Wednesday, 5 April 2017

Review: 'Larchfield' by Polly Clark

Put together a poetess, a suffocating small town and a great poet's struggle with his homosexuality and you can have yourself a brilliant novel. However, you could also have a complete trainwreck, as an author tries to deal with too many topics at the same time. Thankfully Polly Clark weaves some beautiful magic in Larchfield, creating a novel that is both exhilarating and painful at the same time. Thanks to Quercus Books and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 23/03/2017
Publisher: Quercus Books
It’s early summer when a young poet, Dora Fielding, moves to Helensburgh on the west coast of Scotland and her hopes are first challenged. Newly married, pregnant, she’s excited by the prospect of a life that combines family and creativity. She thinks she knows what being a person, a wife, a mother, means. She is soon shown that she is wrong. As the battle begins for her very sense of self, Dora comes to find the realities of small town life suffocating, and, eventually, terrifying; until she finds a way to escape reality altogether. 
Another poet, she discovers, lived in Helensburgh once. Wystan H. Auden, brilliant and awkward at 24, with his first book of poetry published, should be embarking on success and society in London. Instead, in 1930, fleeing a broken engagement, he takes a teaching post at Larchfield School for boys where he is mocked for his Englishness and suspected - rightly - of homosexuality. Yet in this repressed limbo Wystan will fall in love for the first time, even as he fights his deepest fears. 
The need for human connection compels these two vulnerable outsiders to find each other and make a reality of their own that will save them both. Echoing the depths of Possession, the elegance of The Stranger's Child and the ingenuity of Longbourn, Larchfield is a beautiful and haunting novel about heroism - the unusual bravery that allows unusual people to go on living; to transcend banality and suffering with the power of their imagination.
At the beginning of this novel I have to admit something shameful. For an English Literature degree holder, I know woefully little about W.H. Auden. I knew he was gay, I had cried over his poem' Funeral Blues' in Four Weddings and a Funeral and have been meaning to read The Orators for a while. But I had never truly connected to him in the way I have to other poets. So when I found Larchfield I saw it as an opportunity to find my way towards Auden in a different way. And now, thanks to Polly Clark, there is a soft spot for Wystan in my heart, a connection to the sense of isolation and otherness that he felt, that echoes in his work. It's s great feat of Clark that she can bring someone like Auden into her novel without treating him as 'larger than life'. There is clear respect for him, but she doesn't hesitate to make him real, make him personal, flawed and thereby fascinating. She also doesn't sacrifice her own characters, Dora and Kit, for him, giving them as much time and personality throughout Larchfield. I found myself walking away from this novel really wanting to read more Auden, as well as return to Scotland, breathe sea air and connect.

At the centre of Larchfield sits Dora, a young woman, a poet, and new mother, who follows her husband to Helensburgh in the hope to start a new life that has everything. But Helensburgh is a small town, with means there are eyes everywhere, loyalties run deep and Christianity and motherhood are sticks to beat newcomers with. Clark paints the stifling closeness, the burden of expectations and the pressure of having to be, beautifully. The growing weight on Dora's shoulders, as she finds her world shrink to her house, then only to the safe spots where no one can hear her, and finally only to Wystan H. Auden. The pressures on Dora, her desperation to remain creative and productive, her fear of not being a good mother, her anger at her husband and her neighbours, and finally her helplessness at being confronted with the seemingly rigid world around her. All of it comes across very well and it all feels credible.They are recognisable burdens for many women and Clark manages to avoid the pitfalls that unfortunately comes from writing about women, avoiding many of the cliches and making Dora feel like a real woman. 

Clark lets the reader enter her characters' minds without forcing the characters to lay themselves bare. Dora's slow descent into utter unhappiness is so gradual and delicate that, although it doesn't come as a surprise, it still hits hard just how harsh it is. Larchfield is filled with characters that are troubled, that have burdens weighing on them, secrets to keep and fears to hide. Clark, by combining modern day Dora and past Auden, shows the continuing struggle of humans to feel included, to belong. Through Auden Clark is able to address the stigma that haunts homosexuals, both then and now, the crippling feeling of otherness and wrongness that pervades much of their lives. Through Dora Clark shows the pressures of modern day motherhood and womanhood, how nothing is every good enough and how the facade of happiness and perfection only deepens the cracks inside. 

I give this novel...
4 Universes!

I was completely taken in by Larchfield. Dora and Auden are wonderful characters that allow readers to join them on their journeys, even if only for a short while. There is both sadness and beauty to be found in Larchfield, and I think that's exactly how it's supposed to be. I'd recommend this to fans of Literary Fiction and Women's Fiction.

Wednesday, 22 March 2017

Review: 'The Beginning Woods' by Malcom McNeill

I love fairy tales and I love books about fairy tales. There is something about that whole mysterious world full of dark woods, dragons, princesses, talking frogs, wolves and witches that can fascinate me both as a child and an adult. So when I stumbled across a book that promised to delve into fairy tales in a very new and different way, I knew I had to pick it up and devour it. I'm talking, of course, about The Beginning Woods. It feels like a well-worn and trusted classic and yet is beautifully modern and complicated as well, which is a stunning combination. Thanks to Pushkin Press and Netgalley for providing me with a copy of this book in exchange for an honest review.


Pub. Date: 1/09/2016
Publisher: Pushkin Press

A MYSTERY NO ONE CAN SOLVE
The Vanishings started without warning. People disappearing into thin air - just piles of clothes left behind. Each day, thousands gone without a trace.
A BABY NO ONE WANTED
Max was abandoned in a bookshop and grows up haunted by memories of his parents. Only he can solve the mystery of the Vanishings.
A SECRET THAT COULD SAVE THE FUTURE
To find the answers, Max must leave this world and enter the Beginning Woods. A realm of magic and terror, life and death.
But can he bear the truth - or will is destroy him?
A STORY THAT WILL TAKE YOU TO ANOTHER WORLD
Greater than your dreams. Darker than your fears. Full of more wonder than you could ever desire. Welcome to the ineffable Beginning Woods...

Clocking in at almost 450 pages, The Beginning Woods is a chunk of a book, which likes to take its time. Some reviews of this novel have taken an issue with its "slow pace", while also complaining about being confused by the plot. These two criticisms surprise me because they feel antithetical to me. The Beginning Woods takes its time, at the beginning, setting up various different plot lines for the reader to become adjusted to before the major story takes off. Rather than jumping from dramatic scene to dramatic scene, McNeill actually lingers on his characters, allowing his readers to sink into them and their minds. This especially counts for Max, the young protagonist of the novel. We get to know Max slowly but surely in the first 100 pages or so, and this kind of pace can be, I guess, off-putting to some who prefer to be dropped straight into the action. But for a novel like The Beginning Woods, which has so much to give for those readers who pay close attention, this kind of pace is a boon because it allows the reader to relax into the prose, be inspired and transported by it. Although it is difficult to maintain this kind of magic over 400+ pages, but for most of The Beginning Woods McNeill manages to bewitch.

At the heart of The Beginning Woods lies the importance and power of words and dreams. The Vanishings that plague the world, the Beginning Woods, Max's quest for his parents, the beautiful fairy tale-esque stories intertwined with the main plot lines; all this comes together to impress upon the reader how important it is to dream. Max comes into the world alone and is haunted by the desire to find his real parents. As the world becomes more and more paranoid about the Vanishings, Max is drawn to the Beginning Woods which seems to hold more questions and only few answers. Max is supported by a very interesting mix of characters, both magical and normal. Through these side-characters McNeill is able to pose some of life's most difficult questions and formulate some potential answers for the reader to figure out. Choosing a teenage boy as a protagonist comes with the same kind of dangers as picking a teenage girl, there is a lot of internal angst to potentially deal with. At times Max's worries and actions can be a bit annoying, but this is also natural for such a long and complex novel.

McNeill's writing throughout the novel is stunning, which made it very hard for me to believe this is his first book. As the plot moves along, there are some absolutely stunning moments and images which are incredibly inspired. I often find myself disappointed in Fantasy authors who copy without adding any new life to the old material. In The Beginning Woods there are witches, dragons, giants and ghosts, but the reader meets them in a completely new guise. It is incredibly refreshing to read a Fantasy novel that isn't lazy, that goes beyond and tries to create truly new and different ideas for the genre. Although this kind of experimentation can also go wrong every once in a while, overall I think that The Beginning Woods is a tour-de-force of fantastical experimentation. The Beginning Woods also isn't afraid to go dark and deep, whether it is in reaimagining fairy tale staples or having Max confront his most inner dark secrets. It's the kind of Fantasy novel you feel would inspire children, to read and to dream, and that is one of the best things any book could ever do.

I give this novel...

5 Universes!

I really loved The Beginning Woods! Although there are lesser moments in the novel, overall it is a fascinating Fantasy novel that celebrates dreaming and imagining, reading and loving. I will most definitely be rereading this novel and trying to find a hardback to add to my Fantasy/Fairy Tale shelf. I'd recommend this to fans of both Fantasy and Young Adult.

Thursday, 16 March 2017

Review: 'Miranda and Caliban' by Jacqueline Carey

I didn't read The Tempest until I got to university, despite starting my love affair with Shakespeare years earlier! Unlike most of his other plays, I struggled with The Tempest a lot, confused about many of the characters, the storyline, etc. It took me a long time to develop an appreciation for the play, and up until a few days ago I would have counted it as one of my least favourite plays. And then Jacqueline Carey's Miranda and Caliban happened. Her novel has given me a whole new appreciation for the play, for the different themes playing under the surface and for Carey's excellent writing. Thanks to Macmillan-Tor/Forge and Netgalley for providing me with a copy of this book!

Pub. Date: Macmillan-Tor/Forge
Publisher: 14/02/2017

A lovely girl grows up in isolation where her father, a powerful magus, has spirited them to in order to keep them safe. 
We all know the tale of Prospero's quest for revenge, but what of Miranda? Or Caliban, the so-called savage Prospero chained to his will? 
In this incredible retelling of the fantastical tale, Jacqueline Carey shows readers the other side of the coin—the dutiful and tenderhearted Miranda, who loves her father but is terribly lonely. And Caliban, the strange and feral boy Prospero has bewitched to serve him. The two find solace and companionship in each other as Prospero weaves his magic and dreams of revenge. 
Always under Prospero’s jealous eye, Miranda and Caliban battle the dark, unknowable forces that bind them to the island even as the pangs of adolescence create a new awareness of each other and their doomed relationship. 
Miranda and Caliban is bestselling fantasy author Jacqueline Carey’s gorgeous retelling of The Tempest. With hypnotic prose and a wild imagination, Carey explores the themes of twisted love and unchecked power that lie at the heart of Shakespeare’s masterpiece, while serving up a fresh take on the play's iconic characters.
Adapting any classic piece of literature is a momentous task. You have to find a balance between honouring the original but also creating something new that holds up on its own. And then there is the enormous legacy that comes with someone like Shakespeare, whose name has almost become synonymous with literary excellence. I myself have often felt disparaging towards adaptations or retellings of my favourite books, since I have such an attachment to the originals. Often I have been surprised by how much I ended up loving the adaptations. Since The Tempest has always left me rather confused, I wasn't sure what to expect going into Miranda and Caliban. Would this be a straight up love story that ignores many of the issues thrown up in the play? Would the novel explore these characters in a way the play doesn't? In the end the novel completely blew me out of the water. Carey deals with the opposition between good and bad, ignorance and innocence, servitude and freedom, and brings it all together in a beautiful tragedy. For those fearing a love story, this is not a romance. Love is a part of this story, but there is much more to it.

For me the true power of Miranda and Caliban lies in how Carey liberates her two main characters from the characterisations they have been stuck in. In Shakespeare's play Miranda is very much a side-character to the Prospero-show, the kind of girl who is calm and quiet and falls in love with the first prince she sees. Caliban, on the other hand, is as close to the 'noble savage' archetype as a character can get. He is a monster, the child of a witch and a demon, and Shakespeare himself seems torn between representing him as an unjustly mistreated wretch and a cunning and sly opportunist. In Carey's Miranda and Caliban these two characters are fleshed out, given colour and life and motivations. The novel starts with a six-year old Miranda observing her father's magic, lonely on the island but aware there is a boy out there. When Caliban is lured into the house by Prospero's spells, the novel really takes off as Miranda becomes Caliban's teacher. As they grow up, they both start to strain against Prospero's tight hold over their lives and their realities, as well grow aware of each other and themselves in different ways. Carey really manages to evoke a sense of the loneliness and isolation of the island, as well as the conflicting forces pulling on both Miranda and Caliban. I want to just quickly go into some details regarding both of their characterisations.

Carey turns Miranda into a fully-fledged character. We get to witness her growing from child to woman, becoming more aware of the extent to which her father controls her whole life.  Whether it is her life before the island or the physical realities of becoming a woman, Miranda lives her life constantly in the dark, waiting for Prospero to declare her "ready". I have seen the word 'Stockholm-syndrome' floating around and in a way that does describe Miranda's relationship with her father rather well. She loves him, but that is because he is all she has. She tiptoes around him, yet hangs on his every word. By teaching Caliban, Miranda is given the chance to consider everything around her anew, to attempt to take control of her own life. Carey does the same for Caliban, imbuing his chapters with a painful awareness of his position. His chapters start out as three-word sentences, but as he learns more his chapters grow to become very insightful and beautiful. Carey addresses a lot of the themes that have made Caliban a controversial character. His origins are a point of contention for him, constantly being used to abuse him and put him down, as is his appearance. Carey's Caliban is a very deep and interesting character, who is full of emotions and conflict. As a reader you can't help but ache for both of these characters, who are so deprived and yet struggle to find silver linings.

Carey's writing in Miranda and Caliban is masterful. She captures the fluidity and eloquence of Shakespeare's language without making her writing feel or sound archaic and stuffy. Shakespeare never underestimated the power of words and this is a major theme in The Tempest, which finds a beautiful reflection in Carey's writing. A highlight is Ariel, who is the only character to retain a Shakespearian way of speaking. The novel is saturated with beautiful phrases like the one below:
"Thou art the shoals on which Caliban wilt dash his heart to pieces." 
With language like this it shouldn't come as a surprise that Miranda and Caliban is heartbreaking. As in any tale that is doomed from the start, there is a sense of dread mixed with hope that grows and grows while reading this novel. There is the hope that Miranda and Caliban will free themselves, that what you know must happen won't. In that sense Carey has well and truly mastered the art of retelling a famous story. Even though everyone knows what will happen, it doesn't matter for a single minute because the reader is too caught up in her version of the story. There is not a moment you will get bored of this novel and when it ends you'll wish it hadn't.

I give this novel...

5 Universes!

I absolutely loved Miranda and Caliban. It is a beautiful novel and a masterful retelling of a Shakespeare classic. Carey infuses her characters with a sense of life they didn't have before and you'll be sorry to see them go at the end of the novel. I'd recommend this to fans of Shakespeare, retellings and literary fiction.

Wednesday, 15 March 2017

Review: 'The Roanoke Girls' by Amy Engel

If ever there was a book I didn't put down then it's The Roanoke Girls. Fascinated by the blurb I requested it months ago, but then somehow it ended up at the bottom of my TBR pile. Then, on a whim, I started it on a random Tuesday in February and I didn't put my Kindle down till the very last page had been read and devoured. Sometimes a book just hits you at the right time, resonates will all the darkest and best places in you. This happened with The Roanoke Girls and I absolutely loved it. Thanks to Hodder & Stoughton and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 09/03/2017
Publisher: Hodder & Stoughton

A gripping, provocative thriller about the twisted secrets families keep, perfect for fans of The Girls.
Beautiful.Rich.Mysterious.Everyone wants to be a Roanoke girl.But you won't when you know the truth. 
Lane Roanoke is fifteen when she comes to live with her grandparents and fireball cousin at the Roanoke family's rural estate following the suicide of her mother. Over one long, hot summer, Lane experiences the benefits of being one of the rich and beautiful Roanoke girls. 
But what she doesn't know is being a Roanoke girl carries a terrible legacy: either the girls run, or they die. For there is darkness at the heart of Roanoke, and when Lane discovers its insidious pull, she must make her choice…
Quite some time has passed between reading The Roanoke Girls and now reviewing it, which is good because reading Engel's book had my head swimming. There are certain novels out there which simply have the ability to make you sit back and go '...no way. I mean, right? That did not just happen.' The Roanoke Girls is definitely one of those books. I had to go rant and rave on Twitter straight after reading it and there is still a part of me that simply wants to screech about it. I'm guessing it's quite obvious that I loved this book, although it s very difficult for me to pin down exactly why. So please follow me in the paragraphs below as I try and make sense of it!

At the heart of Engel's novel are the three generations of Roanoke girls. The novel largely follows Lane's story, intermingling her present with moments from her past, but also takes little forays into the lives of the other Roanoke girls that have come and gone. It was quite fascinating to see Lane's present through the prism of her own past and the lives of the other girls, as each new addition made everything make a little bit more sense. Lane is a very interesting character, clearly deeply scarred by things that have happened in her past but also unwilling to face those demons. On returning to Roanoke, however, it becomes impossible for her to avoid these demons since they're all around her. Without wanting to spoil anything, I think it is fair to say that the trauma at the heart of this novel is not for the fainthearted. The lives of the Roanoke girls are incredibly fractured and complicated, with a lot of darkness and misery. Combine this with the relative isolation of rural America and you have the perfect recipe for a high-intensity novel that packs an emotional punch.

Engel's writing is perfect for this novel. Her characters come to life in a way that feels gritty and real, yet she also never tones down on the drama that makes this novel so addictive. Dialogue in novels can feel forced sometimes, especially if an author wants to get across a character's complicated feelings. The way Engel addresses some of the quite, to extremely, controversial topics in her novel, however, never feels forced or awkward. Sure, it's shocking and there is also the excitement of reading something scandalous, but The Roanoke Girls never feels like an exercise in sensationalism. Engel manages to combine the stories of the Roanoke girls with a whodunnit-story, which keeps the pace high and means you never get tired of exploring Lane's mind and history. This is the perfect book to get yourself excited again, to feel the rush of wanting to turn every single page and miss absolutely nothing.

I give this book...

5 Universes!

I loved The Roanoke Girls and I still can't quite do it justice when I talk about it. Engel creates fascinating characters and a story that grips you by the throat and doesn't let go. The last page is both a relief and a disappointment. I'd definitely recommend this to everyone who like mysteries and thrillers and don't mind taking a trip to the dark side.

Thursday, 9 February 2017

Short review: 'Erté's Theatrical Costumes in Full Color' by Erté

Erté's Theatrical Costumes in Full ColorI have a bit of a passion for the ballet and the opera. I remember the first time I went to the ballet and saw Carmen. I was absolutely taken in by the vibrancy of the movements and, of course, by the costumes. And yet I'd never heard of Erté and his stunning designs. So when I saw Dover's book of his colour designs I knew I wanted to peek into this fabulous world behind the curtains. Thanks to Dover Publications and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 19/10/2016
Publisher: Dover Publications

A fan-bearing slave girl, a worshipper of Horus, the wife of a Russian boyar, Ceres, a mermaid, and a gypsy dancer are among the 49 theatrical costumes selected for this tribute to the work of the Russian-born, Paris-bred designer Erté (Romain de Tirtoff). Spanning the years 1911 to 1975, these extravagant, imaginative designs include costumes for well-known personalities, Folies-Bergère shows, editions of George White's Scandals, and ballets.
Many exotic and historical fashions include Egyptian, Chinese, Persian, Japanese, Russian, and French styles. The lavish, flowing costumes are complemented by different colors to create different moods: deep, lustrous purples, reds, and browns for dynamic, vibrant figures; ochre, sienna, orange, and beige for more formal characters; and pale blue, lavenders, greens, grays, and blacks for people of mystery and hidden powers. As dazzling as Erté’s color graphics and as witty as his fashion designs, this compilation merits the attention of costume designers, artists, theater people, costume aficionados, and all who appreciate the treatment of costume design as a fine art.
Erté's Theatrical Costumes in Full Color is a great coffee table-book, in all the best ways. Coffee table-books are often ridiculed, as if being placed on a coffee table implies a sense of neglect or 'I don't really care'-attitude. In our house, the books placed on the coffee table were treated with a completely opposite attitude. These were the books you enjoyed looking through, whose illustrations could capture your attention until your coffee was long cold. They were also the types of books you'd enjoy guests looking through, always with a sense of 'look at the beautiful things I read'. It is in that sense that I call Erté's Theatrical Costumes in Full Color a coffee table-book.

I absolutely loved looking through the illustrations in this book. Ranging across the world for inspiration, Erté's costumes are incredibly vibrant and stunning. What I loved was how all of it looked so elegant and intricate and yet so fluid at the same time. With no stretch of the imagination could I see these costumes in motion on the stages of ballet and opera houses. At the same time these costumes had a theatricality to it that I would like to see in more movie costumes. Especially the Octopus costume was brilliant, in that it both actually looked like an octopus while still being a costume. I know that sounds like a stupid statement but you have to see the sketch to know what I mean. Naturally this is a book only for those who enjoy costume design. If it is not your thing of course you won't enjoy this, but if even the slightest part of you also loves the theatre you will get some pleasure out of this book.

I give this collection...

3 Universes!

Overall this was a great collection of prints. Although there is a lack of information to them, regarding when they were designed and for what etc., they are stunning on their own. I would love to own a hardcover of this book. 3 Universes is due to how selective the readership for this collection is and that it is largely a photo collection.

Wednesday, 8 February 2017

Review: 'Lying in Wait' by Liz Nugent

I love me a good thriller, especially if it is all wrapped up in dysfunctional family relationships. Thrillers can, unfortunately, be very repetitive, especially with how many thrillers are saturating the market at the moment. Sometimes stories stand out, however, with how different or interesting they are. I've been blessed enough to read, and see, some brilliant thrillers in the last few months and I'm definitely adding Liz Nugent's Lying in Wait to that list. Thanks to Penguin Books and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 29/12/2016
Publisher: Penguin Books UK

The last people who expect to be meeting with a drug-addicted prostitute are a respected judge and his reclusive wife. And they certainly don't plan to kill her and bury her in their exquisite suburban garden.
Yet Andrew and Lydia Fitzsimons find themselves in this unfortunate situation.
While Lydia does all she can to protect their innocent son Laurence and their social standing, her husband begins to falls apart.
But Laurence is not as naïve as Lydia thinks. And his obsession with the dead girl's family may be the undoing of his own.
One of the best things about Lying in Wait is that it grips you right from the beginning with a brilliant opening line:
'My husband did not mean to kill Annie Doyle, but the lying tramp deserved it.'
Not only does it put you right into the mess of the situation, it also immediately gives you a good idea of the characters you will be dealing with. Nugent has split up her novel into separate chapters with separate narrators: Lydia, Laurence and Karen. Having different narrators can both work for and against a novel. On the one hand it will give you a number of  different perspectives upon the same event, priceless in thrillers, but on the other hand it can also distract from the story the novel is trying to tell. I'm sure we've all read novels with multiple narrators where we ended up hating, at least, one of the narrator's chapters passionately. Thankfully no such thing happens in Lying in Wait. Rather, Nugent masterfully crafts her narrative through her characters, never forgetting she is the one who is telling the story in the end. What one character reveals the other shows us unknowingly, what one feels the other senses, while what one does the other completely misinterprets. Being stuck inside three different heads makes for a surprisingly claustrophobic read.

Nugent deals with a lot of different themes within this novel. Of course there is the main story (the whodunnit of sorts), but around that swirl story lines about gender and class. Set in the Ireland of the last century, the women in Lying in Wait find themselves dealing with the expectations of others regarding their behaviour, looks and future. Whether it's sex, pregnancy, marriage, divorce, or simply having a job, Nugent addresses these issues in the stories of Lydia, Annie, Karen and Helen. What makes their portrayal different from other novels depicting women's issues, however, is that Nugent doesn't avoid to discuss class as well. Whereas Lydia is upper class and expects to be treated as such, Annie, Karen and Helen are working class. This divide expresses itself in much more than just the gross outlines of their characters, it colours their journeys throughout the book and shapes their actions and psyches. Although it used to be easy to forget about class as a major Issue, what between feminism and racism being major conversation topics, but with recent events such as Brexit and Trump, it has come right back to the forefront of our social consciousness and it is rewarding to see authors having already brought it back in their works as well.

Liz Nugent is brilliant at slowly but surely developing her characters over hundreds of pages. None of her main characters are the same towards the end of the novel. As I said above, part of this novel is about dysfunctional family relationships, at the heart of which lies love. Whether it is mother-son, husband-wife, sister-sister, once it comes to loving and living together, every reader knows relationships can become difficult. A good author doesn't just know this, but knows how to use it for their novel. Nugent does the latter, the family relationships becoming central to how characters act. The murder, which happens even before the start of the novel, is like the match that sets of the fuse in all the characters' relationships. Nugent's novel covers a range of years, yet never does her story loose its immediacy. Her writing is gripping, not letting the reader go until the last year and then just dropping them into nothing. Lying in Wait is a roller coaster of a read that never really lets you go.

I give this novel...

5 Universes!

Lying in Wait genuinely had me by the throat for a few days. Even when I put it down and walked away it was right in the back of my mind. Nugent has definitely won a fan in me with her thrilling writing and great character development. I'd recommend this to fans of psychological thrillers!

Short Review: 'My Cousin Rachel' by Daphne du Maurier

My Cousin RachelI was never a big fan of Hitchcock's The Birds, partially because of the on-set stories and the fact I always found it a little bit boring. But then I read a collection of Daphne du Maurier's short stories and that all changed. Her writing gripped me in a way that this film by "the master of suspense" never did. That is when I decided Rebecca and all of du Maurier's other works were due a read. I've slowly worked my way through her work but had never heard of My Cousin Rachel until I saw a trailer for its upcoming adaptation, which sent me on a frantic reading spree.

Original Pub. Date: 1951
Publisher: Doubleday
Orphaned at an early age, Philip Ashley is raised by his benevolent older cousin, Ambrose. Resolutely single, Ambrose delights in Philip as his heir, a man who will love his grand home as much as he does himself. But the cosy world the two construct is shattered when Ambrose sets off on a trip to Florence. There he falls in love and marries - and there he dies suddenly. Jealous of his marriage, racked by suspicion at the hints in Ambrose's letters, and grief-stricken by his death, Philip prepares to meet his cousin's widow with hatred in his heart. Despite himself, Philip is drawn to this beautiful, sophisticated, mysterious Rachel like a moth to the flame. And yet... might she have had a hand in Ambrose's death?
After finishing My Cousin Rachel I wondered why so much of my du Maurier reading is tied up with the cinema. Upon giving it some thought I realized that it stems from the power of du Maurier's writing. Although she is classed as a romantic writer, her novels and short stories are full of suspense and a broody, dark atmosphere that translates beautifully onto the screen. Her characters are full of secrets and undisclosed desires, her landscapes and mansions come alive for the reader and her stories ring with an echo of the normal and paranormal. It makes for an engrossing read, every single time. Her short stories is what really turned me towards her, since writing good short stories is an art of its own. My Cousin Rachel falls somewhere between a short story and a novel, not as deep as her novels yet also too involved for a short story. In the end, My Cousin Rachel is a rather quick and straightforward narrative which gives a hint of du Maurier's power, yet I think it doesn't give a full taste of all she is capable.

My Cousin Rachel is, in many ways, quite a straightforward story. Written in hindsight, its main character Philip Ashley warns the reader about the unhappy story ahead of them. With its lush Cornwall setting and its purposefully quaint portrayal of the landed gentry, du Maurier sets a sharp contrast between what we see and what is at the heart of things. Everyone might have a secret agenda and ulterior motives, while some of us may also just be fools. The cousin, Rachel, is without a doubt the most interesting and mysterious person in the novella and it is one of my few petty gripes with the story that we never fully get to know her. Of course this is fully on purpose, giving the reader a sense of Philip's despair. Aside from Rachel, there are a fair few of fascinating side characters, some of which may be a little bit flat but still interesting.

I give this novella...

4 Universes!

I really enjoyed reading My Cousin Rachel despite its brevity. du Maurier is a masterful writer and I'm definitely continuing my mission to read more of her work. I'd recommend this to those who want to get a taste for du Maurier but aren't big fans of short stories. I leave you with the trailer that inspired my reading.


asd

Wednesday, 25 January 2017

Review: 'Faithful' by Alice Hoffman

FaithfulMore frequent readers of my blog know that I have always had a soft spot for Alice Hoffman's writing. There is something magical about how she blends the ordinary with the extraordinary which makes reading her books both soothing and exhilarating at the same time. Hence every time I start a new book by her I am both excited and nervous. What if this is the book that falls flat for me? What if the magic is not there? Thankfully Hoffman never disappoints, especially with her latest, Faithful. Thanks to Simon & Schuster and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 01/11/2016
Publisher: Simon & Schuster
From the New York Times bestselling author of The Marriage of Opposites and The Dovekeepers comes a soul-searching story about a young woman struggling to redefine herself and the power of love, family, and fate.
Growing up on Long Island, Shelby Richmond is an ordinary girl until one night an extraordinary tragedy changes her fate. Her best friend’s future is destroyed in an accident, while Shelby walks away with the burden of guilt.
What happens when a life is turned inside out? When love is something so distant it may as well be a star in the sky? Faithful is the story of a survivor, filled with emotion—from dark suffering to true happiness—a moving portrait of a young woman finding her way in the modern world. A fan of Chinese food, dogs, bookstores, and men she should stay away from, Shelby has to fight her way back to her own future. In New York City she finds a circle of lost and found souls—including an angel who’s been watching over her ever since that fateful icy night.
Here is a character you will fall in love with, so believable and real and endearing, that she captures both the ache of loneliness and the joy of finding yourself at last. For anyone who’s ever been a hurt teenager, for every mother of a daughter who has lost her way, Faithful is a roadmap.
Not many books can make me cry but Faithful managed to have me sobbing in the middle of the night. It's easy  to want to write about tragedies, about loss, heartbreak, love and forgiveness, and many authors do try. It's incredibly difficult, however, to create that fine nuance that can make these literary disasters come to life for the reader. Hoffman has perfected the art of writing about human life, and especially about human women. Whether it's her unnamed protagonist in The Ice Queen, Shelby in Faithful or the magical Owen sisters in Practical Magic, Hoffman writes women who live, dream, fear, hope, doubt and believe. Perhaps it is the fairy tale element in many of her books that makes them feel so real, because they are given a struggle. Their life never passes them by, they are never spectators to the happenings in their own inner selves. Novels about women often fall into self-help traps and there was a part of me that was worried Faithful would go there as well. Although this novel does lay out a "roadmap", as the blur above says, it is never pedantic, patronising or preachy. Rather, it is an inspiration.

At the heart of Faithful is Shelby, a teenage girl whose life is derailed by a car accident. Although her friend is the one in a coma, Shelby's life comes to a sharp stop. Grief, survivor's guilt and a whole series of bad events see Shelby reduced not only to a husk of her former self but to, in her own words, 'nothing'. Deeply cynical and yet secretly hopeful, Shelby is straight up lost and she knows it. As the reader follows her journey, Shelby encounters others in the process of finding themselves. This story could so easily have devolved into platitudes and cliches, yet Hoffman tells Shelby's story with an honest kindness. She doesn't leave anything in the dark, yet also never forgets her subjects are human. Shelby grows enormously throughout the novel, finding herself capable where she never expected, broken where she hopes to become fixed, and saved when she least expects it. Although she has an angel watching over her, it is Shelby who travels this road. It is she who makes her choices, who finds herself making choice after choice when she never thought she would be capable of choices.

Hoffman is, rightfully, heaped with praise for her writing and there is not much that a fledgling blogger like me could add to it. Her writing is magical because she finds the extraordinary moments in life, whether it is noticing a shaking hand or a dog's loyal nature. It was these moments which broke my heart because they are true. I was crying at the kindness of strangers, the love of mothers, the trust of children, and the beauty of a starry night. I was also soothed by these exact things. Life can be heartbreaking and heartwarming, it both breaks you and make you, and Hoffman always finds that balance. Although my life has been a lot less tragic than Shelby's, I could identify with her need for forgiveness and for a reason. A reason for everything, for all the things, all the people, all the moments that become a part of your life and not someone else's. It is painful to read someone writing about your emotions, your thoughts, but there is also something rehabilitating about it. Reading Faithful, reading all of Hoffman's books, brings me that healing pain which makes you stronger at the end of a book. It is something I've never found with any other author and it is why I will always treasure Hoffman's books.

I give this novel...

5 Universes!

Faithful stunned me, broke me and then put me back together. Yes that sounds dramatic, but I walked away from this novel with an incredibly amount of hope. I will be rereading Faithful numerous times and it will join the list of books that changed me. I'd recommend this, naturally, to fans of Hoffman but also to those who are looking for the magic of writing and the beauty in an ordinary life.

Saturday, 21 January 2017

Review: 'Tainted Witness: Why We Doubt What Women Say About Their Lives' by Leigh Gilmore

As some of you know, I am very interested in women's voices and women's narratives. Although my expertise largely lies in medieval English narratives, I also busy myself with reading up more current explorations of the roles of women within our contemporary world. Thanks to the recent rise of interest in feminism, more books are now seeing the light of day exploring the different ways in which this world is skewed against women. When I read the blurb for Leigh Gilmore's Tainted Witness I knew it was the type of book I wanted to read straightaway. I enjoy academic reads, hence my never-ending desire to stay at universities, especially when they're well-researched and well-written. Thankfully both are true for Tainted Witness and it has been an incredibly enlightening and fascinating read. Thanks to Columbia University Press and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 17/01/2017
Publisher: Columbia University Press
In 1991, Anita Hill brought testimony and scandal into America's living rooms during televised Senate confirmation hearings in which she detailed the sexual harassment she had suffered at the hands of Clarence Thomas. The male Senate Judiciary Committee refused to take Hill seriously and the veracity of Hill's claims were sullied in the mainstream media. Hill was defamed as "a little bit nutty and a little bit slutty," and Thomas went on to be confirmed. The tainting of Hill and her testimony are part of a larger social history in which women find themselves caught up in a system that refuses to believe what they say. The Anita Hill case shows how a tainted witness is not who someone is, but what someone can become. 
Why are women so often considered unreliable witnesses to their own experience? How are women discredited in legal courts and in courts of public opinion? Why is women's testimony so often mired in controversies fueled by histories of slavery and colonialism? Tainted Witness takes up these questions within a rich archive, including Anita Hill's testimony as well as Rigoberta Menchú's account of genocide in Guatemala; Jamaica Kincaid's literary witnessing in Autobiography of My Mother; and news coverage of such stories as Nafissatou Diallo's claim that Dominique Strauss-Kahn raped her. Bringing together legal, literary, and feminist frameworks, Leigh Gilmore provides provocative readings of what happens when women's testimony is discredited. Throughout, Gilmore demonstrates how testimony crosses jurisdictions, publics, and the unsteady line between truth and fiction in search of justice.
In Tainted Witness Gilmore casts her eye over a number of high-profile cases and books which caused controversy and saw female witnesses become "tainted witnesses", disbelieved and vilified, hounded and abused. The desire not to believe what we wish wasn't true means that many victims find themselves abused again as witnesses. Seemingly there are stories every day of victims of sexual assault being victim-blamed, of perpetrators being saved by their class, position and race. Look at how Donald Trump responded to the women who accused him of sexual assault, how the media chose a side and how even "Pussygate" had hardly any impact and then tell me there is no need for a book that looks into why we don't believe female witnesses. But Tainted Witness doesn't just look at sexual assault, it does much more than that. Below I want to give a short description of what Gilmore's book covers since I want to show how much work Tainted Witness does, how much it connects and what it tries to do.

Gilmore's first chapter looks at Anita Hill's testimony during the 1991 Senate confirmation of Clarence Thomas in which race, gender and sexual abuse in the workplace came together. While he was confirmed, she was defames. Gilmore makes an interesting case both for the role race played as an all white hearing questioned the African-American Anita Hill, as well as highlighting the absence of awareness regarding sexual abuse in the work place, for which a legal definition and framework now exists. In her second chapter Gilmore explores the case of Rigoberta Menchú, whose testimonio I, Rigoberta Menchú shed light on the conflict in Guatemala and the massacres of indigenous people. Similarly to Hill, Menchú found her narrative and personal life investigated, her motives questioned and her ideas spurned. The third chapter focuses on the memoir and self-help books, moving from a book such as The Kiss by Kathryn Harrison, which chronicles an incestuous relationship with her estranged father, to Wild by Cheryl Strayed, which tells the author's journey of survival and self-help. Gilmore highlights how some women who tell their stories don't fit how we want victims to look (like Kathryn Harrison) or how self-help books eradicate personal history and background for a universal humanity. Chapter four revisists Mortensens' Three Cups of Tea as well as Jay Kristoff's Half the Sky and how the stories of underpriviliged or "other" girls (read: non-Western girls) are used by humanitarians to sell a story. In the guise of telling the witness' story, Gilmore shows how their stories are, in a way, appropriated and abused. The picture of a girl in a hijab has become a rallying cry, for all the wrong reasons. The final chapter looks at the testimony of Nafissatou Diallo, who accused Dominique Strauss-Kahn of rape and was vindicated in the Bronx court, as well as Jamaica Kincaid's novel The Autobiography of my Mother in which her perhaps unlikeable main character grows up loveless, as well as with the burden of her homeland's (Dominica) colonial past. These two women allow Gilmore to contrast a witness in court to a literary witness. Diallo was equally vilified, if not worse, as Anita Hill and her case allows Gilmore to analyse the he said/she said formula which somehow still always ends up in his favour. In her conclusion Gilmore explores the feminist roots of #BlackLivesMatter and how its activists make themselves knowing witnesses, publicising that which others would like to remain secret.

The role of witness is a difficult one, since it often involves personal morals, prejudices and expectations. Since women already receive less credibility than men, thanks to centuries of writing on "men's superior intellect", it makes the position of a female witness a very difficult one. Gilmore covers a whole range of subjects, yet her writing on sexual abuse victims/witnesses is what struck me most. Between 2 and 10% of reported rape claims are found to be false, which is both an incredibly small number and a terrifying number considering about only one out of 10 rapes is reported. The dangerous thing about rape culture and the narratives we build around rape cases is that many of us become a part of it. The famous he said/she said formula is one we all use and all recognise, yet it is one which is fundamentally skewed because it opens up both the victim and perpetrator to the same level of scrutiny. Female witnesses are tainted by this scrutiny in a way male witnesses often are not, and Gilmore's precise and detailed research into the above cases really brings this home. Although Tainted Witness is dense and at times complicated, it is a very rewarding read. 

I give this book...
4 Universes!

Tainted Witness is very dense but it has a lot of important things to say. It is a fascinating insight into the role of witnesses and how the legal framework works regarding female witnesses. Although one would like to hope female witnesses have it easier now, statistics as the one above regarding reported rapes show that the fear of being tainted still stops many women from reporting crimes. I will be looking for a hardcover version of this book because I want to reread it and highlight it, write notes and thoughts, comb its bibliography for more books to read and borrow it to other people ready to be enlightened.

Friday, 20 January 2017

Review: 'Vivid and Repulsive as the Truth: The Early Works of Djuna Barnes' by Djuna Barnes, Katharine Maller

Vivid and Repulsive as the Truth: The Early Works of Djuna BarnesWhat do you do when you see a book by "the most famous unknown author in the world"? You rack your brain, find you really don't know her, are shocked at yourself and get your hands on the book ASAP. That's what happened when I saw Vivid and Repiulsive as the Truth by Djuna Barnes and her name didn't ring a bell. Unlike many, I'd never heard of Nightwood, a novel now solidly on my TBR-list, so Barnes really was completely unknown to me. And what a shame that was. Thankfully, Dover Books and Katharine Maller changed that. Thanks to Dover Books and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 17/08/2016
Publisher: Dover Books

The self-described "most famous unknown author in the world," Djuna Barnes (1892 - 1982) is increasingly regarded as an important voice of feminism, modernism, and lesbian culture. Best remembered for her 1936 novel Nightwood, Barnes began her career by writing poetry, short stories, and articles for avant-garde literary journals as well as popular magazines. She took the grotesque nature of reality as her recurrent theme, a pessimistic world view frequently brightened by her sparkling wit. 
A longtime resident of Greenwich Village, Barnes drew inspiration from the bustling streets of Lower Manhattan, and this eclectic compilation of her early journalism, fiction, and poetry recaptures the vitality of her bohemian literary scene. The collection opens with articles ranging from an account of an evening at the Arcadia, a "modern dance hall," to a firsthand report of the force-feeding endured by suffragettes in 1914. In addition to profiles of a postman, vaudeville performer, and other local personalities, Barnes interviews Lillian Russell and Alfred Stieglitz and describes an encounter with James Joyce. A dozen short stories follow, and the book concludes with a selection of compelling and sensual poetry, including verse from The Book of Repulsive Women. A selection of the author's original illustrations is included.
Before going into Vivid and Repulsive itself, a quick note on Dover Books is necessary. I've read and reviewed a number of their collections by now and I always greatly appreciate them. They are well-structured and always offer a great insight into an author's full work. But they don't just cover the well-known and famous, they also provide collections such as these which reintroduce the audience to woefully forgotten voices. It's a real pleasure to be able to find such strong female voices and have them presented so delightfully. Which brings us back to Djuna Barnes and Katharine Maller. Maller both edits this collection and wrote an introduction for it. Quite often these types of introductions get skipped, but in the case of Vivid and Repulsive the introduction is a real gem. Maller does an excellent job at contextualizing Barnes, introducing her and 1900s New York to the reader. Especially of note is her statement on some of Barnes' opinions. Despite having feminist notions, Barnes is also a product of her time. Maller does not edit these more unsavoury moments out, but has excluded some stories from the collection for this reason. She doesn't cover up Barnes' more outdated opinions, but gives them a place without making them dominant. It's an excellent way to deal with covering older authors, I think.

Vivid and Repulsive is a collection of early work, when Barnes started off as a journalist. The first section of the collection focuses on her articles. This was probably my favourite section, as Barnes' articles cover a whole range of topics and are written with a perfect balance of cynicism and interest in her topics. Amongst my favourites are her interviews with contemporary actresses such as Yvette Guilbert who had delightfully modern and feminist thoughts. Also interesting is her obituary of James Joyce, who she met repeatedly. Her articles offer a different kind of perspective, especially on the Bohemian life in Greenwich Village, NY. Impactful is her report on the force-feeding of the Suffragetes, which puts the reader right in the middle of this terrible act.This section was my favourite, although I also enjoyed her short stories. She writes about the miseries of life with an almost blase attitude. Terrible things happen, but it is what it is. For some it may be a bit depressing, but I thought it was very interesting. The final section of the collection focuses on Barnes' poetry. There are some beautiful poems in the mix, such as 'Call of the Night' and 'Love Song', which I loved. The title of this collection is taken from one of the last poems, 'Seen from the L'. Although I enjoyed Barnes' poetry it wasn't as enticing as her prose, but full of beautiful imagery.

After reading Vivid and Repulsive one understands why she called herself 'the most famous unknown author in the world'. On the one hand that is simply her style, but as always there is also a kernel of truth in it. Djuna Barnes' writing is alive with personality and spark. This is the woman who walked into her first job interview saying: 'I can draw and write, and you’d be a fool not to hire me'. She put herself in the most difficult positions in order to be able to truly write about them. She was a Bohemian who moved to Paris and wrote a cult classic of lesbian fiction. She is one of those people whose life reads like a 'Who's Who' of 20th century Paris and New York. Her articles are beautifully descriptive, her short stories depressingly honest and her poetry ever so slightly elusive. Having not read Nightwood, this collection has made me very curious for it!

I give this collection...

4 Universes!

I'm very happy to have discovered Djuna Barnes, not only as a writer but also as a person. Seemingly fearless for most of her life, she can serve as a great inspiration for beginning writers. Perhaps don't adopt her violently alcoholic latter years however. I'd recommend Vivid and Repulsive as the Truth to those wanting to find a gem of the 20th century and for those interested in female writers.

Thursday, 19 January 2017

Review: 'Good Me Bad Me' by Ali Land

As a thriller fan nothing gets me going as much as reading or seeing something I haven’t read or seen before. Admittedly this can be quite a task for an author since thriller novels and films abound, with new ones coming out seemingly every day. So when I saw Good Me Bad Me I was immediately intrigued by the blurb which promised all the right things. And I’m very happy to say that Land did not disappoint. Good Me Bad Me is both a gripping read and a book that will make you think. Thanks to Michael Joseph and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 12/01/2017
Publisher: Penguin UK - Michael Joseph
SET TO BE ONE OF THE MOST EXTRAORDINARY, CONTROVERSIAL AND EXPLOSIVE DEBUTS OF 2017 - for fans of quality psychological suspense and reading group fiction: once you read this book you'll want to talk about it . 'NEW N A M E . NEW F A M I LY. S H I N Y. NEW. ME . ' Annie's mother is a serial killer. The only way she can make it stop is to hand her in to the police. But out of sight is not out of mind. As her mother's trial looms, the secrets of her past won't let Annie sleep, even with a new foster family and name - Milly. A fresh start. Now, surely, she can be whoever she wants to be. But Milly's mother is a serial killer. And blood is thicker than water. Good me, bad me. She is, after all, her mother's daughter... Translated into over 20 languages, Good Me Bad Me is a tour de force. In its narrator, Milly Barnes, we have a voice to be reckoned with, and in its author, Ali Land, an extraordinary new talent.
‘But the hearts of small children are delicate organs. A cruel beginning in this world can twist them into curious shapes.’
Carson McCullers (1917-1967)

This is the quote that starts the book and, in many ways, sets the tone. At the centre of this novel is the question of Annie/Milly’s heart and what is in it. The nature vs. nurture debate has spawned not only dozens of academic discussions but also a whole range of literature. Humanity is fascinated with whether it is, at the core, intrinsically good, or if there is an innate ‘bad me’ which is only waiting to come out. Philosophers such as John Locke have argued for the child being a ‘tabula rasa’, a clean slate, upon which external influences start acting from the moment of its birth. So was it the belief of Rousseau that warfare and aggression are learned, and not innate. We find traces of these arguments in novels such as Jane Eyre in which Lady Blanche speaks of children with ‘bad blood’. Even Harry Potter addresses this when Dudley’s aunt monologues about how ‘if there’s something wrong with the bitch, there is something wrong with the pup’. What makes the latter of the two examples fascinating, and relevant, is that they seem to argue for a combination between nature and nurture. There is something of ‘bad me’ that is simply in all of us, in our blood, yet nurture has a major role to play in bringing it out. This cross-section within the debate lies at the heart of Good Me Bad Me. It explores to what extent evil is something that works upon us or from within us, whether bad things that have happened to us can make us do bad things too, or whether we secretly wanted to do those bad things all along.

Good Me Bad Me is filled with women of all ages and most walks of life. Evil serial killers are usually played by men in films or TV shows, with the rare female killer appearing as an extra special, scary treat. Very often her crimes are either sexual or against children, and in the worst cases the two are combined. It is this fear of evil women which fascinates me and which Land also cleverly picks up on throughout Good Me Bad Me. There is an almost blind trust in women to be maternal and caring, to want to protect children and to not be aggressive or violent. It’s the Feminine Ideal which has somehow survived into the 21st century and still makes it hard for women to talk about things such as Post-Natal Depression, the desire to not have children or the aggressive traits in our own personalities. Because of this ideal, the thought of a woman who goes against all this has always been fascinating and is present in a lot of literary and cinematic tropes. She is in the Femme Fatale, in the Last Girl, in the Virgin/Whore dichotomy. Good Me Bad Me addresses some of the points that arise from this combined fear and fascination with evil women and does so through a varied cast of female characters. There are the teenage girls, violently obsessed with their own lives and almost negligently cruel to each other. There are the mothers who care too much or not enough, those for whom motherhood is a challenge but don’t dare admit it. There are the women and girls who use what they have to get what they want, and those who want and give, but never get.

Land’s world is not a pleasant one, but to a large extent it is a very honest one. It has become something of a trend to write about “complicated women”, but often these books lose all the nuance that is so crucial to them. Novels such as Gone Girl are simplified down to “the good housewife is actually a psycho, beware of all women” and are thereby crucially misunderstood. Naturally thrillers and crime novels are sensationalist in a sense, but they also address significant issues around how men and women are seen and see themselves. Good Me Bad Me strikes a very good balance between following the genre’s knack for the terrifying as well as giving some insight into the minds of the people it is serving up to the reader. Land throws in enough twists that both engender sympathy for all the characters, while also making a sword out of that sympathy. In the end Good Me Bad Me won’t tell you who is good and who is bad, it will give you enough material, however, to come to your own conclusions with your own justifications as to why.

Land’s writing throughout the novel is superb. First person narratives are always tricky and very often do not work. Not only does an author need to create a consistent voice for their narrator, that voice also has to change and develop throughout the story. In the case of thrillers or crime novels the extra task is added that the narrator on the one hand shouldn’t give too much away, but on the other hand also needs to reveal enough to keep the reader engaged. There is a very good reason as to why Good Me Bad Me had to be written in first person. Annie/Millie is the sole focus of this novel, it is her psyche, her mind, that is under the microscope, so to say. The way in which Land writes Millie, how she breaks up sentences, constructs thoughts and gives shape to internal processes is fascinating and really draws the reader into Millie’s mind. There is something fractured and hard, yet also vulnerable about the writing of the book which gives the reader a constant glimpse at what’s in Millie’s mind, even the things she herself would rather not know about.

I give this novel…
5 Universes!

I absolutely loved Good Me Bad Me. I raced through it, not only because I was desperate to know what would happen but also because Land gives you no choice but to hurdle along until the bitter end. I’d recommend this to fans of Psychological Thrillers and Crime Novels.


Review: 'My Life on the Road' by Gloria Steinem

My Life on the RoadGloria Steinem is as close to a living legend as it is possible to be. When I first started on my journey towards becoming the full blown feminist I am nowadays I knew her name and of some of her work. As the years passed, she would appear in articles and books I read at University and I'd see her on TV supporting and advocating causes I also believed in. It took until My Life on the Road, however, for me to actually sit down and get to know her. The beauty of this book, for me, lies in that I now do feel like I know more, not just about her, but about feminism, about women, about America, about freedom, about Native Americans and about struggle. I'm very grateful for this book. Thanks to Random House and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 25/10/2015
Publisher: Random House
Gloria Steinem—writer, activist, organizer, and one of the most inspiring leaders in the world—now tells a story she has never told before, a candid account of how her early years led her to live an on-the-road kind of life, traveling, listening to people, learning, and creating change. She reveals the story of her own growth in tandem with the growth of an ongoing movement for equality. This is the story at the heart of My Life on the Road.

As I said above, I am incredibly grateful to have read My Life on the Road. It's not a typical memoir, in that it lists a mountain of achievements and not-so-subtly asks for praise. Rather, it feels like having a long conversation, during a longer roadtrip, that started with the question 'Where are we going?' My Life on the Road doesn't stick to the usual route, takes random shortcuts down country lanes which lead to unexpected surprises, stops at random moments that enlighten, and doesn't require a clear destination. Steinem takes the reader all the way back to her childhood, discusses her fear of public speaking, the struggles she faced as a journalist and how her activism slowly but surely grew into becoming life- and era-defining. The memoir's emphasis, however, doesn't lie on Steinem herself. Rather, it's a book full of people. Although a life on the road sounds lonely, Steinem's life so far is full of wonderful moments, brilliant people, and shocking truths. For me, reading My Life on the Road brought a sense of freedom, in that a life doesn't have to follow a certain pattern, that activism is both small and enormous, that everyone starts somewhere with no clear idea of where they're going. And it made me excited, excited to hear more, see more, experience more. No wonder some think feminism is dangerous for young women, this combination of freedom and excitement is potent!

My Life on the Road is filled with stories, anecdotes, brief glimpses into the lives of others, and realisations. That's because at the heart of My Life on the Road is storytelling and, its often forgotten partner, listening. By reading her memoir, the reader starts out on the path that Steinem herself travels: that of a listener. With each new chapter, each new aside, Steinem broadens the reader's world by showing how her own was opened through listening. But rather than advocate the 'be silent and listen to me preach'-approach, Steinem writes of a different kind of speaking and listening, one which is communal and equal. This book showcases the power of telling your story and thereby encouraging others to do the same. Whether it's Steinem's college tours which stretched into the early hours because once people realise they are being heard they have a lot to say, or Steinem herself being the one initiated into the true power of dialogue by women on an train across India, or women like Wilma Mankiller, My Life on the Road is an ode to conversation. There are those who think feminists are knowitalls, who want to tell you how to think and refuse to listen. They should read My Life on the Road and have their eyes opened.

Steinem is a great writer, which should come as no surprise considering she makes a living of it. Although there is no clear line throughout My Life on the Road, there is definitely a journey. And Steinem is very willing to share it with you, whether it's her own embarrassment at not knowing something, her own struggle with sexism in the workplace or the feeling of euphoria at having achieved something. Rarely do memoirs give me such an actual insight into someone's mind, someone's life. Although she writes about the past, My Life is on the Road is incredibly current. When she writes about the 2008 Democratic primary between Hillary Clinton and Barack Obama, many of her observations sting considering the November election. Despite the eight years that have come and gone, nothing changed in how Hillary Clinton was treated. When she writes about her involvement in Native American activism, the many prejudices and obstacles she sees Native Americans struggle with are still as present as ever. Solely for this, My Life on the Road is an enlightening read because it shows that the "fight" is not a battle but a journey. Every two steps forward sees us take a step back and we don't know where exactly it is we're going. But as long as we keep venturing forward, the destination will become clearer.

I give this memoir...

5 Universes!

If I hadn't been a supporter of Steinem before, I definitely would have been one after reading My Life on the Road. It's a memoir of insight, awareness and ideas, a book that shows the power of listening, of telling stories, of continuing to explore. I will be rereading it many times, as well as doing some footnote hunting to learn more. I'd recommend this not only to those already aware of Steinem and what she stands for, but also those who don't know her and are curious.

Saturday, 7 January 2017

Inkitt is coming to an Android near you!

Image result for InkittI got approached by Inkitt about 2 weeks ago with some very exciting news which I can't wait to share with you. But first, let's talk about Inkitt itself! Inkitt is an online library of thousands of stories of all different genres, brought straight from authors to us readers. My favourite thing about them is their own 'I'm feeling lucky' button which presents you with a random story. It's an amazing way to discover new genres and different Indie writers. Independent authors need all the help they can get in getting the word out there about their work so I've always thought Inkitt was a great thing!

Now, what is the big news? Back in November, Inkitt launched an IOS app, which is great for Apple users but is less great for people like me who are staunch Android users. But Inkitt has heard our prayers and is ... *drum roll please* releasing an Android app globally today!
With the Inkitt app, readers can discover thousands of new novels by emerging authors anytime, anywhere (even when they're offline!) and get personalized recommendations based on their preferred fiction genres.
I love the fact that amazing new fiction will be mere finger taps away from now on! You can select reads, add them to your shelves, write reviews and discover even more new authors. A feature I love is the offline library, which means you can still read when not online. It'll be perfect for those journeys to work when I can't get reception on the metro! And I love the lay-out as well, it's nice and clean, not too cluttered, all about reading ease.




One of the reasons I prefer reading on my Kindle to reading on my laptop is that I can adjust my reading experience to my surroundings, and Inkitt totally took this idea on board for its app! Not only can you choose from its thousands of titles, you can also adjust font, letter size, background etc. to get the perfect reading experience.






And the best news? Inkitt has given me a download link so you don't even have to go out of your way to get your hands on their amazing app. Click Here to join in on the reading fun! I myself am already there ;)

Thursday, 5 January 2017

Review: 'The Spy' by Paulo Coelho

Mata Hari is a woman who has fascinated me for years. You should know by now that I'm all about women breaking gender norms. She was as enigmatic as they come and her end only aroused more questions than answers. Not only did she live during one of the most interesting times in European history, she played a very interesting role in that time. Combine my obsession with Mata Hari with my interest in Paulo Coelho, author of the cult classic The Alchemist, which I enjoyed, and you should have the perfect recipe. Unfortunately somewhere in the kitchen, however, something went wrong and I was left slightly unhappy with what was served. Thanks to Random House UK and Netgalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 22/11/2016
Publisher: Random House UK, Cornerstone

When Mata Hari arrived in Paris she was penniless. 
Soon she was feted as the most elegant woman in the city. 
A dancer who shocked and delighted audiences; a confidant and courtesan who bewitched the era’s richest and most powerful men. 
But as paranoia consumed a country at war, Mata Hari’s lifestyle brought her under suspicion. Until, in 1917 she was arrested in her hotel room on the Champs Elysees and accused of espionage. 
Told through Mata's final letter, THE SPY tells the unforgettable story of a woman who dared to break the conventions of her time, and paid the price.
Mata Hari was born to Dutch parents as Margaretha Zelle in 1876 in Leeuwarden, the Netherlands. At the age of 18 she answered a marriage ad in a newspaper and married Rudolf MacLeod a year later. He was a Army Captain in the Dutch East Indies (now Indonesia) and a ticket out of a life that was already becoming stifling. Unfortunately, he was also an alcoholic and abusive. The couple eventually returned to the Netherlands after the death of their youngest child and divorced. In 1903 Marghareta moved to Paris and in 1905 Mata Hari started making waves amongst the social and artistic elite. Mata Hari danced unlike any other, apparently exotic and other, yet incredibly sensual and physical at the same time. Over the years she became more known as a courtesan than  a dancer, embodying the Bohemian spirit of freedom and beauty. But as WWI loomed on the horizon, her fame turned into infamy. Then in 1917 she was arrested in Paris for spying for the Germans and thereby causing the deaths of 50,000 men. She was executed by a firing squad the same year at the age of 41. Margaretha's life was a turbulent and almost permanently outrageous one. She broke a lot of the rules in places for women both then and now, and telling her story is one hell of a mission. Despite the title of his novel referring to a very specific part of her life, The Spy does cover her whole life, attempting to give the reader a real insight into her life.

As I said above, something about this novel left me unhappy and even perturbed. On the one hand Coelho's novel provides a fascinating insight into the life and mind of a fascinating woman. He takes his liberties with history, moving events around to fit his own ideas, but he is honest about it and it works for the novel. I also don't think that Margaretha wouldn't have minded, considering the frequent liberties she herself took when telling her own story. On the other hand, however, his version of Mata Hari was strangely disaffected by most things. The way I imagine Mata Hari is as someone who lived intensely, saw the world around her, both its freedoms and limitations, and wanted to make the most of it. Coelho's Mata Hari, however, is uncaring about the events leading up to World War I and the people in her life. This could be a consequence of the form of the novel, more on that later, but it still left me slightly disenchanted. Who knew the proverb to never meet your heroes also counted for literary rendezvous'?

Coelho's writing can be stunning. In The Alchemist it is at times beautifully descriptive and then obtusely convoluted. In The Spy there are also moments of beauty, stunning quotes that really give an insight into how someone like Mata Hari might have felt. At other times, however, the pace is too high to truly make the reader care. The novel has the perfect set up, starting at the very end. The reader first meets Mata Hari in French prison and witnesses her final moments. From there Coelho lets Mata Hari "take the word" through a letter to her lawyer, written in the days before her execution. It's a brilliant way to bring the reader closer to her, but much of Coelho's work is undone when the novel ends with the lawyer's "reply". It really was a shame because it almost overturns all the work he has done to make Mata Hari appear sympathetic and for me the magic ended very quickly towards the end. Although Coelho does say he has taken liberties, there is a lot he didn't touch upon that would have fit beautifully with the story he does tell. As historian Julie Wheelwright has said of Mata Hari, she was:
"...an independent woman, a divorcee, a citizen of a neutral country, a courtesan and a dancer, which made her a perfect scapegoat for the French, who were then losing the war. She was kind of held up as an example of what might happen if your morals were too loose."
Personally I would have loved to read more about how perception of her changed, how her life in Paris was. Some of the most beautiful quotes from the novel are when Mata Hari lingers on the opportunities she took, the boundaries she broke and the expectations she dashed. More of that would have been welcome, but then The Spy is only 208 pages and not a biography.

I give this novel...

3 Universes!

I enjoyed The Spy, it is a short and quick read, well-written and mostly engaging. With any other person at the centre, however, this novel would not have worked. Coelho doesn't do much to add to Mata Hari's mystery, but at least he also doesn't take away from it too much. I'd recommend this to people interested in finding out more about Mata Hari and fans of Coelho himself.