I've been wanting to read more fiction set in Ancient Greece and, having already read Emily Hauser’s first novel, For the Most Beautiful, I was sure tI've been wanting to read more fiction set in Ancient Greece and, having already read Emily Hauser’s first novel, For the Most Beautiful, I was sure that her second, For the Winner, would be a good choice! Hauser’s two books retell stories from Greek mythology from a female perspective – in For the Most Beautiful we see the events of the Trojan War unfold through the eyes of Krisayis and Briseis; For the Winner reimagines the story of Jason and the Argonauts with a focus on Atalanta, another lesser-known woman of the time. The books are part of a planned trilogy – the Golden Apple trilogy – but can be read in any order.
Abandoned on a mountain as a baby, Atalanta is rescued by a peasant and his wife who raise her as their own child. Growing up unaware of her true parentage, there are hints that Atalanta is destined for something special: by the time she is a teenager she has taught herself to hunt, to run with extraordinary speed and to use a bow and arrow with breathtaking skill. And then, one day, she learns the truth: the father who had left her to die on Mount Pelion was King Iasus of Pagasae.
To prove herself to her father, Atalanta decides to join the group of Greek heroes who are preparing for a voyage to the faraway land of Colchis in search of the legendary Golden Fleece. The quest will be led by the King’s nephew, Jason, whose reward for returning with the Fleece will be the kingdom of Pagasae itself – the kingdom Atalanta believes is rightfully hers. Can she win a place on board the Argo and find the Golden Fleece before Jason does?
I loved For the Winner. For the Most Beautiful was an enjoyable read too, but I thought this one was better – there were none of the little problems I remember experiencing with the other book. The biggest improvement was with the scenes depicting the Greek gods and goddesses looking down on the world from Mount Olympus, interfering and intervening in human affairs and arguing amongst themselves. With Zeus taking Atalanta’s side and Hera doing whatever she can to help Jason, I was particularly interested in the role of Iris, whose feelings and motives are less clear. The gods really added something special to the story this time and I looked forward to their appearances rather than finding them irritating as I did in the previous novel.
Although, as I’ve admitted before, my knowledge of Greek myth is quite limited, I was already familiar with the story of Jason and the Argonauts (and also have vague memories of watching the 1963 film version, years ago). However, the story told in this novel is very different, bringing in other characters and elements and mixing them together to create something new and original. Choosing to write from Atalanta’s perspective was a great decision because she is such a wonderful character. I loved following her adventures, but I don’t want to say too much more about her or give away too many details of her story! There were other characters I came to care about too, particularly Atalanta’s friend Myrtessa – and one of the men from the Argo who becomes the novel’s love interest. Jason, on the other hand, is portrayed as cruel, arrogant and completely unlikeable, but his rivalry with our heroine is what drives the plot forward.
I think what I appreciated most about For the Winner, though, was the way it explores the question of choice and free will – and how each of us has the power to defy fate and control our own destiny. Now I’m looking forward to the third book in the trilogy and am curious to see which Greek myth Emily Hauser tackles next....more
You know when you can tell as soon as you start reading that you’re going to enjoy a book? That’s how I felt about Soot, Andrew Martin’s new historicaYou know when you can tell as soon as you start reading that you’re going to enjoy a book? That’s how I felt about Soot, Andrew Martin’s new historical mystery set in 18th century York. The plot, the characters, the atmosphere, the writing style…I loved them all!
Let’s start with the plot, then. In August 1798, Matthew Harvey, a painter of silhouettes, is found dead – stabbed with his own scissors – in his house in Coney Street, York. Assuming that suicide can be ruled out, the only suspects are the six sitters who visited him during the previous week. The problem is, the page on which Harvey recorded their names has been torn out of his ledger, so that the only remaining clues are Harvey’s private duplicates of the silhouettes – or ‘shades’, as they are known.
Fletcher Rigge, a young gentleman who has found himself in financial difficulties, has spent three months in debtors’ prison in York Castle when he is approached by Captain Harvey, the silhouette-maker’s son. The Captain makes him an offer he can’t refuse: he will arrange Rigge’s release from prison, on the condition that Rigge can identify the people in the shades and help to track down the murderer. Rigge has previously used his detection skills to locate a missing book while working at Skelton’s Bookshop – this is what brought him to the Captain’s attention – but finding a killer could prove to be somewhat more difficult than finding a book…
As Rigge attempts to trace the people in the silhouettes, his search brings him into contact with a variety of colourful characters, including the clever and resourceful Maria Sampson, the temperamental young actor Jeremiah Smith – and my favourite, the London-based author Samuel Gowers, a proud, pompous man with an unfortunately large nose which lends itself to some comic scenes à la Cyrano de Bergerac. Rigge himself is another intriguing character, described at the beginning as having ‘a lowness of spirits, offset by a mordant wit and a prideful obstinacy’. Due to the structure of the book (more on that shortly) I was never quite sure exactly how reliable his narration was, but I did end up liking him and enjoyed accompanying him on his travels around York and beyond.
Georgian York provides a wonderfully atmospheric setting for the novel, particularly when covered in a blanket of snow (Rigge’s investigations take place in winter). From the slums of First Water Lane, home to Captain Harvey, to the Theatre Royal, the Black Swan coaching inn and the elegant townhouse belonging to one of the suspects, everything is vividly described. The language used in the book is appropriate for the 18th century too; I could tell the author had taken a lot of care to try to choose the right words and turns of phrase. This is particularly important because the book is presented as a collection of authentic documents gathered together by attorney-at-law Mr Erskine and sent to the Chief Magistrate of York.
Most of the novel is in the form of extracts taken from Fletcher Rigge’s own diary, but there are also diary entries written by Captain Harvey’s mistress Esther, newpaper reports, interviews with witnesses conducted by Erskine’s clerk, Mr Bright, and commentary from Erskine himself. Andrew Martin uses this structure very effectively to keep the reader guessing and wondering which accounts are reliable and which are not. The solution to the mystery is certainly not as black and white as Matthew Harvey’s shades!
Soot is a great book. At first Fletcher Rigge’s story reminded me of Thomas Hawkins’ in The Devil in the Marshalsea, but it quickly developed into something different and I thoroughly enjoyed every moment of it. Now I’m hoping for a sequel! ...more
What is the Essex Serpent? A magical beast? A wonder of science? A judgement from God? William Ransome, vicar of the parish of Aldwinter, where the leWhat is the Essex Serpent? A magical beast? A wonder of science? A judgement from God? William Ransome, vicar of the parish of Aldwinter, where the legendary serpent is said to have been sighted, is reluctant to give any credence at all to the rumours, viewing them as a distraction from the religious faith he is trying to instil in his parishioners. Cora Seaborne, however, is fascinated by tales of the fearsome sea monster lurking in the marshes of Essex, stealing away livestock and claiming human lives. Unusually for a woman in 1893, Cora is an amateur naturalist, with a particular interest in the work of the fossil collector Mary Anning. When she hears of the Essex Serpent, she wonders whether it could be an undiscovered species – or some sort of dinosaur?
Cora will have plenty of opportunities to test her theories and investigate further; having been recently widowed, she and her son Francis have moved from London to Colchester in Essex. It is on a visit to nearby Aldwinter that she meets William Ransome. Although their views are very different – not just on the serpent, but also on science, religion, and just about everything else – the two find themselves drawn together and a friendship begins to develop; a friendship which could become something more, if it wasn’t for the fact that Will is already married and that his wife, Stella, is dying of tuberculosis.
Although it is the relationship between Cora and William which drives the novel forward, there are many other subplots involving a large number of other characters. There’s Cora’s companion Martha, for example, a socialist who is campaigning to improve the living conditions of London’s poorest people, and Luke Garrett, a surgeon who closely follows all the latest advances in medicine and is itching for an opportunity to try them out for himself. A lot of time is also devoted to Francis, a serious, solitary boy who would probably be diagnosed today with a form of autism, and to Stella who, as her health declines, develops an obsession with collecting anything blue. I couldn’t help feeling, at times, that Sarah Perry was trying to do too much – trying to include every possible social issue of the 19th century – but on the whole I thought this was a fascinating, intelligent novel, with ideas spilling out of every page.
The Essex Serpent is one of those novels which is not only set in the Victorian era, but also attempts to capture the tone and style of a Victorian novel – while at the same time, being written in the modern day, bringing a new perspective to topics and themes which Victorian authors had less freedom to explore. The French Lieutenant’s Woman by John Fowles is a good comparison – although I have to say I enjoyed this book a lot more than Fowles’. I thought Sarah Perry’s writing was excellent, especially her descriptions of the landscape and the natural world, but occasionally her choice of language (particularly the use of contractions such as I’d’ve and shouldn’t’ve) pulled me out of the 19th century world she had otherwise so carefully created.
The criticisms I have of this book, though, are just minor ones; overall I was very impressed and can certainly understand why it has been so popular and so successful. It’s also nice to find a book that lives up to the promise of its beautiful cover! ...more
Despite enjoying two of Emma Donoghue’s previous books – Room and Frog Music – this latest novel about a girl in 19th century Ireland who stops eatingDespite enjoying two of Emma Donoghue’s previous books – Room and Frog Music – this latest novel about a girl in 19th century Ireland who stops eating didn’t appeal to me when it was published last year. It was only when I picked it up in the library a few weeks ago that I thought ‘actually, this does sound good’ – and with such a beautiful cover, how could I resist? And as it turned out, this is my favourite of the three Donoghue books I’ve read so far.
The Wonder is set in a small community in rural Ireland during just two weeks in 1859. Lib Wright, an English nurse who worked with Florence Nightingale in the Crimean War, arrives in the village to start a new job, knowing nothing about the position she has accepted except that her services will only be required for fourteen days. She is surprised to discover that her patient is an eleven-year-old girl, Anna O’Donnell, and that her task is not to nurse but to watch and observe.
Anna’s parents insist that their daughter has eaten nothing at all since her birthday four months ago and exists purely on prayer and faith. Lib is sceptical, but it seems that most people in the O’Donnells’ village – including the local priest and Anna’s elderly doctor – are happy to believe the claims. News of the girl’s amazing achievement has spread far and wide and visitors are arriving from all over Ireland to see ‘the Wonder’ for themselves. To prove whether or not Anna is a fraud, Lib and another woman – Sister Michael, a nun – have been appointed by a committee to take turns watching over Anna all day and night for the next two weeks.
Lib expects to get to the bottom of this mystery very quickly. Anna looks so healthy and full of life, it seems obvious that someone must be providing her with secret supplies of food – all Lib needs to do is keep her wits about her and ensure that she and Sister Michael never let the girl out of their sight. After a few days, however, she’s not so sure. Is Anna really the saint the villagers believe her to be? Is it all an elaborate hoax? Or could something more sinister be going on – and if Lib decides Anna is in danger, at what point should she try to intervene?
Like The Good People by Hannah Kent, another book set in 19th century Ireland, this is a fascinating exploration of the harm that can be done, often unintentionally, by superstition and a lack of understanding and the basic knowledge we take for granted today. In addition to this, there’s the hugely influential role of the Catholic Church, such a large part of everyday life for many Irish people in the 1850s, which Lib Wright – as an Englishwoman who has had her own faith driven out of her by her experiences in the Crimea – finds very frustrating; it seems incomprehensible to her that so many people are ready to accept that Anna O’Donnell is a living miracle when science suggests that there must be a more logical explanation. Anna’s situation is often quite sad and harrowing to read about and I desperately hoped her story would have a happy ending.
I was curious to know whether The Wonder was based on a true story, as the other Emma Donoghue books I’ve read were, but on reading the author’s note at the end it seems that although it is inspired by tales of Victorian ‘fasting girls’, it is not based on one particular case and is a fictional story.
The mystery element of the novel is very strong and at first the reader is as confused as Lib. Anna doesn’t appear to be a starving child, so she must be getting food from somewhere – but who is giving it to her and how? As the novel progresses and we learn more about the O’Donnell family and the community in which they live, other questions are raised. I was able to put enough of the clues and hints together to form a theory as to what was happening, but I was still completely gripped, waiting for Lib to uncover the truth. I thought The Wonder was…well, wonderful. Highly recommended!...more