C. (Comment, never msg).’s Comments (group member since Jan 30, 2014)

C. (Comment, never msg).’s comments from the Gentle SPECTRUMS group.

We'll see what you say. My concern now is that a few have said 'this is better than "Rebecca"'. That isn't good news, if it means even more subtle, even less suspenseful. Now now, I stave off any debate that "My Cousin Rachel" isn't with plenty of merits but it wasn't the big-assed nail-biting mystery it was built up to be. I read Maeve Binchy and general fiction for character sketches. Our guesses made more heart-pounding plots! That bodes well for a future in writing. ;) However the end is a very worthy discussion and I for one look forward to it.

Eek, what an ending. Other than confirming Rachel is Rachel, there's no satisfaction about anything. Margaret and Leslie may have all their say, when she joins us in completion. Diane and others are welcome. I sought a bold, action-packed mystery. This hardly rose above subtleness. However I praise the author's adeptness at sketching people and emotion.

I leave this at four stars, for the reason Leslie's review gave five stars. For me, the conclusion is inappropriately unfulfilling, after being towed through such a languid pace. Had the trajectory been heart-pounding or eerie at all; a sanguine, shrugging, "who knows?" might have been okay. I didn't feel my investment repaid me. I enjoyed the talent within and my stars honour that. Carolyn.

Plot wise: a few items I'd like to catch up before finishing the novel shortly. I'm set to start chapter 25. I completely understand the compulsion to respect mail as Leslie describes but don't believe that's what stayed his hand. Burning evidence, giving money to someone about whom he's seen cause for misgivings; he is plainly an uncautious and somewhat stupid person. I disagree only the reader had reason for suspicion by that time; he had already been to Florence, met the evasive Rainaldo, seen the villa, and had Ambrose's two desperate letters. Better giving into his testosterone, he was convinced something was amiss despite everyone else's protests. However the outgoing letter would have been in Italian.

Something snapped into recall a while ago, just before or as soon as Ambrose's third letter is read. From the beginning Rachel consulted with their cooks about spices. Harmless at the time, it dawns on us that should she begin to poison anyone months later; no one would think anything of her being in the kitchen. She was slow and strategic, possibly paving the way for plausibility whether she decided to act or not. Do you get my drift? I believe the same happened with Ambrose. He was sick so long, sporadically, that when she decided she would kill; it was easily attributed to an observable length of diminished health.

We find Philip has the same trees he saw in the Florence villa. His farmer said the briefly blooming bulbs are fatal. Thus I submit: Rachel is first driven to make somebody begin to appear ill, even if her worry seems genuine. It creates an alibi, should she decide to be drastic and.... use a tree bulb to finish them off. I could kill Philip for destroying a letter yet again, declaring his symptoms didn't resemble those of Ambrose's father. It is also obvious that Rachel did understand the proposal on Philip's birthday eve. The next morning, when she learned of the will's clause stating she loses control the minute she marries.... suddenly she pretends Philip misunderstood.

July 17, 2009: Ron & Carolyn in a region of TRURO, CORNWALL

Philip lived a ways from Plymouth, where I posed but I'm so pleased to show a memento of having been to some locations of a novel! He mentions Truro being nearer his town, which is where I stayed. I'm pleased I aptly conveyed how WET things get. That is when there are a couple days of rain. Not all of the time or who indeed would have books? My videocamera got so moist we left the digital tape drawer open over the fireplace for the night. An error message seldom seen I'm sure! But I walked everywhere with it, rain or not.

I saw Cornwall during a downpour. When dry, most think of a semi-tropical place abounded with flowers. It has one of England's two seal rescue sanctuaries. I have to tell you, as an animal rights activist, what an honour to meet a creature whom I defend. The ruins allegedly of King Arthur's castle are at the far west of Cornwall: "Tintagel". A freaking steep climb all the way from the quaint town. And for the first time in my life, I went up INSIDE a lighthouse. There's a photo of my fiancé & I in the Truro region of our hostess, at a water slipway, which might more closely represent where Philip lived... and skinnydipped. Q;-)=

I'm plodding through chapter 23. I agree Rainaldi has been a lover. I wondered about a child. However I believe you've reached the admission that she can't bear future pregnancies. If she bore a baby before the failed pregnancy, I doubt she could be apart from it; including while living with Ambrose.

That's a really good idea about the second dueller! Why dismiss two husbands, or bother with the second husband, if Rainaldi has money? He gave it to her frequently. But I did feel the money transfer must be to him, even if for repayment.

I had high expectations of reading last night and didn't do it one stitch after all, so I'm glad you're going to write more. I'd love your reaction to the memorable and topical photograph I share here! :)

Hi Margaret! Carolyn here. The nickname's cute. I'm at chapter 23 and think I'm wrong. But you saw the way I got up early, bursting with ideas and had to brainstorm those suppositions out for you! I hope there's a twist because nothing is mysterious or disturbing (except some of Philip's behaviour). The beggar eyes might speak to the hard times and desperation for money in which she was raised. By the way, I saw that her Dad died but don't recall them saying her Mom did; merely gained weight. However there is no one else involved so far except one visitor, who has gone.

I don't happen to own "Rebecca". I hope a booming revelation isn't left to the end, feeling 'too little too late'. The course has been very sedate; merely adding a few puzzles. *I* made more out of them this morning than there might be. It's well written and all that but I expect an eerie story. Not yet....

I hope you like my portrait at Plymouth. Sharing that personal tidbit must get comments! :) In another thread, I laid out unopened treasures as promised: authors I have a *lot* by but didn't try yet. There's also a spot mentioning books I need that I wonder if you have a spare of. I have a list of spares for trading or as challenge prizes. Diane will be coming. Let the others know it isn't too late to compare notes about "My Cousin Rachel" and "Sea Jade" here, even if soem of us have finished one or the other. A good Friday to all!

If these guesses hit their mark, that leaves us with identifying the small-handed, short person visiting. I suggest she was one of the help Ambrose dismissed. We heard he let everyone go except Guiseppe. She had to have lived with them long enough to hear those stories about his life. Or we find them written down in 'cousin Rachel's' suitcase, along with more than gardening floor plans ~ we'll see. What if the imposter were their former gardener? A live-in worker would recognize Ambrose's clothes but we would have to explain how an imposter has Ambrose's effects. However it is Philip who reacted to the nightshirt and slippers, not necessarily her. She might learn of Ambrose's death after being fired, find out the widow's plans, and get rid of her before she boards the boat (with his stuff). Rainaldo is a likely informant. Did anyone find it odd that she went overseas with only two mourning dresses? This is educated guessing but it's fun to let the theories out to fellow readers, whether or not they're correct. I can't wait to see other theories.

I have one more, in place of a former gardener or worker as an imposter. The history of Rachel's mother and first husband had an odd feel too. Did it seem weird that anyone would be comfortable waiting for a beau to choose between your mother or you? She said the lady lost her looks so he chose her. Ambrose wouldn't care about such things. What if the mother was his wife and Philip is meeting her daughter!? A less plausible guess because Ambrose didn't mention a daughter. But he didn't mention age or a description, in the letters that reached Philip. Something's off about the mother somewhere. She is described as tall and looking nothing like our visitor. Philip asked if her parents were alive but I don't think she said her mother was dead. I'm the queen of people not answering all of my questions! ;-) I wish Philip hadn't destroyed the three pieces of evidence that Ambrose found something amiss, should he involve the police or court, or need to present proof.

We were glad Philip went to Italy, so he would see *something*. We are surprised the aids / caretakers report a devoted wife. If unpleasantness was hidden from Guiseppe, we don't know. It's clear a culprit needn't fear their report of the marriage. What DID 'Rachel' fear when she gasped at the news that Philip visited personally? A comment about how Rachel looked? I even venture to say the real Rachel was alive and well the day before Philip got to town because his visitor gasped at the timing of the dates even more strongly. What if he came that close to seeing the real Rachel? At Rainaldo's house, or walking in the street?

There's something about how Philip closely resembles Ambrose. Might they have worried the real Rachel would recognize him!? I say Philip did glean valuable clues in Italy, in the shape of foreshadowing or hints for a reader. What about that dog streaming in the muddy river? Is that where the real Rachel was easily concealed? The comment that his visiting cousin looks older than 35. Not wishing to visit her relatives in Cornwall. Yet she spoke of family being important, which is how she explains paying sharp attention to Ambrose's stories, right down to recognizing Don. How the dog arrived for Philip's birthday as a child. She said she "could go about the place blindfolded". Who says that? She memorized too much and demonstrates her ability for it, when she describes devouring gardening books to learn the craft. She also asked Philip for a list of his etiquette rules, to study it! Not caring if she saw house unless Philip wanted her to, was a sour note for me. We can say she was being polite. But if she was in love with details of Ambrose's life as she claims and lost the husband with whom she meant to return: wouldn't you ask if you could please see it? Even while inserting politeness about not wishing to bother anyone; I couldn't travel that close and not meet the key characters and homestead. Also notice, she jokes that she might consider Philip's Godfather a new husband 'if it came to it'. He's the other controlling partner of the estate. That teasing about other girls, is to see if she has him hooked. As for doctor's signatures on a certificate: Rainaldo hired one of his own, that Ambrose rejects - in life. Surely Rachel or this poseur found out all about Uncle Philip's brain tumor (Ambrose's father) and it made a believable diagnosis.

I have an epiphany. I haven't read past chapter 16 since last night. I've gotten out of bed because I've mulled things over and am glad for a place to share! I knew a status box wouldn't do. You said "We else does one expect of the person who wrote 'Rebecca'?" This is my first time seeing anything to do with Daphne Du Maurier; not even the film 'The Birds'. Instincts, guesses, are based on what I've read so far, with no other knowledge. Bits & pieces from early on appear to be clues. At first: the narrator and tone indicate a terrible situation occurred. Then we launch into a novel that has been pleasant and still is, halfway through. We only recall that the intro described a change. When Philip stated Rachel isn't who he had begun hating, I think he was literally right.

I propose the visitor isn't Rachel! Ado was made of small hands and short build, setting us up to recognize information that comes to light later. Maybe unmailed letters turn up, or another stashed away rough draft; with one detail that raises a flag. Because much ado was also made: that Philip was never told how Rachel looked! Here are out of tune notes I dismissed invididually. As a whole.... I'm going to go back to bed and read more but wanted to share what came to mind, while still at chapter 16. What do you make of the following?

I hadn't come to Louise when her affection was noted but I'm sure it would have occurred and Rachel bugs Philip about it soon enough. Her protesting of the allowance and saying she wished to stay on but ought not; if she falling for him or worried, with mature disapproval, her young stepson is falling for her?

She is indeed easy to like by the reader and at her early introduction, I rather thought she made a calculated point of engratiating herself to the household and such. But just to assure ourselves that she is above board, I for one would have looked at her letter to Rainaldo in the out-going mailbag. If you're protecting yourself, obtaining the truth once and for all, it is no longer a matter of privacy or propriety respected. I'm sure every reader kicks themself that Philip didn't peer inside her envelope.

Thank you, Leslie. I thought everyone would find it as awesome as I, that I have been to the very places of this novel. There was no joke that a medical problem aversed to rain would be deadly in Cornwall; I've seen nothing like it. It infiltrates the air so much, you can't keep a piece of paper in the house. There was something strong, poignant about Plymouth, even merely passing through it because we knew we must.

I am most of the way through chapter 16, past where you were last. Margaret, speak your piece fully from top to bottom. You've seen what I had to say so far and I welcome elaboration.

Consult a southern England map. "Are we there yet?" is how Ron & I felt. It was another hour or two to our Cornish destination. I requested a stop "because something was familiar about 'Plymouth'; we ought to see it". It must be known: we had driven *ourselves* (on the wrong side of the road) from Chelmsford, Essex. We spent a night in Somerset, near Stonehenge.

My goal tonight is to read past Margaret and let her speak. I believe the matching Italian beggar gaze means something. There's something, about me, I don't suppose you ladies know? I've been to Cornwall and Plymouth specifically! Stand by for a photo.

I need to stretch to chapter 12 this evening but have finished 8. That closing observation about Rachel's eyes, whom we just met, being the same type and having the same look as the Italian beggar Philip passed... this is significant. How are you liking the writing style? Keen, eloquent, sensitive descriptions but abreast of enough movement that the story isn't bogged down. Another thought: a person can't be all bad if the family pets like her.

After exercising our cats for the morning and eating my fill, I'm off to catch-up the chapters I said. Until then you're further ahead than I but my reaction is that Rachel was fingered, by him, via the legal system. Had he killed her, a different kind of guilt should have come across.

It appeared to be mostly by ship and that's what surprised me as being slow between England and Italy. I don't know when locomotives emerged but the industrial revolution occurred in Birmingham before North America.

If nothing else was said in the rest of the novel, this would be our clue. If you hadn't chased it up, I would find 1832 too recent for anyone to be strung 5 weeks. That feels medieval. So too England to Italy taking 3 weeks. It isn't as if they were coming to Canada.

KATHY REICHS, VICTORIA HOLT, TAMI HOAG, LORNA BARRETT, ISABELLE ALLENDE, NEVADA BARR, CAROL SHIELDS, GABRIEL GARCÍA MÁRQUEZ, MARGARET FRAZER, SIMON BRETT, MINETTE WALTERS, L.M. MONTGOMERY, C.S. LEWIS, NERO BLANC.

MARY HIGGINS CLARK, CAROLYN HAINES, KATE COLLINS, ELLEN CROSBY, LYDIA ADAMSON, SUE GRAFTON, ELLIS PETERS, PAUL DOHERTY, ALICE HOFFMAN, FERN MICHAELS, KRISTIN HANNAH, NOREEN WALD, P.D. JAMES, CHARLAINE HARRIS, LAUREN HANEY, ELIZABETH GEORGE, RITA MAE BROWN, PATRICIA CORNWALL, NORA ROBERTS, JOY FIELDING, DEAN KOONTZ, SUSAN CONANT