suburbs and fell back within its walls to await the rebel assault.' -- and every time I thought I ought to put the book down, I wanted to read just one more chapter. And then I finished, le sigh.
A wonderful historical fiction debut, and a great (what I believe is a) standalone novel. Hist fic fans will want this one, and those who think all historical fiction is heaving bosoms and insta-love should give this one a try -- it represents what I love best about the genre: someone's alien world and alien life made resonant and real. (less)
I love a good mystery series for the mix of new and familiar: the return to characters I know and enjoy, settings and eras that are appealing and made...moreI love a good mystery series for the mix of new and familiar: the return to characters I know and enjoy, settings and eras that are appealing and made different with new crimes, perhaps new tidbits about my beloved detectives and crime stoppers. Nicola Upson's series featuring 1930s mystery novelist Josephine Tey is a new favorite -- in 2011, I reviewed Two For Sorrow, and was taken with Tey, Upson's lovely writing style, and the dark moodiness of the locale and crime.
(A note about the heroine: Josephine Tey is a real-life author of mystery novels from the 1930s. Tey is the pseudonym for Elizabeth Mackintosh, a very mysterious and shadowy writer. I don't know if Upson's articulation of Tey is meant to be a reflection of Mackintosh or if she's styling her Tey as a person independent of Mackintosh, so if you're me, try not to assume Tey's sapphic inclinations are historical fact.)
The setting of this book is almost the polar opposite of Two For Sorrow -- a sunshine-y resort in Wales, Hitchock and movies, the golden glitz of birthdays and celebrities -- and yet, underneath is the same dark sadness, moodiness, and bittersweet mix of loss and longing I found so appealing.
That sense of bittersweet loss was evident from the first page, in 1954, when we learn our heroine, Josephine Tey, is dead. (I was so stunned I reread this page about a dozen times before deciding to trust Upson and see what was going on.) Tey's friend, Detective Archie Penrose, has been asked to consult on a series of murders in Hollywood that might be connected to a series of murders from 1936. The connection: both happened on Alfred Hitchcock's film sets and were possibly committed by the same person -- despite the fact the 1936s murders were considered solved.
Upson takes us back to that summer. Tey, celebrating her 40th birthday, is considering selling her newest mystery to Hitchcock, and is vacationing at Portmeirion, a planned resort on the coast of Wales. Archie has joined her as well as a coterie of friends and acquaintances, including a woman for whom she has complicated emotional feelings. Hitchcock and his wife Alma are staying there as well, with a gaggle of actors and film crew, observed by the locals who work and live around the resort. Quickly, things turn tense: Hitchcock is a cruel practical joker and a prank of his goes to far; a murder victim turns up and quickly the mood on the resort turns from nervous and excited to anxious and angry. Tey struggles with her romantic feelings for a woman -- and all that implies -- while Archie finds his own romance.
The feel of this story is a bit of 1950s Hollywood noir meets Agatha Christie's closed room English murder mysteries. (Perhaps even reminiscent of Tey's novels but I've never read them.) While I can't wholly endorse this one as a standalone I do think those who are interested in Hitchcock will enjoy this one and could read it outside of the series. Upson has done personal interviews with those who knew Hitchcock and this novel is full of gossip-y tidbits about what the man was like, his gifted wife Alma Reville, and what on-set life was like with the famed director. The insight into the British film industry in the 1930s was also fascinating. Upson shifts from character to character which is both fun -- you see the whole story unfold -- but also slightly maddening, as I wanted very much to just settle down with Tey and know exactly what she's thinking and feeling!
I finished this one quickly -- it reads fast -- and I will admit to being panicked that this was the last Tey novel Upson had planned. Thankfully, her website says one will be coming out at the end of this summer. (Whew!) I know there are many novels set during this era, but what I enjoy about Upson's series is her heroine -- this smart, chic, pragmatic author -- and the setting -- the eve of World War II, in a way, Britain in the years leading up to the war. There's a mix of glamor and grit I find appealing and as I mentioned before, a lingering sort of melancholy I can't resist.
(Also, this book introduced me to HarperCollins' new mystery imprint, Bourbon Street Books. They'll be re-iussing the Lord Peter Wimsey books by Dorothy L. Sayers!)(less)
So, I went into this knowing it was a Tudor book (featuring Elizabeth), but so many people swear by Byrd's novels I decided to give it a go. What I di...moreSo, I went into this knowing it was a Tudor book (featuring Elizabeth), but so many people swear by Byrd's novels I decided to give it a go. What I didn't realize until I got my galley was that this is a Howard Book release. (Howard Books is Simon & Schuster's faith-based imprint and belongs to the Evangelical Christian Publishers Association.) So I must confess I was immediately apprehensive, being not Christian and not inclined toward inspirational fiction.
My apprehension was unnecessary.
I had a great time with this book -- it read fast, was plotty, well-written, and just the diversion I needed. I'm definitely a Sandra Byrd fan right now and will have to be less snobbish about some inspirational fiction!
Byrd tells the story of Elizabeth I's court through the eyes of a Swedish courtier, Elin von Snakenborg, who later becomes Helena, Marchioness of Northampton, the highest ranked woman in England after the Queen. At seventeen, Elin leaves Sweden aware that her charismatic sister and her fiance are liking having a fling, and spends the next ten months -- ten months! -- sailing to get to England. Upon arriving in England, Elin's only friend is William Parr, 1st Marquess of Northampton, an older widower who is taken with her. Hungry for family, chilled by the English courtiers, Elin's situation changes when she's allowed to stay in England to wed Parr after the Swedish delegation departs. But once her countrymen are gone, she learns the widower Parr isn't marriageable: his first wife still lives, and the courts can't decide if his marriage is legal or not.
Resolute -- more resolute that I would have been! -- Elin adopts a more English name, Helena, and uses her skills in herbal medicine to impress Elizabeth. As she slowly gains Elizabeth's friendship, Elin finally marries but learns what the spark of true passion is like. She's witness to the greatest upheavals and personalities in Elizabeth's court, and is even party to one or two scandals.
Even though this is a novel of court life, Elin's less ambitious nature made her a comfortable guide for me. Observant, loyal, and well-placed (no need for intrigue and shenanigans!), Elin could have been just a little too perfect but came off rather darling, and I admit, I was smitten. Byrd's Elizabeth is shown in her complicated glory, mercurial and moody, and court life exhilarating and exhausting.
Faith and religion certainly showed up in this story, but the context and use of it in the story fit. Religion, and the state of one's soul, was certainly on everyone's minds during this time, and the appearance of prayers and Bible snippets felt appropriate, in character, and unobtrusive. The theme of faith -- having faith in one's family, especially -- was echoed throughout the story, both in Elin's personal life as well as Elizabeth's.
There's no sex in this book (unless lightly mentioned among married folk) so it could be a 'clean' novel but that certainly didn't diminish any excitement in the story nor take away from the romance. (If you've got a young or teen reader chomping at the bit to read 'adult' historical novels, consider this one.)
There are tons of extras in this one: pages of family trees to help with lineages and familial connections, a meaty Afterword where Byrd shares what is historical, conjecture, and her own invention, a reading group guide, and a wonderful interview with her.
Recommended for Tudor fans as Elin's story is fascinating and almost unbelievable; for those who might be Tudor'd out, consider this one if you a novel that touches on that world of religion and intrigue without getting mired in it. (less)
I loved everything about this book. The plot, the places, the people (oh, the people!), the mood, the drama -- everything. I'm not even sure where to...moreI loved everything about this book. The plot, the places, the people (oh, the people!), the mood, the drama -- everything. I'm not even sure where to start with this gush-fest!
Blackadder's novel grew out of her research into her surname, and while normally family-inspired novels give me the gibblies, in this case, we all win. The historical Blackadders have a story straight out of an opera or Gothic tale: widow violently married off to a vicious noble, evil stepfather marries her daughters to his brothers, and subsequent Blackadders are all murdered before they can foment rebellion against him. In this climate, surviving Blackadder William is re-invented as a merchant sea captain and his daughter Alison -- the Blackadder heir -- is transformed into his nephew, Robert Blackadder.
The novel opens in 1561, with Alison-as-Robert on the ship that is bringing Mary Stuart aka Mary, Queen of Scots, to Scotland. Although Alison has grown used to living life as a boy, her father believes they can better push their cause if Alison becomes one of Mary's ladies-in-waiting, and Alison finds herself away from the comfortable identity (and clothes) she's familiar with and struggling to embody a sophisticated lady at court.
What could be a simple story of a girl-who-dresses-like-a-boy shenanigans -- a little sapphic longing, lots of court drama -- is actually a rather meaty, dense, and evocative historical novel of Mary Stuart's court and a woman's confusing place in it. When Alison's skill at passing for a boy is discovered, it becomes her greatest asset and one that grants her unusual access and power -- and of course, increased danger. While Alison's father is driven to reclaim Blackadder Castle, Alison finds herself more drawn to her Robert persona and all it entails -- right down to romance with women.
Blackadder (the author) created a fantastic main character in Alison/Robert -- I was there, from the first page to the last -- and I fell in love with the world she evoked. Royal court hist fic is not a favorite of mine, but through Alison/Robert, the reader sees a more robust view of 16th century Scotland -- the court and the life of the non-nobles. Being unfamiliar with this era, I can't say how accurate the events are represented, but in terms of pacing, narrative arc, and character development, I was immersed. I didn't want this book to end.(less)
Audra (Unabridged Chick)
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