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Dorthe Nors – Karate Chop

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Spooky coincidences and horrific happenings.

Publisher: Pushkin Press
Pages: 82
Type: Fiction
Age: Adult
ISBN: 978-1-782-27432-2
First Published: 25th September 2008 in Danish; 4th February 2014 in English
Date Reviewed: 16th March 2018
Rating: 4/5

Original language: Danish
Original title: Kantslag (Side Stroke)
Translated by: Martin Aitken

In this collection of very short stories (some have called it flash fiction) a person left alone by potentially mysterious boyfriend watches and remembers a documentary about a missing person who left their wife; a grown-up remembers the stories about his grandmother told to them by their mother and aunt – two children brought up by an abusive parent; and a psychologist looks at her bruises and wonders about the way she gets into bad relationships when she well knows the warning signs.

Karate Chop is a thin book of vignettes about realisations of the self and aspects of society. Told in simple prose, the author’s style is one of subtlety – with her writing set somewhere between the almost vague and small shock, Nors’ collection delivers some poignant endings, some horrible endings, and others that are ambiguous.

These endings result in a book that can at times confuse you. Because some of the stories are easy enough to see through – well, easy enough once you’ve worked out the right amount of thinking you must do – the ones that are a lot less opaque can seem not so successful. It can be hard to decipher whether the more vague pieces are like that on purpose – leaning ever more towards subtlety – or just objectively miss the mark. It could be due to the length – no matter how literary the endings, the shortness of the stories means it can be a bit too easy to forget what came before. Make no mistake – there is something to take away from all the stories – but some will fade from memory a lot quicker than others.

The simplicity of Nors’ prose has been translated well; doubtless some changes have been made to aid the reader not familiar with Denmark but if they have they are hard to see. The text flows well and the translation reads as faithful both to the takeaway of the stories and the phrasing.

Highlights of the collection include Mutual Destruction, in which a man watches a neighbour who has previously ‘helped’ him put animals to sleep when they were ill – where is the man’s family? The Winter Garden looks at the moment children start to realise their parents might just be average; Flight looks at a woman who is close to realising what went wrong in her relationship but incapable of seeing it; and the aforementioned story about the tales of the narrator’s grandmother, Grandmother, Mother, And Aunt Ellen, is exceptional.

Karate Chop delivers more than one punch in the reading experience – the title may refer to a particular story but it could equally have been used for a few others. It is a great little collection that takes less time to read than it does to finish thinking about it.

I received this book for review.

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Sherry Thomas – The Luckiest Lady In London

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Lucky, but well matched.

Publisher: Berkley Romance (Penguin)
Pages: 276
Type: Fiction
Age: Adult
ISBN: 978-0-425-26888-9
First Published: 5th November 2013
Date Reviewed: 5th March 2018
Rating: 4/5

Felix doesn’t trust people. Neglected as a child by his mother, and having to watch his parents’ loveless marriage progress ever further into bitterness, he never lets an affair become serious. Meanwhile family rich but cash poor Louisa is looking for a husband amongst the wealthy; she’s got a few siblings, one with epilepsy, and a mother to look after; if Louisa likes her husband then all well and good but it’s not important. When Felix suggests she become his mistress with the promise of life-long provision she’s tempted but believes she can do better.

The Luckiest Lady In London is a novel that shares its society and a couple of characters with Thomas’ previous book, Private Arrangements. It’s a deftly-plotted story that shows the author’s expertise in writing what her readers want.

The romance is very well done. Thomas has created a couple that are well suited and the relationship is believable. She looks into the ways they are suited in terms of interests – quite a few pages are devoted to astronomy, telescopes, and there’s a fair amount of information to learn about the practices and scientific beliefs of the period.

But the strongest element of this book and what sets it above many others is the way Thomas deals with the requirement for conflict in a story. The defining conflict, apparent early on, is not the be all and end all of the work; Thomas uses it but keeps it realistic and reigned in – never once does it outstay its welcome. Thomas gives a clear nod to what is wrong and then the characters get on with solving the problem.

And they are good characters. Obviously there’s the fantasy of the poor historical woman gaining the hand of the wealthiest man in society, but Thomas makes it work. There is solid reasoning in everything. The story is undemanding and an easy read with a good chunk of value. The writing, as always with Thomas, is top notch.

The Luckiest Lady In London isn’t standout in the way one usually thinks of that category but it’s a good read.

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Edith Wharton – The Age Of Innocence

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Everything is awesome (caveat: when you’re part of the team)1.

Publisher: N/A
Pages: N/A
Type: Fiction
Age: Adult
ISBN: (Vintage’s is 978-0-099-51128-1)
First Published: 1920
Date Reviewed: 23rd February 2018
Rating: 5/5

1870s New York and young Newland Archer is excited at the prospect of marrying May Welland, looking forward to making their engagement official. But as he watches the opera in his club box, he spies a newcomer with his fiancée’s family; May’s cousin Countess Ellen Olenska has separated from her European husband and has come to stay in America. Ellen is rather different to the rest, her European ways at odds with New York society and everyone hopes she’ll reunite with her husband… everyone except Newland who is strangely attracted to her.

The Age Of Innocence is a marvellous novel with a highly ironic title. Set at a time of change, it looks at the way a society that does not favour the arts, or anything even one step away from their etiquette and mores, responds when they are confronted with a person who is slightly associated with it.

Wharton speaks of a society she was a member of and uses Newland to examine it as well. There is a lot of characterisation in the book but most of it is by rights and by design set aside for Newland. As the main character (the book is written in the third person) Wharton spends most of her time in his head. Her relative lack of characterisation of the other characters, barring Madame Olenska, is almost a theme in itself, with the society members effectively rendered as stereotypes as befitting Newland’s opinions of them, which, let’s just say, aren’t always correct (and can be frustrating at times). It’s an interesting sort of character-driven novel – there’s actually more plot than characterisation aside from Newland yet it remains character-driven.

In many ways everyone is a device for Wharton but none more so than the unsuspecting Newland who is used by Wharton to look at the perceived lack of female agency in society, as well as his own thoughts as to teaching his wife what he deems appropriate for her to know.

His own exclamation: “Women should be free – as free as we are,” struck to the root of a problem that it was agreed in his world to regard as non-existent. “Nice” women, however wronged, would never claim the kind of freedom he meant, and generous-minded men like himself were therefore – in the heat of arguement – the more chivalrously ready to concede it to them.

The young man was sincerely but placidly in love. He delighted in the radiant good looks of his bethrothed, in her health, her horsemanship, her grace and quickness at games, and the shy interest in books and ideas that she was beginning to develop under his guidence. (She had advanced far enough to join him in ridiculing the Idyls of the King, but not to feel the beauty of Ulysses and the Lotus Eaters.)… But when he had gone the brief round of her he returned discouraged by the thought that all this frankness and innocence were only an artificial product.

So the story is very clever. It’s a man’s world – is it? (You might expect a woman writer in those years to question that – Wharton and Kate Chopin would have got on well – but Wharton’s craftiness will have you wondering what’s on the next page constantly and she is a master of red herrings, nay, pre red herrings.) The author gives a lot of time to Ellen Olenska, ensuring that the woman shines in characterisation away from her role as Newland’s social interest, and allows a second interpretation to take hold in Ellen’s story. The execution of the story is flawless and the ending an absolute triumph.

At once a simple story with little embellishment, The Age Of Innocence is well worth the fairly short investment of time it requires, both for enjoyment and because it’s a worthy classic. You will not regret reading this book.

1 The main line of The Lego Movie theme song seemed too appropriate not to use, however irrelevant it is otherwise.

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April Munday – The Heir’s Tale

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More to learn after the war.

Publisher: (self-published)
Pages: 150
Type: Fiction
Age: Adult
ISBN: B075KQ3HX4
First Published: 29th September 2017
Date Reviewed: 25th January 2018
Rating: 3/5

Ancelin returns home from the war he fought alongside his brothers. His betrothed, Emma, has been waiting a long time and is happy to see him, but so is his sister-in-law Alice, whose husband is now dead. Ancelin has always loved Alice and her sudden interest in him causes him to rethink his betrothal.

The Heir’s Tale is a coming-of-age romance set in the medieval period, and the start of a series of books about a set of brothers.

The research in this book is of a very high standard. Munday strikes the right balance of detailing and holding back to the extent that there are a good few times when it’s easy to get lost in the history. The amount of research is evident but only on consideration, leading to the best of reading experiences where you can relax into it without any worries of the author including too much or any errors. The writing backs it up; it’s solid. There are no anachronisms and the text reads smoothly.

It’s apt to talk about Ancelin’s growing maturity in terms of relationships. The character continually darts back and forth – one minute he knows he likes Emma, the next he’s tempted by his sister-in-law – and it’s a long-term thing, the main conflict in the book. On the surface, Ancelin is a frustrating person to read about however upon reflection it’s quite realistic – it’s all too easy to ascribe modern notions to this young-twenties man and think that he should be better, but when put in the context of his lack of experience and the sudden turnabout of his romantic situation, wherein he has loved Alice for years without her paying any attention and now she’s turned full circle, it makes a lot of sense. The continuation also has another role – it allows Munday to look at the character further.

Here the best example is probably in the character’s gender. Rather than look at Ancelin with an eye to the sort of romance that’s often included – where the male character will act in ways that’s romanticised and dreamed about but not often true to reality – Munday unashamedly puts sex before romance, so that there is more physical action (aside from sex itself which, true to history, doesn’t happen during the betrothal) in places where you might have been expecting roses. This said, there are also roses.

The characters as a whole are good – Emma is very patient with Ancelin but is by no means meek, in fact she’s the strongest character. Ancelin’s brothers get a lot of look in to set up the other books but it doesn’t actively detract; his father is a fair secondary character. Alice however does present a problem.

Alice has very good reason for suddenly showing romantic interest in the brother-in-law she’d previously not spent any thought on – she’s a widow in the medieval world and about to be sent off to a convent against her wishes. It’s obviously rather wretched that she’s trying to break up a prior betrothal, but she doesn’t have many options and as caring as her father-in-law is, society rules will go on ahead.

Where the issue lies is in the actions, the way Alice goes about trying to get Ancelin. You know from the moment Ancelin arrives home from war that Alice is the villain and she’s quite cardboard cut-out. In itself she is just one character but as this becomes part of the conflict of the book, the continuation makes it difficult. It comes to a head towards the end, where it’s obvious to the reader what’s happening but the characters don’t put two and two together. It means it’s a bit too angsty.

There is a lot to like about The Heir’s Tale but it can be overshadowed – the scenes in which Alice is absent, and there are many, are good and show Munday’s work well.

I received this book for review. The author is a friend.

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Sarah MacLean – A Rogue By Any Other Name

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Or name(s) – he has two already.

Publisher: Avon (HarperCollins)
Pages: 386
Type: Fiction
Age: Adult
ISBN: 978-0-062-06852-1
First Published: 2012
Date Reviewed: 15th January 2016
Rating: 2.5/5

Michael, Lord Bourne, has been gone for a decade; he left after his guardian, Langford, lured him into gambling away his land and fortune. Michael’s childhood friend, Penelope, is swiftly aging away from eligibility in the marriage market; her father adds to her dowry Bourne’s old lands, which the family have since gained. Now part owner in a casino, Michael is a very different man, but he remains determined to get back his heritage. And if marrying Penelope is the way to do it then so be it.

A Rogue By Any Other Name is a book that begins very well. The set up works; the characterisation is good, the use of a casino different, the writing strong – everything holds a lot of promise. Penelope and Michael are great characters – Penelope’s wanting to have a different, more interesting, life than that which is usual means she’s adventurous and generally not afraid to say what she thinks and whilst Michael has changed a great deal since she knew him, the way they interact indicates a good book ahead.

At this stage the romantic element of the book is easy to read and enjoyable, and the inclusion of letters the younger Penelope sent to Michael is a nice touch. In terms of relationship content, it quickly becomes apparent that Michael will be taking the lead but it’s of a type that is supposed to be alluring and will be to some readers and just not alluring but likely readable for others. (Mostly – I should point out that there are a couple of things that could be called either way depending on personal preferences.)

However as the book continues, the promise of the beginning first flies out of the window, then comes back to not only shut it but lock it several times over. The story and development is ever more manipulated, the angst overdone to the point of becoming boring. The characters continue to believe things can never be good between them, which works whilst they are having problems but as the relationship takes a turn for the better – as you knew it would because this is a romance – still this ‘it won’t work’ carries on. It’s a constant refrain from both even when they’re in each others arms and giddy with love, an obvious device to keep the book going.

Change too does Michael’s nature – he becomes domineering to the extent you might wonder whether Christian Grey was the inspiration in terms of control, the problems here being similar in their effect, if not their content (though there are some minor similarities), to E L James’ series.

And the writing takes a turn. Anachronisms, historical errors, and the constant use of repetitive thoughts.

Had the angst been curtailed and literary devices limited, A Rogue By Any Other Name may have kept its promise, but by the end of the book, when the love is fully established and known by both, and yet the angst is still going on, you’ll be wondering if another name might indeed have made a difference.

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