Heather Henson, Dream of Night (Atheneum, 2010)
Full disclosure: this book was provided me free of charge by Amazon Vine.
I had to spend some time thinking about this one after I read it. It has its faults, true, and looked at from the standpoint of “this is a book”, without any thought to the author's stylistic motives, it's not as good as Henson's That Book Woman. But I think there's more to it than that, and I think the more there is to it, ultimately, makes a lot of the book's flaws excusable, if not put there to underline Henson's stylistic decisions about the book. Does any of that make any sense at all? Probably not. Bear with me, we'll get there.
Plot: the story revolves around three main characters, two humans and a horse. Dream of Night is the horse, a retired (not officially, one thinks) Thoroughbred who suffered horrific abuse before being part of a group of rescues. He's taken in by Jess, the older of our human participants, a horsewoman with a painful past who has no illusions about the fact that she's getting too old for taking in rescue horses—or rescue children, for that matter, like twelve-year-old Shiloh, for whom Jess' farm is her last chance before the group home. Each chapter has three sections, each narrated by one of the participants, which gives us a well-rounded overview of the situation.
But an overview it is, and this is the book's biggest weakness. Henson takes no time at all to explore the idea of subtlety with her conceit; in fact, it's writ large from the jacket copy on in. She often goes into as little detail as possible, giving the reader just enough to get the basics before moving on to plot advancement. If you're a reader who's big on really getting to know your characters and the space in which they move, you may have some problems with this. But, with that said, I finished the book in one sitting (well, two, I took a break for dinner), and that's the part that got me thinking about Henson's stylistic choices, etc. I think Henson designed this book to be read in a single sitting. And if that's the case, suddenly a lot of the book's shortfalls make sense, at least within that framework. Books with lots of characterization outside the plot, description, etc. are meant to be savored over multiple sessions, put down and mulled over after one hits a particularly well-written passage or what have you. This, on the other hand, shifts all of its characterization to plot advancement (which makes the characterization that IS there pretty impressive, though there are some abrupt shifts in character that could maybe have been better foreshadowed, especially in Shiloh's case), all the description to what three generally-harried characters are going to see, which isn't much. It's a pretty low trick, when it comes right down to it, but given the finished product, it's a trick that works, and works well. It's solid, it's enjoyable, and it's an interesting experiment. *** ½