The propaganda presenting her as a seductress spread during her downfall, so are we in the 21st century victim of ancient history’s machinations?

Publisher: Oxford University Press
Pages: 156
Type: Non-Fiction
Age: Adult
ISBN: 978-0-1953-65535
First Published: 2010
Date Reviewed: 21st January 2012
Rating: 4/5

Roller gives us a biography of Cleopatra formed solely of information gathered from primary sources, in an attempt to give a true picture of the queen.

This is a very academic text, the sort that is useful for quoting in essays. As Roller presents only the information available to us from primary sources there isn’t all that much to record (indeed the page count is a reflection of this – don’t assume it’s a case of little effort), but the upshot is that you know the vast majority of the book is factual. What speculation there is is based on different interpretations by historians, and problematic passages in the ancient sources. Roller discusses why and how sources are likely to be biased or unbiased.

She was said to take an almost sensuous pleasure in learning and scholarship, an intriguing variant on her best-known alleged attribute.

Roller’s goal is, in fact, twofold. One is to present the story of Cleopatra as shown through the ancient sources available. The second is to debunk the “myth” of Cleopatra as a seductress, by showing what she was really like. The first he does brilliantly, in fact an element of the book that might otherwise be considered an issue – the lack of information for some parts of the queen’s life – is accounted for simply by Roller’s admission that there is no information to be had. It is very sobering and rather refreshing to read a book dedicated to providing the facts. Indeed the only speculation Roller provides is speculation based on biased sources, which is interesting, and sometimes quite fun, to read.

However the second goal is, ironically, not as well met. Roller’s goal is to dispel the myth of the seductress, but through the content he examines, both those written by her admirers and those biased against her, one can’t help but see a queen who was, yes, very intelligent and a good politician, but who also knew how to use the charms available to her as a female to get what she wanted.

And, in the case of the legendary carpet episode, Roller says quite firmly that Cleopatra did not enter Caesar’s presence in a bed sack, yet later on speaks of it as a great possibility, including precedents of its having happened before.

From page 7:

She did not approach Caesar wrapped in a carpet.

From page 61:

There is a certain credibility… because a name is provided… On the other hand, it is almost a demeaning way for the queen of Egypt to appear before the consul of the Roman Republic… Yet the bedsack device may have been common at the time…

While Roller’s determination to portray the truth is admirable, saying one thing without leniency and then saying something later that makes it possible, however great or small a possibility, isn’t very good.

There is a lot of information that isn’t about Cleopatra so much as her court, but considering the scant source material available to Roller, this is excusable, and it aids Roller in showing us who she was when the source material is silent.

Anyone interested in reading this book, which would form a very good basis for further study, should note that the appendices after the last chapter are well worth the read. One wonders why they were not included in the main text, especially as the last chapter ends without a proper conclusion.

There are flaws in this biography, and you are likely to feel slightly under whelmed by the lack of knowledge, but as factual history books go, Cleopatra isn’t bad at all.

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Some books really take the biscuit – and do wonders with it.

Publisher: Windmill (Random House)
Pages: 322
Type: Fiction
Age: Adult
ISBN: 978-0-099-53826-4
First Published: 2010
Date Reviewed: 22nd January 2012
Rating: 4/5

Rose has always loved her mother’s cakes, but one day she finds the enjoyment ruined – as she eats, her mother’s feelings somehow swamp her and the reality of what the woman’s life is like is distressing. In a short time she learns that this is now the case with every food, finding that eating anything at all handmade results in her discovering the feelings and thoughts of every single person who has aided in the creation of the food. She will learn a lot about her family in the process, but it will affect her life ever more.

The Particular Sadness Of Lemon Cake is a very strange book. At once depressing and intriguing, the latter for its paranormal element, it is a book that doesn’t really fit into any genres.

The reader should know that by picking up the book they are enveloping themselves in hours or days, depending on reading speed, of upset – indeed this reviewer had judged that this book was going to leave her an emotional wreck, and she read it on a dull Sunday when there was no studying to do and no reason for her to need to feel positive. It proved to be a good decision.

The story is told in the first person, and Bender’s style of writing is curiously interesting. She writes dialogue without quotations and the text itself falls somewhere between a child’s and an adult’s as she speaks as nine year old Rose. It can be hard to get used to, but as Rose gets older the mix of styles makes more sense and looses its oddness to be something very enjoyable and refreshing.

This theme of a paranormal gift could have gone horribly wrong, and let’s not forget that in fiction such as this – quite “literary” and not featuring vampires – there tends to be an emphasis on the realistic. The basic summary and Rose’s gift may not seem too fantastical for such fiction, but Bender later takes it further into realms that straddle the fence between the very imaginative and the horrifying. Yet Bender’s story is so readable and well thought out, that the weirdness doesn’t matter, and instead what matters are the feelings of Rose. It’s a sort of acceptance where you step beyond reality to embrace Rose’s world unconsciously, meaning that although you can pinpoint the fantasy, it doesn’t effect you in a way that makes it unbelievable – although there is one element that is difficult to accept and that requires an interpretation in order to read without mirth (for it could be said that in a way the book is more metaphor than literal). Simply put, the reader can emphasise with Rose, truly putting themselves in her shoes in every way. Although that doesn’t mean that Rose is a good character to read about, indeed some of her more real-life choices are quite disappointing.

The book is bogged down by depression, family issues, communication problems, and anxiety. It is one of those works where you can give it as high a rating as you want, but still have trouble saying whether you actually enjoyed it. The domestic situation it presents is one that is very real to some families – the reader is likely to know of a real-life situation similar, be it close to them or through stories in the news. As someone who grew up in a dysfunctional family, although she cannot say it was the same as Rose’s, this reviewer can report that some of the success in the reader’s mind is very likely to depend on how much they can relate to the situation. And the story is a good representation of how issues are passed on down the generations – Rose’s grandmother has problems loving others, and it’s a similar sort of issue that has passed down to Rose and her brother. The family in the book is of a dysfunctional nature that aligns with an inability to communicate.

Rose’s brother is cause for discussion that can’t happen in a review, many times you wonder what happened and why, but piecing everything together an explanation can be found in his relationship to his mother and the way she made him feel. Her actions and his do seem to align, albeit in a peculiar way. You can also see where he feels trapped, although the feeling of wanting to be alone is not explained. In fact, the lack of explanation in most cases plays a big reason why this book did not receive a higher rating.

Bender does provide stark contrasts throughout to demonstrate where the family has gone wrong and how problems, especially for Rose, could be solved. She presents the minor and secondary characters as a ray of hope, and shows the way in which relations between Rose and those people deteriorate. Hindsight may be a wonderful thing, yet one senses that Rose’s situation is so bad that she might never experience it. But even if Rose cannot see her way out at times, the positive nature of the minor characters is like a beacon when you’re reading and helps lift the mood enough to allow you to read on.

A lot has been said by others on the themes of coping with your life. While this was not the focus of my reading (I concentrated on the communication issues and negative family situation) it fits in with elements I picked up on, such as Rose’s determination to keep an old stool her father had made for her mother – Rose’s hope being to retain some of the love and presence of regular marriage between her parents. Indeed the way that Rose’s choices are disappointing collides with this topic of coping in the way that the only way Rose can live is to keep things the way they are, even at the expense of her happiness. She recognises hope and difference in her relationships with her friends and her first love, but actively pulls back from them. While not really explained, it is easy to see Rose as a guardian of her own feelings, as well as being so stuck in emotional poverty that she is too scared to try alternative ways of living. It becomes a case of a girl who is very astute at knowing how others feel, not really knowing what she wants herself. And in the poor choices she makes for her life, for surely they are poor choices, one can see how she’s become so used to her life that she doesn’t want to leave it.

The Particular Sadness Of Lemon Cake is difficult to discuss as words elude a thorough description just as they are not a part of the gifts presented. It is most certainly recommended with the advice to look beyond the text at what words cannot say.

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Two Normans may be able to work out their relationship given time, but add Wales to the mix along with a lot of angry kin and life is unlikely to go smoothly.

Publisher: Sphere (Little Brown)
Pages: 341
Type: Fiction
Age: Adult
ISBN: 978-0-7515-4026-0
First Published: 1990
Date Reviewed: 12th December 2011
Rating: 5/5

Please note that this is a review of the updated version of the book, which, it seems, was published in 2008.

When Guyon attempts to gain his uncle’s lands through supplication to the king, he is granted them – on the condition that he marries a particular girl. Judith is the sole heir to her father’s domain and the king wants to be sure that there will not be a war over it. In marrying Judith, Guy gives up his mistress for a fifteen-year-old girl. Judith is terrified of marriage, having witnessed the violence of her father towards her mother and the slap of his hand to herself. But that isn’t the only issue Guyon will have to deal with – the king may have ordered the marriage to aid relations, but Judith’s extended family aren’t about to let the lands pass to another.

In this, Chadwick’s very first novel, we see all the talent that she has continued to wield to this day, only here it is targeted towards absolute fiction. Whereas in her later novels Chadwick focuses on real people in history, here she creates the main characters from scratch and makes use of history for secondary characters. And her weavings in and out between the factual and fictional are flawless. She references many real events and has Guyon and Judith join them, and looks too to legends, such as that concerning William II’s sexuality.

The book is drenched in the issues that arose from the Norman conquest of the British Isles, there are insults between the Welsh and the Normans – and Chadwick makes the story of Guyon’s ex-mistress a part of this by having her and her family mock his Norman wife – as well as touching on the murder of William II and the rise to power of his son Henry. In the latter case she puts forward a comical version of why the eldest son was unable to inherit the throne, which aligns, in its treatment, with fact.

Something that is important to mention is that although Chadwick creates her own characters from their historical bases, for example she creates the character of Henry I, one never feels that she is turning history on its head. A quick bit of research on the reader’s part proves that Chadwick has thought through her book and written it in accordance with real life.

Although the book is character-driven, the world building is, to use an old word given new life in our modern age, epic. It is so easy to be engrossed in it all that you can forget where you are in the present day. Neither does it take long to get into the story. As the story is based in battles and family feuds there is little time to get to know the common people but there is enough on the workings of settlements to keep the budding historian interested.

And while Chadwick is a modern author and often uses elements that are more acceptable to a modern audience, there is never a case of changing history to suit today’s principles and political correctness. An example of this would be Chadwick’s description of her heroine as a fast learner and able fighter – while not by any means reflective of medieval society at large it is nonetheless easy to believe that some women would have been, and evidence backs this up.

Talking of the heroine, both the main characters are winners. They have chemistry enough to explode any science lab and are not perfect while being totally likeable. As said, Chadwick does not step back from looking at things from the medieval mind set, the marriage is important to both Judith and Guyon, but as Guyon waits for Judith to mature and be ready to accept him in the bedroom, things become difficult. In regards to this issue of Judith’s acceptance, Chadwick spends time detailing effects that are still relevant.

And, as in any Chadwick novel, when they end up in bed there are no holds barred. There are racy scenes, there are curtains drawn in front of the reader, and the innuendo is well written. Chadwick masters all of these scenes brilliantly and even when there isn’t a pressing reason for one, for example when both characters are completely comfortable with each other, they serve to inch the relationship further.

The Wild Hunt is a feast for anyone interested in this period of history. Chadwick’s writing is just something else and her passion emanates from the pages. Whether you are new to her work or a returning admirer, The Wild Hunt is as good a place as any to start.

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The kick-arse chick takes on the bad guys, but it’s a lot more complicated than it has ever seemed.

Publisher: Broadway (Random House)
Pages: 307
Type: Fiction
Age: Adult
ISBN: 978-0-307-71710-8
First Published: 2011
Date Reviewed: 9th December 2011
Rating: 4/5

Richard Burbank’s daughter is missing and for years he’s had people looking for her unsuccessfully. His employee Miles suggests they seek the services of Munroe, a woman Miles knows will be able to find the girl. Munroe thinks differently to others and has extensive knowledge they lack. In order to find Emily, Munroe must confront her past, as well as work out why Emily’s disappearance is so mysterious.

The Informationist is a book that for a long time appears to be very average before turning on you and showing you what it’s really made of. Indeed the climax is drawn out at several chapters long. The average nature of the majority of the book doesn’t just conceal its ending (and whether or not the reason for the character’s search is predictable or not matters not one bit) but it hides all the extra twists, plot points, and mysteries that Stevens will employ just when you think you’ve worked it all out.

Stevens doesn’t stray from portraying some gruesome situations, and while the book may first come across as a standard kick-arse chick story, the situations in it make it very much a book for adults.

Stevens’s main character, who for the sake of this review will be called Munroe, is an androgynous undercover woman trained to win and to kill. She is constantly strong throughout for reasons Stevens details well. Even when the plot changes track for a short while and allows us to see that Munroe hasn’t been quite as successful in putting away emotions as she would claim (though this is hinted from the start) she doesn’t let the present run away with her and remembers her goal.

It’s difficult to talk about the other characters without spoiling the story a little, but suffice to say that there comes a point when Munroe isn’t working alone and it’s an exciting read, despite the fact that Munroe thinks she’s better working alone. And the author never promises anything – you never know if there will be a happy ending or if things will resolve.

That Stevens has knowledge of her chosen settings – in the main Africa – is apparent. And while the book may be about getting away from the continent she provides the balance and includes positive views when she can. That the book centres on people who live there, most of them happily enough, makes up for most of the negativity that the pages needed to present for its story to work.

There are some things that could have been done better, for example sometimes the way the characters reach an understanding of what has happened isn’t explained very well and it can be confusing as to why they’ve chosen to take a particular “route”. And there are one or two occasions where things simply don’t add up, like telling someone the air-con, if turned on, will make too much noise and draw attention, and then that person going and doing something that would make a lot more noise than the air-con.

The negatives are there but it’s not hard to say that this book is worth a read. Anyone looking for something that will surprise, shock, educate, and leave them panting for breath by the end should most certainly look it up.

I received this book for review from Crown Publishers, Random House.

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Sometimes you have to make a solid choice, but you don’t.

Publisher: Black Swan (Random House)
Pages: 496
Type: Fiction
Age: Adult
ISBN: 978-0-552-77385-0
First Published: 2010
Date Reviewed: 30th September 2011
Rating: 1/5

Anil loves Lina, and Lina loves Anil – but she’s held back a little by their differing religious views, and a lot by her own indecisiveness. She also has dreams of working for a charity while Anil favours architecture. The differences between them mean that they are constantly at odds over their relationship.

It’s very hard to write a proper summary of this book because there isn’t a true plot to it. Although cited as another Romeo And Juliet, The Obscure Logic Of The Heart is not like the great work of Shakespeare at all, in truth it doesn’t really know what it wants to be. Lina’s indecisiveness is reflected in Basil’s inability to decide just what her book is about.

There’s nothing much this reviewer has to say that is positive about the novel because there are just too many issues with it. One is the issue of time. When is the book supposed to take place? If the book begins by recounting the future, and thus the present is the future, it doesn’t much sound like it. If the present is our current present, then their years at university are too advanced. Lina arrived at her first job two months after 9/11. This would mean she was about 21 or 22 years old in 2001. If the author has set the reunion in the present day – around 2009/2010 when she wrote it – that would make Lina only 30. Therefore the decades that have reputedly gone past could never have happened. This is why some proper timing is required because Lina and Anil should be reuniting in the 2020s or 2030s and yet Basil has made no attempt to make the world any more developed, as it surely will be.

The characters aren’t at all memorable nor, like the world, are they developed. Anil is given more space to grow than Lina – who is silly and hesitant throughout, although she needn’t be – and the rest of the characters, though they have more life in them, aren’t particularly good. The purpose of the book is to highlight social, cultural, and religious issues but the youthful relationship between the protagonists isn’t given any time. The author tells you they are a good match but does not show it. It’s impossible to be convinced that they are – indeed it’s difficult not to feel that Anil has been wasting his time from the word ‘go’.

It’s as though all the characters are acting. The romance is supposed to be mired by religious conflict yet neither Anil or Lina are particularly religious – the former is not religious at all. The hero’s parents aren’t religious. The heroine’s mother is, but could be won over, while her father broke with tradition himself (as shown very early on via some letters that make the recipient obvious). So the relationship is not believable and neither is their trouble.

It’s also quite sad that Basil has formed the basis of Lina’s problems around the fact that Anil isn’t Muslim because this isn’t actually the real issue. From the way Basil has drawn the characters, even Lina’s virtuous mother, it’s difficult to see that a little more effort wouldn’t have overcome these complications. The fact the book tries to present a real issue current in our world today, and presents it so poorly, is worrying. The religious conflict is rather throwaway. What actually keeps the characters apart, even though Basil might not admit it, is Lina’s selfishness. Lina doesn’t particularly suffer when away from Anil, in fact she forgets him most of the time.

And this is where the biggest problem of the book lies. Basil is clearly torn between wanting to write about a forbidden romance and wanting to write about the issues in Africa. Lina leaves Anil and then suddenly all emphasis is on the UN and Basil is dedicating pages upon pages to describing conflict and why things must change. Obviously she’s an advocate, and there is nothing wrong with that, but instead of being compelling as it would be if she had written a book that left out the romance, she just leaves the reader confused. If Lina doesn’t seem to care about leaving Anil, the reader can’t be expected to either.

The characters that work for the UN go on about their expensive products being ruined by sand and have lots of parties and a great amount of sex. The way Basil portrays it really doesn’t give the reader a good impression of a group of people who are meant to be aiding the poorest people of the world.

There is a scene in which Lina is with an American colleague. One – the American does not sound as though she ought to be anyone’s boss, in fact she sounds like a silly teenager. Two – Lina says she loves these kind of conversations – a conversation about rape being used as a weapon in war-torn countries, that is being spoken by a man and the American woman, while the latter is trying her best to display as much cleavage as possible. As mentioned prior to the conversation, Lina doesn’t like this flirty behaviour of her colleague’s – if so, wouldn’t she be wondering about the distaste of a conversation about the plight of African women being spoken by someone who is currently trying to get her breasts out? If in writing this scene Basil was trying to show irony, then she surely would have commented on it.

And whenever things get difficult? Basil dons her Victorian clothes and turns to melodrama, causing accidents in convenient places and getting rid of characters that could have caused interesting moments to happen.

There are some errors that are truly terrible, such as the London Underground signs being written in red (an author who has lived for a while in London ought to know that the signs are written in white against a blue background); and human beings do not have green pupils.

And it’s unfortunate really, because the pace of the book is good and it’s an easy read.

Having religious conflict as a theme requires depth. Having social relations as a theme requires depth. And as this book sadly shows, Basil is not a person who can do it.

I received this book for review from Transworld Publishers, Random House.

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