It’s late on a stormy night when Elena, the heroine of Kirsten Arcadio’s novel, Borderliners, sets out for an unexplained rendezvous with a woman at a barn. The barn turns out to be sort of a flea market selling New Age merchandise and the woman turns out to be dead, evidently by suicide by an overdoes of drugs. Why this woman wanted Elena to meet her, how she planned to be dead when Elena arrived, and the significance of the location of the body is never fully explained – ever.
Borderliners has potential, a psychologist relocates to a small village and when four of her patients, all involved with a cult-like Charismatic Community, commit suicide she decides to investigate. Unfortunately, this feasible storyline is hampered by poor writing.
Arcadios characters are thin and one dimensional. Julia, the antagonist and cult leader, is depicted as rude and nasty, her husband, Iain, is just plain weird and has bad breath. Yet they are somehow charismatic enough to attract dozens of followers to their movement. Some research into cults and charismatic leaders and how they attract, control and hold their members would have served the author well.
The plot is hampered long passages from a ‘dream journal’, extensive musings about the interpretation of Tarot cards, dialogue between characters about comparative religions, and info dumps of backstory that are unmotivated and unnecessary. Though some of this information is interesting and appears to be an area of expertise for the author it does little to advance the plot or develop character. Indeed, some chapters are of so little significance they could be eliminated altogether.
Important plot points, when they do occur, are convoluted and unbelievable. In one case the antagonist comes out of her house, which is next door to the protagonist’s, and proceeds to have a sensitive and revealing conversation on a cordless telephone in her front yard, which the protagonist just happens to hear.
Plot glitches confuse and frustrate the reader. Early in the story Elena, the heroine, describes her mother’s response when it is revealed her daughter is clairvoyant as follows:
This only sent my mother into even greater turmoil, and rather than stopping my treatment, she intensified it.
However, when this is discussed later in the story she says:
My mother, instead, had understood.
Small thing? Maybe but it goes to author credibility. As does this rationalization; though Elena’s home is burglarized, items are stolen, threats are received, and finally she is assaulted, she reports none of this to the police. When asked why she hasn’t reported these crimes, her response is “I don’t do police.”
The author describes actions that while are seemingly impossible are entertaining. Consider;
"I lunged over to put two fingers against her neck. No pulse. Dialing 999 with one hand, I wrenched open her mouth and shoved my ear down to her face. Nothing."
How do you punch numbers into a cell phone while wrenching open an unconscious person’s mouth with the other and at the same time “shoving” your ear down to her face?
Or, what exactly is being considered in this passage:
"I bit the top of my thumbnail off as I considered this, ripping a sliver of skin out from under it. I sighed. Although it was nearly lunchtime I wasn’t hungry. It was a long time since I’d felt much like eating anything for pleasure."
When hungry, does the character eat her thumbnails for pleasure?
Here’s my favorite. The character asks;
‘Let’s have a show of hands shall we? How many people from this community have taken their own lives in the last ten years or so?’
Much of writing is craft. Craft takes practice – lots of practice. The author and the work would have been better served by critiques from beta readers and the services of a good editor before rushing to publication.
I received this book free from Story Cartel in return for a honest review.