Friday, 3 July 2020

Review: 'Perfect Kill' (D.I. Callanach #6) by Helen Fields

I've been following Helen Fields' D.I. Callanach series since its fourth installment, Perfect Silence. I was immediately gripped by the characters and the intense plot Fields wove. For me Perfect Crime only improved in these areas and I wondered how she would be able to top herself. Perfect Kill is, however, on a completely different level. Thanks to Avon Books UK and NetGalley for providing me with a copy of this book in exchange for an honest review. 

Pub. Date: 6/2/2020
Publisher: Avon Books UK

A gripping, exciting read to absorb you from start to finish!

He had never heard himself scream before. It was terrifying.

Alone, trapped in the darkness and with no way out, Bart Campbell knows that his chances of being found alive are slim.

Drugged and kidnapped, the realisation soon dawns that he’s been locked inside a shipping container far from his Edinburgh home. But what Bart doesn’t yet know is that he’s now heading for France where his unspeakable fate is already sealed…

DCI Ava Turner and DI Luc Callanach are working on separate cases that soon collide as it becomes clear that the men and women being shipped to France are being traded for women trafficked into Scotland.

With so many lives at stake, they face an impossible task – but there’s no option of failure when Bart and so many others will soon be dead…

Get ready for a rollercoaster ride like no other, with the next gripping thriller from the number one bestselling crime author, Helen Fields. The perfect read for fans of M. J. Arlidge and Karin Slaughter.

I want to take a moment at the beginning of the review to talk about the beauty that is a well-crafted detective book series. Too often, series feel the need to ramp up the tension and action, no matter what consequences that might have for the characters. It's similar in TV shows and films. How often can you put someone through hell or have them punched in the face before they simply can't get back up? The good series don't just allow for lasting consequences of trauma, they work actively with them. Part of the reason why The Hunger Games and Divergent series were so popular was because its protagonists carried their trauma openly and had it inform their next steps. I've always found that the D.I. Callanach series similarly tries to allow trauma and stress to be a part of Ava and (especially) Luc's character arcs, supporting their growth from book to book.

Perfect Kill is a tough read. Although each of Helen Fields' D.I. Callanach installments so far have dealt with heavy and difficult topics, Perfect Kill is very much a culmination of all of them. With Ava Turner in Edinburgh and Luc Callanach in Paris, both find themselves drawn into the same case when the kidnapping of Scottish youths coincides with the arrival and trafficking of Eastern European women. The main theme of Perfect Kill, then, is exploitation and abuse. Some of this is very violent, as we're given an insight into the horror by the narration one of the trafficked women, which means Perfect Kill might not be for everyone. I found certain parts of the book tough to read but I was also very glad that Fields didn't sugarcoat anything. For those with a weak stomach, there is also a bit of a warning attached to this book, as there is some explicit talk about surgeries. On the more serial aspect of Perfect Kill, the novel focuses a lot of Ava and Natasha's friendship, as well as the fall out between Ava and Luc after the revelations at the end of Perfect Crime.

I have reached the point where Helen Fields is now at the same level as Elizabeth George. The moment I see either of their names, I know I will be reading the book it is attached to. Fields explores new depths in Perfect Kill, with characters plummeting to new depths of despair and terror. She finds the right balance between allowing for the horror, while also bringing in lighter moments as a reprieve. Many of these lighter moments come from the side characters that continue to delight me in every installment. Moving back and forth between France and Scotland allows for a bit of suspense, as the reader begins to suspect how linked the two cases really are. As always, Fields nicely ties up all the story lines towards the end of the book, except for the continuing tension between Ava and Luc. This better not be the end of the D.I. Callanach series because although I adore the tension, I would love a resolution!

I give this novel...
4 Universes!

The D.I. Callanach series is a pleasure to read and Perfect Kill is no exception. Fields delivers the thrills, the twists and turns, but also the emotional punches and character development. Get into this series as soon as you can!

Wednesday, 24 June 2020

Review: 'The Glass Magician' (The Paper Magician Series #2)by Charlie N. Holmberg

I read The Glass Magician almost directly after The Paper Magician, having wasted a good few years wondering when I would get to them. I adored the first novel in the series despite a few hesitations and found myself with a few more hangups after The Glass Magician. Thanks to 47North and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 11/4/2014
Publisher: 47North

Now well into her apprenticeship with magician Emery Thane, twenty-year-old Ceony Twill is continuing to discover the joy of paper magic. She adores bringing her spells to life in surprising ways, from learning the power of distortion to creating a beloved paper dog. And she secretly hopes that the romance she foresaw blossoming between her and the peculiar yet strikingly handsome Emery finally becomes real.

But when one magician with a penchant for deadly scheming believes that Ceony possesses a secret, he vows to discover it…even if it tears apart the very fabric of their magical world. After a series of attacks target Ceony, and catch those she holds most dear in the crossfire, she knows she must find the true limits of her powers…and keep her knowledge from falling into wicked hands.

The delightful sequel to Charlie N. Holmberg’s The Paper MagicianThe Glass Magician will charm listeners young and old alike.

Sequels are hard. You have to follow up a great start with something that has to be similar but also new, recognizable and yet a clear improvement, something more mature and grander without betraying the first. Some books are clearly laid out to be a series and have an arc spanning across multiple books while each is contained within itself. Others seem a standalone but are then turned into series when they do well. I'm not quite sure where The Paper Magician Series falls, but The Glass Magician definitely tries to up the ante. Everything feels a little intenser, which means we inevitably lose some of the aspects of the first book that made it such a comforting read. There is more action, more drama, more characters and more locations but I'm still undecided whether this adds up to the book actually achieving more. A few of my issues with the first book arose again, which I'll go into more detail on below, and were strengthened rather than laid to rest. 

I soon realized what the cause was behind my sense of unease and that it started very early on. This is where we enter spoiler territory for the rest of this paragraph so if you didn't get around to these in the last 6 years either, turn away now. The Glass Magician has two villains, one of whom has the major starring role and the other who is more of a very evil side-kick. We meet the latter early on when, after the first attack on her life, Ceony spots a foreign-looking man in the crowd. She chides herself for thinking of him as the potential perpetrator only because he is different, but is proven right by the narrative. He is not just evil though, he is almost animalistic and without any redeeming factors or actual personality traits aside from his foreignness. It is a weird turn for Holmberg to take and left a bad taste in my mouth. In my review of The Paper Magician I noted that although I enjoyed the romance aspect of the novel, I was skeptical about the master-apprentice relationship between Thane and Ceony. This skepticism only strengthened while reading The Glass Magician. (Again, spoilers.) He is a good bit older than her and has a failed marriage under his belt. He is privy to much more information than Ceony, meaning she makes rash decisions she is then told off for by both Thane and others. The power balance is completely off. And on top of that, Holmberg actually has Ceony's previous teacher openly disapprove of the developing feelings between the two as it is against the master-apprentice rules. Although the forbidden aspect is surely exciting, it is also wrong in the context of their relationship. nd let's not forget about Ceony thinking another middle-aged man is in need of a wife since he can't keep his own house clean or himself fed. Surely I'm not the only one thinking that even 2014 was a bit too modern for those ideas. 

Although I continued to enjoy Holmberg's writing, the issues laid out above made me a bit hesitant. Ceony continues to be an interesting character, who wants to take responsibility for the problems she thinks she has created. However, as she is shut out of any important meetings, she often ends up making the wrong choices. It makes sense for the second book in the series to maybe be something of a breaking point for her, where she has to fail, reassess, grow and come out stronger, but the plot moved a little too fast to allow for this. Thane remains a bit of a mystery, which is less fun now than in The Paper Magician. Some of the other side characters are hardly developed beyond what they need to be for the plot, which is a shame. As you can tell, I am torn. I did enjoy reading The Glass Magician but couldn't help but wince here or there. Whether this is down to Holmberg or an editor, I'm not sure. I will give the series' next book a go, mainly because I prefer to finish series, but I will go into it more hesitantly than I did The Glass Magician.

I give this novel...
3 Universes.

The Glass Magician is an interesting follow up on The Paper Magician, both making its blind spots more obvious while continuing some of the things that made the latter so charming. 

Monday, 22 June 2020

Review: 'The Paper Magician' by Charlie N. Holmberg

Remember how earlier this month I complained about my habit of putting off reading books that I know I'll probably really enjoy? I'm here to tell you I did it again. This time it is The Paper Magician and Charlie N. Holmberg I need to apologize to. This is a delightful book I should have enjoyed back in 2014, although I'm also very grateful for the distraction it gave me now. Thanks to 47North and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 9/1/2014
Publisher: 47North

Ceony Twill arrives at the cottage of Magician Emery Thane with a broken heart. Having graduated at the top of her class from the Tagis Praff School for the Magically Inclined, Ceony is assigned an apprenticeship in paper magic despite her dreams of bespelling metal. And once she’s bonded to paper, that will be her only magic…forever.

Yet the spells Ceony learns under the strange yet kind Thane turn out to be more marvelous than she could have ever imagined—animating paper creatures, bringing stories to life via ghostly images, even reading fortunes. But as she discovers these wonders, Ceony also learns of the extraordinary dangers of forbidden magic.

An Excisioner—a practitioner of dark, flesh magic—invades the cottage and rips Thane’s heart from his chest. To save her teacher’s life, Ceony must face the evil magician and embark on an unbelievable adventure that will take her into the chambers of Thane’s still-beating heart—and reveal the very soul of the man.

From the imaginative mind of debut author Charlie N. Holmberg, The Paper Magician is an extraordinary adventure both dark and whimsical that will delight readers of all ages.

I love books about magic, especially when they're this inventive with their world-building. In The Paper Magician, every magician is bonded to a specific element or material forever. That is the material your magic will be tied to for the rest of your life and there is no way of breaking it. I enjoyed the way this tied the magic into everyday life as well, where every material has its own use in industry etc., meaning that magicians are needed for every material. And then there is the dark side of this all, the Excisioners whose chose material is flesh. Holmberg really brings these types of magic to life through her writing, especially in the more descriptive moments. There is a joy to most of the magic in The Paper Magician which was very fun to read.

Ceony would not have chosen paper for herself, but a new paper magician is needed. Hence she will now apprentice under Mage Thane, who turns out to be a great, if mysterious, teacher. But her training is cut short when disaster strikes in the shape of an Excisioner and Ceony has to save her teacher. Initially I was a little confused as to what we were working towards, plot-wise, but the journey through Thane's heart is very much the goal itself. As Ceony gets to know more about Thane, her new skills will be put to the test as she battles for her own life and his. The plot of The Paper Magician moves fast once the action begins, but it is offset by moments of calm and emotional depth that ground the action and allow the characters to grow and develop. Despite some of the more intense scenes in regards to the Excisioners, I do think The Paper Magician could be suitable for a wide age range. Occasionally I did question the power balance between Ceony and Thane, but much of it will depend on how it is developed in the next books of the series.

This was Holmberg's debut novel and I was enraptured by it. There is a soft glow to the book, which perhaps doesn't make a lot of sense but feels correct. It's not whimsy, per se, despite the cottagecore feel of it, but rather a sense of comfort and warmth, despite the rather bloody setting of the second half of the book. Ceony is a lovely main character, driven and ambitious, willing to learn but also stubborn. Emery Thane is a quiet but humorous counterpoint, never giving away too much and yet saying more than he perhaps means to. (See, ambiguous!) I got strong Howl's Moving Castle vibes from The Paper Magician, especially the Studio Ghibli film adaptation, but didn't hate it. Perhaps it was part of the gentleness of it, Ceony's fieriness, and the need to save a mysterious magician by digging into his heart and past. I have set my sights on The Glass Magician next.

I give this novel..
4 Universes!

The Paper Magician is a lovely read that brings together many of my favourite things about magic in novels. For lovers of magic and Howl's Moving Castle (which I assume is an overlapping group), this is a great read!

Sunday, 21 June 2020

Review: 'The Glamourist' (The Vine Witch #2) by Luanne G. Smith

I think in some ways I have Luanne G. Smith to thank for getting me out of my COVID-19-related reading slump. I raced through the series first book, The Vine Witch, in pretty much a day earlier this month, after putting off reading it for months. I decided not to make the same mistake with The Glamourist and was rewarded for my growth. Thanks to 47North and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 6/9/2020
Publisher: 47North

A spellbinding novel of bloodlines, self-discovery, and redemption by the author of the Washington Post bestseller The Vine Witch.

Abandoned as a child in turn-of-the-century Paris, Yvette Lenoir has longed to uncover the secrets of her magical heritage and tap her suppressed powers. But what brave and resourceful Yvette has done to survive the streets has made her a fugitive. With a price on her head, she clings to a memento from her past—what she believes to be a grimoire inherited from the mother she never knew. To unlock the secrets of her past, Yvette trusts in one woman to help solve the arcane riddles among its charmed pages.

Elena Boureanu is the vine witch of Château Renard, noted for its renowned wines. Even as she struggles with her own bloodline—and its poisonous threat to her future—Elena can’t ignore a friend on the run. Joined by a cunning thief, the proprietor of an enchanted-curio shop, and a bewitching black cat, Elena and Yvette are determined to decode Yvette’s mysterious keepsake. But what restless magic will be unleashed? And what are Yvette and Elena willing to risk to become the witches they were destined to be?

There are a good few staples anyone who wants to write about magic and witches can take advantage of. In The Vine Witch Luanne G. Smith began her world-building with some of these, such as the master-apprentice relationship, strong connections to the natural world, and ancient tomes of spells and hexes. She builds on this in The Glamourist, but by recasting them into something new and surprising. There is a black cat, a shop of curiosities, and a young thief, but none of these are exactly what we expect them to be. There are also two overarching themes which I found very interesting: the question of whether our blood and ancestry defines us and the underlying distrust between those with and without magic. The latter is more subtle but frequently addressed, especially in Elena's narrative, and I hope more attention is payed towards it in the third book.

As its title might suggest, this book is a little more lyrical and has a little bit more glam. We have moved from the earthy vineyards to the glamorous Paris. In my review for The Vine Witch I noted how some of the side characters' story lines had been left open for continuation, and The Glamourist picked up right where they were left off. Yvette is, in many ways the star of The Glamourist, as she tries to unravel her own history and come into her power. However, this is mirrored by Elena's journey, as she tries to decide between her life as a Vine Witch and her birthright as a venefica, a witch of poisons. Do we get to decide who we are or is it all in our blood? Will blood out? Both Yvette and Elena will find out, with plenty of hijinks along the way that take them to Paris' fanciest restaurants and its darkest depths.

I raved about Smith in my first review and I'm just here to do a little bit more of it. The whole Vine Witch series so far has been incredibly comforting. There is danger, prejudice and hurt in her books and many of her characters struggle, but Smith also infuses every page with warmth and magic. It is not a perfect world, but it is a world in which many people work towards the better, where they help each other and happy endings are possible. Yvette is fleshed out a lot more in The Glamourist and I really found myself warming to her almost from the start. There are a few major reveals about her heritage and power and although I saw the major ones coming, this was largely due to my being deeply steeped in folklore. Despite predicting it, I really enjoyed how everything came together in the last few chapters. Reading The Glamourist left me feeling warm and eager for more. 

I give this novel...
4 Universes!

I adored The Glamourist and found myself trying to put off finishing it, even though it was impossible. The Vine Witch series has great world-building and beautiful characters. I think this is the comfort read we all deserve right now.

Wednesday, 17 June 2020

Review: 'The Caretakers' by Eliza Maxwell

Isolated estates, tense family relationships and true crime documentaries. Nothing could be more perfect. I also adored the cover of The Caretakers which looks exactly like a still from one of Tessa Shepherd's films. Thanks to Lake Union Publishing and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 4/14/2020
Publisher: Lake Union Publishing

In the isolated estate she’s found the perfect getaway. But there’s no escaping the past in this chilling novel from the bestselling author of The Unremembered Girl.

Filmmaker Tessa Shepherd helped free a man she believed was wrongly imprisoned for murder. When he kills again, Tessa’s life is upended.

She’s reeling with guilt, her reputation destroyed. Worse, Tessa’s mother has unexpectedly passed away, and her sister, Margot, turns on her after tensions from their past escalate. Hounded by a bullying press, Tessa needs an escape. That’s when she learns of a strange inheritance bequeathed by her mother: a derelict and isolated estate known as Fallbrook. It seems like the perfect refuge.

A crumbling monument to a gruesome history, the mansion has been abandoned by all but two elderly sisters retained as caretakers. They are also guardians of all its mysteries. As the house starts revealing its dark secrets, Tessa must face her fears and right the wrongs of her past to save herself and her relationship with Margot. But nothing and no one at Fallbrook are what they seem.

True crime documentaries have seen a major surge in popularity over the last few years, starting with Netflix's bombshell Making a Murderer in 2015.  Many of these documentaries are thrilling, shocking and emotive, meant to take their audience on a journey to a very specific point. In some cases it is to prove innocence, in others to put the system itself on trial. For all of them, however, there is a clear narrative arc that has to end somewhere. Often you can't help but wonder what comes next. What about the rest of these people's lives. Are they happy now or have the years in prison or on trial been too much? What about the families of the victims? Are they happy now that someone is behind bars or, in the days after, does it begin to feel like less of a victory? As the popularity of these types of films has grown, so have think pieces on their benefits and downsides. An audience is easy to excite but will also drop its latest hero as soon as a new one comes along. What does this mean for those whose lives have been laid bare? It's a very interesting choice by Eliza Maxwell to make this a part of her novel and although she can't provide all the answers, it might allow true crime fans a chance to think it over themselves.

Tessa Shepherd has helped free an innocent man, Oliver. She is riding the waves of success, even if her family life is still messy and anxiety waits for her around every corner. That is until Oliver seemingly goes on a violent rampage, implicating her, and her mother unexpectedly dies. Now she has to not only face her twin sister, but also confront the interest of the media and police and her own family's past. It's a lot for one woman to shoulder but as she begins to unravel she also begins to discover the truth. I found Tessa to be a great protagonist. Her eye for a story, for a way to frame a scene, adds a lovely, meta-esque layer to The Caretakers that makes us consider how we look at things. Although The Caretakers is fast-paced, Maxwell takes the time to let the story's emotional beats resonate with the reader. Most fascinating was the relationship between Tessa and her sister, Margot, as well as the two sisters who act as caretakers, which is captured in glances, gestures and the venomous language only two sisters can unleash on each other.

This is my first book by Eliza Maxwell but I was completely engrossed in The Caretakers. I read it within an evening, fully aware I had work in the morning but unwilling to stop reading. Maxwell brings both Suspense and a sense of Magical Realism to her novel, which intertwine beautifully. The descriptions of Fallbrook, the crumbling estate with a secret, were stunning and allow both the reader and Tessa a little escape from the stress of the outside world. Maxwell also approaches both Oliver's case and Tessa's mental health with the right care and awareness, thereby avoiding a sense of sensationalism or exploitation of such personal topics. The twists and turns come fast in the last quarter of The Caretakers, making for a thrilling finale which feels earned. I saw some of them coming while others felt like a surprise. Maxwell ends her novel with a note of unease, which I myself very much enjoyed. Although books, like true crime documentaries, do come to an end, that doesn't always mean the whole story has been told. 

I give this novel..
4 Universes!

I blazed right through The Caretakers and still find myself thinking about Fallbrook and its lushes woods and dark history. Maxwell has written a fast-paced, thrilling suspense novel perfect for fans of true crime and those with a love for Magical Realism.

Thursday, 11 June 2020

Review: 'His Wife's Sister' by A.J. Wills

Sometimes you have to reach for a psychological thriller and spend a frantic few hours chasing down the path of madness for truth. At least, that's what I tell myself. Last weekend, I found myself in the need for some quick escape and reached for A.J. Wills' His Wife's Sister, which did the job quite admirably. Thank you to Cherry Tree Publishing and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 5/7/2020
Publisher: Cherry Tree Publishing

He stole her childhood. Now she wants it back.

A woman is found alone and confused wandering through remote woodland.

She claims to be Mara Sitwell, the little girl who mysteriously vanished from her home nineteen years ago.

She says she was abducted and has been held captive in an underground cell.

But not everyone’s convinced she’s telling the truth.

Her brother-in-law, Damian, thinks she’s hiding a dark secret and so psychologically scarred she’s a danger to his young family.

But no one’s listening to him.

His only choice is to prove what really happened to Mara.

But the truth is never easy to uncover, especially when it’s been buried so deep...

What do you say when your little sister disappears from the tent you're sharing in your backyard and isn't heard from again? What next when you feel like the outsider at school and a boy who's never spoken to you before offers to be your friend? And what do you do when your little sister suddenly reappears after 19 years? Now let's switch that around. What do you do when a little girl disappears from your town and her lonely sister is in need of friendship? What do you do when you fall in love with her? And how do you feel when her sister suddenly reappears and becomes central to your now-wife's life? Let's bring in a final viewpoint. What do you do when you're kidnapped as a child and never see anyone but your kidnapper for 19 years? How do you feel to see your sister has created a life for herself? How do you answer questions you don't even want to ask yourself? His Wife's Sister tries to engage with all these viewpoints in one way or another, and as you can perhaps tell from the jumble above, that's not exactly easily done. However, A.J. Wills'

Lucia and Damien are married with two lovely children. He works from home while she commutes into London for work. They seem pretty perfect, until they receive a call from the police that Lucia's sister, Mara, has been found after being abducted 19 years ago. Everything freezes to a halt as they try to help her adjust and let her move in with them. It is then that the real oddness begins, however, as Damien, our main narrator, starts to see gaps in Mara's behaviour and explanations. It is about a third through His Wife's Sister's first chapter that you begin to get an odd feeling about everyone involved. We spend most of the book inside Damien's head as he moves back and forth between telling us what is happening now and how he and Lucia met. Without getting into spoiler territory, most readers will grasp pretty quickly that he is an incredibly unreliable narrator. A lot of His Wife's Sister feels predictable, in that A.J. Wills sets up the dominoes in plain view and knocks them over perfunctorily. None of the characters are really likeable and sometimes slips into the weird territory of blaming a kidnapping and assault victim for their coping and survival tactics. Although I was engrossed by His Wife's Sister this was largely due to the creepy nature of the book and the fact I had to be certain A.J. Wills would bring it back around to kind of ok territory. 

This is my first novel by A.J. Wills and I'm still quite torn about the reading experience. On the one hand I found some aspects of His Wife's Sister to be rather off and a lot of the twists and turns are quite clear from the start. On the other hand some moments in His Wife's Sister happen so rapidly that I was confounded and fascinated by them. Quite frequently I'd wonder, how did we get here? Why is no one concerned about this? How could this just happen? The characters didn't feel real in the sense that I truly wondered at their interior motives and if they had any. It was a shame not to have Lucia be narrator or protagonist for part of the story, as that would have grounded both Mara and Damien more and prevented it from feeling as cliche. Now, I know that the above doesn't sound very positive. It is why my reading experience was such a confusing one. Despite the above, I did enjoy parts of His Wife's Sister and found myself unwilling to put it down. But I don't know if I'll be quick to pick up Wills' next one

I give this book...
3 Universes.

His Wife's Sister is a fast, gripping and frustrating read. The plot as well as the tone felt off, occasionally, and the characters weren't always believable. The reason I'm giving 3 Universes rather than 2 is because despite all this, I was hooked.

Tuesday, 9 June 2020

Review: 'The Vine Witch' (Vine Witch #1) by Luanne G. Smith

Why does it take me so long to read books that I just know I’ll probably love? I have no answer. It will be a question that will continue to haunt me, as The Vine Witch becomes the latest proof that I just need to trust.my.gut.instinct and read the books I pick up. Just look at that cover and tell me I shouldn't have known better. Magic, wine, France, curses, and a hint fo romance; what else could I have asked for. Thanks to 47North and NetGalley for providing me with a copy of this book in exchange for an honest review. 


What is it about herbs, spell books and secret rituals that is so utterly enticing to so many of us? In The Vine Witch we encounter age old traditions, passed on by a mentor, which are deeply embedded in the natural surroundings of our main characters. Perhaps it is this, connection, that makes it do heartwarming. Luanne G. Smith manages to create a world much like our own, with the definite difference that magic is real and, kind of, accepted. People don't like to see it too much (which Muggle has ever enjoyed knowing their lack of power) but they know the benefits it brings. What sets The Vine Witch apart, for me, is the genius of combining something as intricate and moody as wine making with witchcraft. Both require an intricate knowledge of the elements and the earth. Both require spending time pouring, measuring, stirring, testing, tasting. Both are full of tips and tricks particular to each region and family. I was thrilled from the very beginning!

Elena is not living her best life at the beginning of The Vine Witch. I won't betray the nature of her curse but it was not only a great start, it also retains its relevance throughout the novel. Once she manages to find her way back to her home, the vineyard where she learnt her craft, she finds out that years have passed and nothing is the same. As Elena sets about trying to fix her vineyard, Smith weaves in different plot elements that all come together rather neatly at the end. There is vengeance required for the curse. There is a brooding, science-minded city boy to deal with. And then there are the other, strange, magical happenings throughout the Chanceaux Valley that will need a witch to unravel them. The Vine Witch moves rather quickly but knows where to pack its emotional punches. 

Smith's novel soars on its premise, which I've already discussed in the first paragraph. It is a great idea that she is able to unpack and broaden throughout the novel without relying on exposition. She easily creates a sense of tradition and lore, while also leaving plenty of hints at further expansion. Her main character, Elena, is easy to adore as her passion for her craft, loved ones and vineyard shines through every action. I also found myself warming to the other characters rather quickly. The Vine Witch is not an overly complicated novel and perhaps has more of a romance theme than the blurb suggests. However, it is a very comfortable and warm read that lets you escape into another world for a few hours. There is enough intrigue and mystery to keep a reader less in love with magic interested as well. Although The Vine Witch is the start of a series, it does feel like a complete book on its own. Although there are a few story lines left open for the next novel, The GlamouristThe Vine Witch begins and ends its own story, refusing to leave readers waiting for a conclusion.

I give this novel...
4 Universes!

I adored The Vine Witch and absolutely raced through it. With a nice concept and solid world building, Smith has crafted a lovely standalone and great starter to her Vine Witch series. I'll be reviewing its sequel, The Glamourist, later this month. 

Sunday, 7 June 2020

Review: 'The Burning' by Laura Bates

High school can be the best and the worst of times. It's where you can make lifelong friends and pick up lifelong traumas. Add to that the sheer confusion of growing up in a female body, and all the pressures and developments that brings with it, and you have a veritable roller coaster of emotions. In The Burning Laura Bates shows us the dark underbelly of these experiences, while also giving us a historic perspective. Thanks to SOURCEBOOKS Fire and NetGalley for providing me with a copy of this book in exchange for an honest review. 


The Burning focuses very strongly on the ways a female body is policed, but does so from the perspective of the young girls themselves. Bates makes very clear the pull to both sides that I think all girls have felt. On the one hand there is the thrill of revealing, teasing, playing, giving what is asked for. On the other hand there is the need to protect, to cover up, to hide away, to be safe and respected. The middle ground between these two sides is as sharp as the edge of a knife and we never quite find the balance. We are either too slutty or too stuck up and it is a constant back and forth, all with the secure knowledge that whatever happens, it will probably be blamed on you. I would attach a warning to The Burning, however, as its descriptions of revenge porn and bullying are rather intense. It is good that Laura Bates doesn't shy away from the horror of its pervasiveness and the ease with which it is spread these days. But it could prove triggering for some readers, hence my warning. However, Bates does her best to infuse The Burning with a sense of hope as well.

Anna and her mother have left everything behind to start anew. As the reader you don't know why immediately, but there are enough hints that perceptive (female) readers will be able to pick up on the why pretty quickly. Anna's history comes to haunt and traumatize her, as well as those around her, and it becomes clear that it is impossible for her to be considered innocent. As her own life spirals, she finds fortitude from a history project, for which she selects to research Maggie. Maggie herself was at the centre of a scandal, accused of witchcraft, and as her narrative intertwines with Anna, the latter gains a newfound strength from this connection to the past. I really enjoyed the way Bates brought together past and present. Although vastly different situations, something is gained from both Anna and Maggie's narratives, even if it is quiet strength in the face of an oncoming storm. It also highlights other themes in The Burning, which is the need for solidarity between women, the need for institutional support and the holding accountable of men's actions. 

Laura Bates tackles a number of difficult themes in her novel which could have easily overwhelmed the plot. What impressed me was the way that Bates managed to keep the tone and message appropriate for a younger audience without drawing a veil over the more horrifying aspects of sexual harassment. The novel's language is straightforward and simple but at times also deeply lyrical, especially in Maggie's passages. Bates allows her characters to be teenagers while her adults are also allowed their full breadth of emotions. I will admit I was slightly biased in The Burning's favour as it's set in Fife. At one point Anna visits the St. Andrews' University Library and I was hit by a major wave of nostalgia. I was gripped by The Burning and found myself unable to put it down. I became rather attached to its characters and, despite its difficult topics, I found myself warmed by the reading experience.

I give this novel...
4 Universes!

The Burning is a great read that tackles difficult themes. It is a very timely read that, although not a manifesto, does its part in spreading awareness and bringing hope. 

Saturday, 6 June 2020

Review: ‘My Dark Vanessa’ by Kate Elizabeth Russell


I delayed writing the review for this book for quite a while since I was still sorting out my feelings about it and trying to wrap my head around the “controversy” that surrounded it for some time on Twitter. My Dark Vanessa is a very intense book and one that deserves time and needs time. So, now that I’ve had some of that, I can’t wait to write out my thoughts. Thanks to 4th Estate and NetGalley for providing me with a copy of this book in exchange for a honest review.


My Dark Vanessa is a book perfectly fit to its specific moment in time where we are not just trying to out sexual abusers, but where we’re also re-examining what it means to be a victim, how one finds themselves in a situation where wrong and right become muddy. This was the exact situation we were in when I read this novel in March 2020 and I saw its relevance almost every day. We are currently in a very different, important cultural moment and although it is not linked to sexual abuse specifically, it is about power relations, about control, about who gets to tell the story and who gets believed. These broken power structures are so deeply ingrained in our cultures that even when you're looking straight at them you can't always name it. Reading books such as My Dark Vanessa, although fictional, give me a chance to redirect my gaze. And it's not comfortable, but it is necessary.

Vanessa is in her early thirties and so far she has just about held everything together. Nothing is quite right, nothing ever was since then but it's ok since nothing has gone entirely wrong either, as long as she keeps telling herself it was love. My Dark Vanessa is a novel about power, youth, judgement, fear and shame, but also about love. The overarching theme, in my eyes, is story telling, however. Who tells our story? Who has the right to it? And what if someone tells you your own story and you don't recognize it? I don't want to discuss too much of how Strane and Vanessa meet, how the end up entangled and what it means. There is no surprise in it, no shocking betrayals or unexpected twists. Russell  does not pretend it is extraordinary, the story she tells, but she manages to highlight the sheer damaging confusion of it all. Is Vanessa complicit? Should she not have understood all the references to Lolita, should she not have taken the escape options available to her? And why can she not let go? 

Vanessa is a fascinating character because she is difficult to read about. You'll find yourself feeling bad for not liking her, for not warming to her older self. And then you'll find yourself feeling such a strong, protective fury for the younger Vanessa that will take your breath away. My perspective of Vanessa switched throughout the book as you learn more about her past and present and as I kept finding points of similarity with her. So much of her is recognizable for anyone who has been a young girl, been a teenager in love with books, been a woman searching for herself. And you see all the traps that were laid out, the ones that you accidentally avoided and the ones you walked into with eyes wide open. Vanessa tries to work through her story and it's a hard journey to take with her. 

Kate Elizabeth Russell has written a brilliant novel, one whose writing is key to making the story work. My Dark Vanessa made me feel physically ill while reading. Russell would have written something so innocuous it could have been overlooked and yet it began the spiral of deep unease in the pit of my stomach. With every further step Strane had Vanessa take, the unease would become acidic and threaten to spill over. It didn't make for a "fun" reading experience, but it was visceral and I think that is very important for a novel like My Dark Vanessa. When writing about sexual abuse and power relations, it is so easy to slip into sensationalism or virtue signalling, but Russell wrote something deeply emotional that will stick with me for a very long time.

I give this novel...
5 Universes!

My Dark Vanessa is a brilliant and terrifying novel that I have been  recommending for four months now. It will grip you and you will have to occasionally take a forceful break away from it, but it is a rewarding reading experience.

Friday, 5 June 2020

Review: 'Body Tourists' by Jane Rogers

Secret procedures? The desire to live again? The rich indiscriminately taking advantage of the poor? I'm listening! Jane Rogers had me hooked pretty quickly once I read the blurb for Body Tourists. Science Fiction is one of my favourite genres, and there have been some great experimental SciFi novels lately, such as Frankissstein by Jeanette Winterson for example. Body Tourists joins that rank, although it isn't quite as solid as the former. Thanks to Hodder & Stoughton and NetGalley for providing me with a copy of this book in exchange for an honest review. 


I have always thought of Science Fiction as one of the key genres that is able to predict and discuss where we might be going. Science and progress have become elemental to our society. If we aren't moving forward, then what are we doing? This in and of itself leads to progress for progress' sake, where the question isn't 'should we' but 'when will we'. It is these type of questions that lie at the foundation of a classic like Mary Shelley's Frankenstein. Just because Frankenstein has the ability to create life, should he have? Both author and Creature seem to decidedly suggest no, but the fascination is there regardless for the reader. We know it isn't right, that Frankenstein was cruel, and yet we can't help but be in awe of what he achieved. Similarly, H.G. Well's Dr. Moreau is probably certifiably insane and yet there is something that won't let you look away. It is this moral grey area, that contrasts humanity's curiosity with its morality, that elevates Science Fiction for me. Who knows how any of us would act, what choices we would make, if we found ourselves in similar situations, with similar options. If you could, wouldn't you bring your loved ones back?

In Body Tourists we meet an array of characters, all, in some way, involved with the workings of a small clinic that is quietly bringing the wealthy dead back to life for fourteen days, using the bodies of "willing volunteers". Now, I won't go into why those quotation marks are there, but it does hint at one of the interesting themes brought up by Rogers' novel, which is bodily autonomy and how much of your character and personality is decided by your body. Can you sign away your body while your mind rests and not be affected? How different would you be if you were in a different body? It is clearer now than ever that the colour of your skin vastly affects what kind of life you can lead. I was intrigued by the way Rogers worked with the idea that body and soul are separate and yet deeply tied together. Other themes addressed in Body Tourists are the gap between rich and poor, the effects of virtual reality and constant access to screens, and the endless desire to once again meet our departed loved ones. It is the second, the presence of screens and AI everywhere, that balances dangerously between being a little cliche and having meaning. 

This is my first novel by Rogers and I really enjoyed her ability to create characters. Body Tourists is low on the science, which is understandable since, like Frankenstein, the science at the heart of the novel does not actually exist. As such, it mostly focuses on the varying experiences of the different volunteers and revived dead. I really enjoyed the back and forth between these different characters, many of which we see reappear in other narratives later on. Body Tourists is told chronologically, but since much of the emotional weight of the book is with characters you might never revisit, it can slow down the reading for you. Body Tourists dorsn't feel quite as groundbreaking as I was expecting, going in. The concept isn't super new, and neither is the idea that screen time may be bad for you. When something like Black Mirror exists, that purposefully pushes the technology we have to the brink, then it is worth for novels to work on a similar level, revealing deeper truths about our own ideas and practices. What "saves" the novel from feeling outdated, for me, was the sheer humanity of most of Jane Rogers' characters. You can connect quite deeply to some of them, which means that Body Tourists has been on my mind every since I finished it. The reader's connection to the characters is what will let the themes suggested by Rogers percolate and develop. 

I give Body Tourists...
3 Universes.

Body Tourists will leave you with many questions about the nature of life and what you would be willing to do for it. Rogers is a captivating writer who elevates these questions. 

Wednesday, 3 June 2020

Review: 'break your glass slippers' by amanda lovelace

Not all poetry works for everyone. Wordsworth often meaves me clod, whereas Emily Bronte's poems speak to an inner fire. I read amanda lovelace's the mermaid's voice returns in this one last year and realized I adored her poetry. So when I saw break your glass slippers I knew I wanted another taste of lovelave's writing. Thanks to Andrews McMeel Publishing and NetGalley for providing me with a copy of this book in exchange for an honest review.
 

Fairy tales have always been half story, half tool. We keep retelling fairy tales, keeping mining them for new and different lessons, ways of re-envisioning our own lives. I have really enjoyed the way amanda lovelace has used the fairy tale genre and its tropes and characters to aim for a certain sense of empowerment. Occasionally these readings may feel anachronistic or misguided, but often I find that they not only give me a new perspective of myself, but also of the original fairy tale itself. Take Angela Carter's The Company of Wolves. No scared Little Red Riding Hood, but a confident woman amongst wolves. lovelace doesn't reinterpret the fairy tales, but rather imagines the protagonist of her poems as being in conversation with them. 

This collection of poems is a back and forth between a Cinderella and her Fairy Godmother. As Cinderella moves through life, from celebration to disappointment, joy to pain, her Fairy Godmother is there to remind her of some of the deeper truths of life, different origins of power, new ways of living. Whereas some of lovelace's previous poetry collections have had tragic over- and undertones there is a more joyous tone to break your glass slippers. Some of the poems struck very close to home in a way I didn't expect them to. The message of self-acceptance and self-love is central to the poems, but the collection is preceded by potential trigger warnings. In and of itself, the title fo the collection is like an imperative. Break your glass slippers, break the molds and the expectations you have, and see what wonders can be found after.

I am a major fan of capitalizing words. It's the German in me, I think, to want to see every noun capitalized. amanda lovelace is the only one for who I will set that love of capitalizing aside. There is a sense of democracy to writing in lowercase. The first word does not rule the sentence. Part of what attracts me to lovelace's poetry is that it is so different from the poetry I have studied. There's no meter or rhyme to it, and not every poem works as well as the best. And yet, for me, there is a magic to lovelace's poetry, to the way the individual poems interact with each other and serve her overarching theme.  If you're looking for a Fairy Godmother in your own life, give lovelace's a try!

I give this poetry collection...
4 Universes.

I adored break your glass slippers. There is something very warm and inviting about lovelace's poetry that fits perfectly with my love for fairy tales and the fracturing and reshaping of fairy tales.

Thursday, 23 April 2020

Review: ‘Woe from Wit: A Verse Comedy in Four Acts’ by Alexander Griboedov, trans. by Betsy Hulick


It was The Master & Margarita that first, truly, brought Russian literature and its potential for irreverence, absurdity and (not so-) disguised social commentary to my attention. From there I expanded to the more classical texts such as Pushkin’s Onegin (love at first read) and Tolstoy’s War and Peace (merely whelmed). Thankfully there are publishers out there, such as Columbia University Press’ ‘Russian Library’ project and Pushkin Press, which continue to shine a spotlight onto great, newly translated literature. Woe from Wit is definitely an addition to this. Thanks to Columbia University Press and NetGalley for providing me with a copy of this book in exchange for a review.

Pub. Date: 4/14/2020
Publisher: Columbia University Press
Alexander Griboedov’s Woe from Wit is one of the masterpieces of Russian drama. A verse comedy set in Moscow high society after the Napoleonic wars, it offers sharply drawn characters and clever repartee, mixing meticulously crafted banter and biting social critique. Its protagonist, Chatsky, is an idealistic ironist, a complex Romantic figure who would be echoed in Russian literature from Pushkin onward. Chatsky returns from three years abroad hoping to rekindle a romance with his childhood sweetheart, Sophie. In the meantime, she has fallen in love with Molchalin, her reactionary father Famusov’s scheming secretary. Chatsky speaks out against the hypocrisy of aristocratic society—and as scandal erupts, he is met with accusations of madness.
Woe from Wit was written in 1823 and was an immediate sensation, but under heavy-handed tsarist censorship, it was not published in full until forty years later. Its influence is felt not just in Russian literary language but in everyday speech. It is the source of a remarkable number of frequently quoted aphorisms and turns of phrase, comparable to Shakespeare’s influence on English. Yet owing to its complex rhyme scheme and verse structure, the play has frequently been considered almost untranslatable. Betsy Hulick’s translation brings Griboedov’s sparkling wit, spirited dialogue, and effortless crossing of registers from elevated to colloquial into a lively contemporary English.Alexander Griboedov (1795–1829), described by Pushkin as the “cleverest man of his generation,” is best known as the author of Woe from Wit. While serving on a diplomatic mission to Persia in the aftermath of the 1826–1828 Russo-Persian War, he was brutally murdered when a mob assaulted the Russian embassy in Tehran. 
Betsy Hulick has translated Russian poets and playwrights, including Pushkin and Chekhov, and her translation of Gogol’s Inspector General was produced on Broadway.
Woe from Wit, according to this edition’s introduction, is still frequently quoted by Russians in their everyday life. When asked what the time is, those without watches will say that “no one happy minds the clocks and Chatsky’s speech brings us the phrase “and who are the judges?”, letting us question who dictates what we should do and why. I’m always amazed by the influence of plays on out culture. You see it now with films and series which are quickly picked up by popular culture but also very quickly dropped again. Only a few end up giving voice to a sentiment that endures, but as long as the sentiment endures, so does the play that voiced it. Woe from Wit gives voice to many things, especially the frustration of a younger generation of men in 10th century Russia, who traveled abroad and adopted more progressive ideals than those at home. This clash, although with comedic timing, is present throughout Woe from Wit and it leaves our Romantic protagonist frustrated. These frustrations end up later leading Russia into the Decembrist Uprising of 1825 and, of course, the Russian Revolution.

In Woe from Wit, a young man, Chatsky, returns to Moscow from abroad, hoping to reconnect with his former love. Unfortunately, Chatsky finds a Moscow, and a beloved, that has changed and grown while he was away. She has moved on and will no longer greet him with the same enthusiasm and devotion, while Moscow itself is now full of quick judgements, nepotism, and a fear of radicalism. Of course, everything coming out of Chatsky’s mouth is seen as revolutionary and upsetting. Woe from Wit is a comedy, but one that has a keen eye and a sharp tongue. Much can be found to criticize, whether it is the job security of the maid depending on keeping her mistress’ secret, the father who grovels before all, the Princess whose own racism she only ever allows to be adorable, and the clerk who understands the safety of being meek and mild. Chatsky himself bursts onto this scene of carefully played personas and carefully established mores with a distaste for all, and although the consequences are comedic, they are also tragic. The title itself is also key to understanding this balance between comedy and tragedy within the play. 'Wit' is usually something we associate with fun and laughter, being adored by the crowd around you for your quick tongue. In Chatsky's case, his cleverness and way with words sees him scorned by those around him who are either not quick enough themselves or dislike being the object of mockery. It also allows the reader/observer of the play to question whether Chatsky's wit does him any good. Perhaps he is morally above the other characters, but perhaps he is also a little cruel in his mockery.

This is my first time reading anything by Griboedov, but I greatly warmed to the quick wit and sly judgment on display in Woe from Wit. The quick repartees between different characters, especially Chatsky and Sophie, are a joy to read and made me long to see the play performed. The array of characters and their idiosyncrasies they all display are a joy to read, even as Chatsky remains a solid protagonist. It is important to read the Introduction, however, since it provides a good context for the play and its twists and turns. It is absolutely possible to read and enjoy the play without, but the added depth of the context really brings some of the play’s elements to life. Betsy Hulick, who is a part of Columbia University Press’ ‘Russian Library’ project, produces a great translation that allows for easy reading, while maintaining a rhythm and a rhyme that makes this Russian play feel familiar to an Anglophone audience used to Shakespeare.

Before I end this review, I do want to heap a little bit of praise onto the ‘Russian Library’ project itself. I’ve read a few of their translations so far and many of them, such as A Double Life by Karolina Pavlova, trans. by Barbara Heldt, were immediate hits with me and introduced me to a whole new way of writing. It’s definitely a project I will be keeping an eye on in the future.

I give this play…
 
4 Universes!

Although reading plays may not be for everyone, I would recommend that those with an interest in Russian literature and history give Woe from Wit a chance. Not only was the play in and of itself crucial to the development of Russian drama, it also provides a fascinating insight into the frustrations of Russian youths that influenced and caused major historical and societal changes.

Wednesday, 25 March 2020

Review: ‘The Paris Mysteries, Deluxe Edition’ by Edgar Allan Poe


I’ve known of Edgar Allan Poe for years, even before I had ever read any of his tales. His presence looms over the Gothic genre and not many are able to reach the same level of beauty and darkness. I had read once that Poe was the originator of the detective genre but had never thought to read these stories for myself until Pushkin Press’ new edition came across my computer. Thanks to Pushkin Press and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 3/20/2020
Publisher: Pushkin Press; Pushkin Vertigo
Three macabre and confounding mysteries for the first and greatest of detectives, Auguste Dupin
An apartment on the rue Morgue turned into a charnel house; the corpse of a shopgirl dragged from the Seine; a high-stakes game of political blackmail - three mysteries that have enthralled the whole of Paris, and baffled the city's police. The brilliant Chevalier Auguste Dupin investigates - can he find the solution where so many others before him have failed?
These three stories from the pen of Edgar Allan Poe are some of the most influential ever written, widely praised and credited with inventing the detective genre. This edition contains: 'The Murders in the Rue Morgue', 'The Mystery of Marie Rogêt' and 'The Purloined Letter'.

In The Paris Mysteries are collected the three stories that created the detective genre. You will recognize it immediately. The reclusive genius, his best friend who is just a tad slower, the mumbling detective who tries his best, the outlandish crimes. It feels like coming home, in a way. Since we have been spoiled by countless Sherlock Holmes adaptations over the past few years, I hopefully can’t be blamed for occasionally mistaking Auguste Dupin for Holmes himself. The ease with which these stories flow is amazing when you consider that they are the first. Many authors aim for this, but they also have many examples to follow and imitate. Poe was the first and his talent shines through each of the three stories.

First is ‘The Murders of the Rue Morgue’, in which we are first introduced to Dupon and his companion. They live in joint repose, walking the streets at night and meeting no one. Until, that is, a gruesome and unexplainable murder is committed. I can’t lie, when we got to the resolution I had to put the book down for a second. It was outrageous in the most hilarious, apt way. ‘The Mystery of Marie Roget’, the second story, is fascinating in a completely different way. It is based on the real case of Mary Rogers which took place in the USA, and is moved to Paris in the story. Poe used writing the story to try and understand the mystery of Mary Rogers’ disappearance and death himself. The real crime itself still goes unsolved to this day. The third story is ‘The Purloined Letter’ in which, as the title suggests, a letter is stolen from a high-ranked royal. Elements of it will appear very familiar to Sherlockians, and there was even a film adaptation in which Holmes solves this case.

Poe’s writing in these stories is brilliant, in the way Arthur Conan Doyle’s is, in that he manages to not make it boring when someone rambles on for page after page about minute details. It is still gripping, still interesting to see just where Poe and Dupin will take us. The setting of Paris is also lovely, as it feels appropriately melancholy and beautiful for a Poe story. Furthermore, these stories don’t cut down on the gore of the detective genre. There are slashed throats, blood stains and drownings. Something interesting I read is that the three stories allow Poe to explore three different settings; the streets in the first story, the outdoors in the second, and the private sphere in the third. It’s fascinating to think of the stories from this perspective, as each leads to a different kind of deduction and a different kind of answer. The only potential downside to reading The Paris Mysteries is that the stories were so central to the genre that their elements are now almost too familiar. Thankfully, the first story has an enormous twist that will carry you through all the other elements.

I give this collection…
 
4 Universes.

Fans of Poe will need little convincing to give this collection a try. They are great stories and beautifully presented by Pushkin Press in this edition. If the detective genre is your thing, you have to read the one who started it all!

Thursday, 5 March 2020

Review: 'Too Much: How Victorian Constraints Still Bind Women Today' by Rachel Vorona Cote

It's hard to walk a fine line between having a personality and being "too much", especially if you're a woman. You're supposed to laugh at jokes, but if those laughs turn into snorts you're out. You should definitely enjoy cooking and baking and fine cuisine, but don't stuff your mouth. And please only let an elegant tear drop down your cheek, not the torrents of tears and snot that might show actual emotion. Since I feel this balance I knew Too Much would be the book for me. Also, how gorgeous is this cover! Thanks to Grand Central Publishing and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 2/25/2020
Publisher: Grand Central Publishing
Lacing cultural criticism, Victorian literature, and storytelling together, "TOO MUCH spills over: with intellect, with sparkling prose, and with the brainy arguments of Vorona Cote, who posits that women are all, in some way or another, still susceptible to being called too much." (Esmé Weijun Wang)
A weeping woman is a monster. So too is a fat woman, a horny woman, a woman shrieking with laughter. Women who are one or more of these things have heard, or perhaps simply intuited, that we are repugnantly excessive, that we have taken illicit liberties to feel or fuck or eat with abandon. After bellowing like a barn animal in orgasm, hoovering a plate of mashed potatoes, or spraying out spit in the heat of expostulation, we've flinched-ugh, that was so gross. I am so gross. On rare occasions, we might revel in our excess--belting out anthems with our friends over karaoke, perhaps--but in the company of less sympathetic souls, our uncertainty always returns. A woman who is Too Much is a woman who reacts to the world with ardent intensity is a woman familiar to lashes of shame and disapproval, from within as well as without.
Written in the tradition of Shrill, Dead Girls, Sex Object and other frank books about the female gaze, TOO MUCH encourages women to reconsider the beauty of their excesses-emotional, physical, and spiritual. Rachel Vorona Cote braids cultural criticism, theory, and storytelling together in her exploration of how culture grinds away our bodies, souls, and sexualities, forcing us into smaller lives than we desire. An erstwhile Victorian scholar, she sees many parallels between that era's fixation on women's "hysterical" behavior and our modern policing of the same; in the space of her writing, you're as likely to encounter Jane Eyre and Lizzie Bennet as you are Britney Spears and Lana Del Rey.This book will tell the story of how women, from then and now, have learned to draw power from their reservoirs of feeling, all that makes us "Too Much."
In many ways this book is a bit of an inspiration for someone like myself. I like to consider myself a bit of a pseudo-academic, especially since I'm currently nowhere near a university or academia in general. I love reading into texts, analyzing them, figuring out what role they play in our lives today and how they reflect our lives then. Too Much does a lot of that, looking into various Victorian texts, both literary and non-literary, to find out why we still seem to hold true to certain ideas and ideals that were popular then. Aside from this, it is also a blend of research and memoir/autobiography. Carmen Maria Machado released her masterful autobiography, In the Dream House, earlier this year, laying bare how we look at ourselves dependent on the stories we tell and have access to. Vorona Cote does this to a certain extent as well and although her story is perhaps more familiar to many than Machado's, Too Much only occasionally hits similar high notes.

Unfortunately, Too Much left me a little confused at times. The subtitle as well as the introduction heavily prioritize the book's link to Victorian constraints and literature specifically and yet much of the book focuses on different eras and sources, whether it is Jane Austen, pop idols from the 2000s or the movie Heavenly Creatures. Vorona Cote's idea of 'too muchness' never quite crystallized enough for me to take it beyond a hashtag. It's something all women will be able to identify with, but aside from celebrating it there doesn't seem to be a lot we can do with it. Similarly, a lot of the analysis in Too Much is recognizable because it is no longer outrageous. Britney Spears' breakdown in 2008 is no longer a punchline, Angel Clare is hated by everyone and Ramona beloved. Somehow I wish Too Much went further than it does, either dedicating completely to what its subtitle suggests or to being an autobiography.

Rachel Vorona Cote is very passionate and almost uncomfortably honest throughout Too Much. She shares ruthlessly from her past, whether it is her own infidelity or the horrors of being a teenager at a preppy school. Because of this honesty, a trigger warning does also need to accompany this book as one of the chapters, entitled 'Cut', deals with self-harming. It is one of the most autobiographical chapters in Too Much and at times I found myself cringing at what almost felt like the glorification of self-harming. Too Much can be read in such a way that it gives women the go-ahead to be as selfish and self-destructive as they desire. I do not believe this is what Vorona Cote intended. Rather she means to point out that the restrictions we face leave us constantly wondering who we are, second-guessing and repressing ourselves. This is a good message and something to be aware of, but it is also not new. On top of that, books like Too Much sometimes walk a fine line between celebrating women who stand out and are Othered and shaming women who are seen as more compliant. It is a difficult balance and I don't know whether it has been successfully struck by an author yet. At times Vorona Cote veers rather too much towards the latter.

I give this book...

3 Universes!

Overall, I was fascinated by Too Much until I ended up questioning it. I wish that it had gone further in truly assessing what lies behind the restricted behavior and the way it affects different women. Instead it left me with many questions that I'm sure I will be finding answers for over the years.

Tuesday, 3 March 2020

Review: 'Warriors, Witches, Women' by Kate Hodges

In my life as a woman so far I have frequently strove to be both warrior and witch, to varying success. In my quest to be thus, I have frequently been in need of a role model, of inspiration. A book like Warrior, Witches, Women would have gone a long way to help me out. Thanks to Quarto Publishing Group, White Lion Publishing and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 3/3/2020
Publisher: Quarto Publishing Group; White Lion Publishing
Meet mythology’s fifty fiercest females in this modern retelling of the world’s greatest legends. 
From feminist fairies to bloodsucking temptresses, half-human harpies and protective Vodou goddesses, these are women who go beyond long-haired, smiling stereotypes. Their stories are so powerful, so entrancing, that they have survived for millennia. Lovingly retold and updated, Kate Hodges places each heroine, rebel and provocateur fimly at the centre of their own narrative. Players include: 
Bewitching, banished Circe, an introvert famed and feared for her transfigurative powers. 
The righteous Furies, defiantly unrepentant about their dedication to justice. 
Fun-loving Ame-no-Uzume who makes quarrelling friends laugh and terrifies monsters by flashing at them. 
The fateful Morai sisters who spin a complex web of birth, life and death. 
Find your tribe, fire your imagination and be empowered by this essential anthology of notorious, demonised and overlooked women.
Hodges displays a wide variety of women, warriors, goddesses and witches in her book. Some of them, lke Circe, I knew, some, like Ame-no-Uzume, were completely new to me. The mythology that comes down to us can be very whitewashed the way that the Grim fairytales were in later editions. No more hacked off toes, no more dancing in hot-iron shoes. Hodges gives us the tales straight up with relish, not hiding away the odder or more unusual parts of mythology. Whether it's the double-edged sword that is Kali or the life-giving gifts of the White Buffalo Calf Woman, each of the women mentioned in Warrior, Witches, Women has left an imprint on a culture or a society. Hodges tracks how their stories have changed and evolved, both for the better and the worse, and what impact they have today.

Warriors, Witches, Women covers 50 different women, goddesses, spirits, messengers, from all over the world who each receive a page or two in which their tale is told. Alongside this are stunning illustrations by Harriet Lee-Merrion. There is a timeless simplicity to them which I found very affecting. I would love to frame these and hang them up in my house. The cover is, clearly, Medusa, and the colourful calm that Lee-Merrion brought to play is beautiful. WWW would make a perfect coffee table book, to be picked up by a little girl or boy, bored of the conversation happening around them. To me, it felt a little bit like a gateway, a first step into reconnecting with some of the mythology we have forgotten or never been told. Here is a whole range of stories, ready to be explored. I took notes, I Googled, and I listened to the songs recommended at the end. By the end of Warriors, Witches, Women I felt enriched and surely there is nothing more you could ask for?

I give this book...

4 Universes!

Warriors, Witches, Women is a beautiful introduction to the sheer volume of amazing myths and legends around women. Let it inspire you to look further and to discover some fo that rebellion and rule-breaking within yourself.

Monday, 2 March 2020

Review: 'The Silent House' by Nell Pattison

I've worn glasses since I was six and being ever so slightly blind has let to plenty of scary moments where I didn't see a bike rushing at me, misjudged the distance between two steps in the dark, or couldn't quite figure out if that shape was my coat or a man standing in the corner of my room. Because of these experiences I was immediately drawn in by the blurb of The Silent House. Thanks to Avon Books UK and NetGalley for providing me with a copy of this book in exchange for an honest review.

Pub. Date: 3/1/2020
Publisher: Avon Books UK
If someone was in your house, you’d know . . . Wouldn’t you?
But the Hunter family are deaf, and don’t hear a thing when a shocking crime takes place in the middle of the night. Instead, they wake up to their worst nightmare: the murder of their daughter. 
The police call Paige Northwood to the scene to interpret for the witnesses. They’re in shock, but Paige senses the Hunters are hiding something. 
One by one, people from Paige’s community start to fall under suspicion. But who would kill a little girl? 
Was it an intruder? 
Or was the murderer closer to home? 
This mystery will keep you up all night – perfect for fans of The Silent Patient and Cara Hunter
What is best about The Silent House is that it took a different approach to the usual crime procedural. Our protagonist, Paige, isn't a police detective or a brother/sister/mother/uncle of the victim. Rather, she is a part of their community, the Deaf community. Paige is called in to interpret for the witnesses at a shocking murder scene. She keeps her ties to the witnesses through the Deaf community a secret for as long as she can, needing to know the details, wanting to be involved. But of course danger lurks around every corner for those that try to get involved. In some ways, The Silent House reminded me of the film Hush, in which a murdered tries to break into a deaf woman's house to kill her. Hush is a brilliant movie because it uses its premise to surprise and shock the viewer in new ways. Similarly, The Silent House allows for a different look at the usual set-up of a thriller while also bringing some diversity to the usual cast of a thriller.

What carries The Silent House for most of it is the intriguing set-up and the freshness of its premise. Pattison chooses a tight-knit community that keeps largely to itself. As such, all the possible suspects and witnesses of The Last House know each other, including our protagonist Paige. This means that with her keen eye she can pick up a lot more than the police may be able to. After threats to her own and her sister's safety, Paige and Anna decide to try and solve the mystery themselves. Some of the choices made by characters in this novel feel at odds with common sense, but it is undeniably a fascinating read. The Silent House is structured in such a way that we follow Paige day to day, but get chapters interspersed that count down to the murder. On the day it all gets we resolved we also reach the chapter that explains exactly what happens. It is a nice way of building up the suspense, even if it did become a bit much that every throwback chapter tried to set up a new potential murderer.

Overall The Silent House is very enjoyable. The pace picks up considerable in the last third of the book, but Pattison builds up her world convincingly. There were a few occasions on which we were told rather than shown, which led to some of the characterization feeling rather weak. I don't want to veer into spoiler territory, but Paige's history is rife with loss and difficulty which affects her in her present as well. All of these things seem to combine to an overwhelming backstory and yet they're only occasionally addressed to explain some of Paige's choices. There's also a very sudden almost-romance which I found very hard to believe in or care about, which was a shame since it was clearly there to heighten the personal drama for Paige. This meant that I wasn't always as engaged with Paige herself, but still found myself intrigued with the resolution of it all. Towards the end I started seeing the twist coming, but it was still mostly satisfying, even if it felt like Pattison tried to tie together every single loose story thread in a single scene.

Although it may sound like I'm nit-picking The Silent House, I read it in a single reading and was engrossed by it. It was a great way to spend a Saturday and it made me see the inventiveness that trademarks thrillers and mystery novels.

I give this novel...

3 Universes!

The Silent House is a gripping, quick thriller that introduces its audience to a whole new community. Pattison brings some interesting twists and turns to the story, even if some of it doesn't hold up to closer scrutiny.