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Eloisa James – When Beauty Tamed The Beast

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Tale as old as 2011.

Publisher: Avon (HarperCollins)
Pages: 372
Type: Fiction
Age: Adult
ISBN: 978-0-062-02127-4
First Published: 25th January 2011
Date Reviewed: 13th January 2019
Rating: 3/5

Linnet is ruined; having chosen for a social event a dress that she didn’t notice bulged in a particular area, society now assumes she is pregnant, and not without reason – she’d been flirting with a prince. Now with a non-existent baby on the way, she has to marry fast, but who will have her? The sole option is the Earl of Marchant, an impotent doctor whose father is desperate for a grandchild and obsessed with royalty. But Marchant is known to be a difficult man, and Linnet decides she’ll make him fall for her swiftly and then she’ll try to get over the whole thing.

When Beauty Tamed The Beast is James’ 1700s (or so) romance adaptation of the classic story. The second of a series, it’s a standalone amongst other fairy tale re-tellings.

This book is split roughly 50-50 in terms of adaptation content, where half the time the story falls in line with the rest of James’ work, and the rest of the time is spent conforming to the adaptation enough that it switches between very-loosely-based-on and fairly-faithful retelling. It’s often funny, there are truly silly moments, it’s well-written, and time is spent developing the relationship. Some of the literary devices to create the fairy tale come naturally, such as the old castle, which James’ chosen time period gels with well, but there are a noticeable number of elements and scenes where the classic tale is shoehorned in, such as the hero’s exclamations of “I’m a/the beast!”.

‘Hero’ is open to interpretation here – many will love Piers, who is James’ bookish take on Hugh Laurie’s character, House; others will perhaps take a step back, often. (This reviewer had not seen House M.D. until reaching James’ acknowledgements, but 3 minutes on YouTube was enough to see that Piers and House are one and the same, history aside.) The Hugh Laurie context by itself works very well, and if you read the book with that in mind it may be easier, however with the romance and ‘uninspired’, so to speak, heroine, it may give you pause – Piers is not a great person, and whilst the backing of the fairy tale says a lot, he can go a little too far. Linnet, whilst not a great person to begin with, very quickly falls in beside Piers, so you’ve effectively got two not-great characters but with an added vibe to Piers that can be difficult to read about.

The inclusion of a physical disability, another aspect of House, is well presented in terms of reality, and James tends to balance the pain and upset (and, in this case, in keeping to the tale, anger) with your regular personality. There is a point towards the end where it gets a bit too… inspirational (and the heroine’s plight only adds to this), but that’s at least a short section. More to the point is the penultimate conflict towards the end, the chapters of illness and making the heroine ugly to help inform the balance of the relationship – unnecessary, given the conclusion is hardly going to end on a sad note. It’s also too long.

The best part of the book is the first half – though humour runs throughout, it’s in the first half that the story works well and the literary devices for the sake of the re-telling aren’t hammered home.

However, for all it could have been a bit more original in its re-telling – oxymoron intended – When Beauty Tamed The Beast succeeds in being an enjoyable quick read. Just consider Beauty and Beast to be a mere idea, the library (of this book) bog standard compared to Disney’s 1991 version, and replace ‘Tamed’ with ‘Gamed’ for a better fit.

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Colm Tóibín – Brooklyn

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Concrete jungle where dreams are made of… or pressed upon.

Publisher: Penguin
Pages: 250
Type: Fiction
Age: Adult
ISBN: 978-0-141-04174-2
First Published: 5th May 2009
Date Reviewed: 4th October 2018
Rating: 3.5/5

Ireland in the 1950s and Eilis, recently having left school, is living with her mum and sister. There aren’t many jobs available but she manages to get Sunday work at a grocers her mother dislikes. She’s happy with life as it is, but one day her mother and sister start talking to her about sending her to New York where there are lots of opportunities. She goes, reluctantly, and begins a new life, but it’s hard forgetting home when you didn’t want to leave it.

Brooklyn is the acclaimed novel by Tóibín that looks at a young person’s emigration away from all she knows. Shorter than some, it offers some interesting descriptions, circumstances, and knowledge, but never really ‘goes’ anywhere despite the literal journey Eilis makes.

What’s good in this book is the use of time period and situation. Tóibín brings the era to life masterfully, writing descriptions that provide enough for you to create a good image in your head of the way things look, both the location and the people. He doesn’t describe everything – most readers will know the basics about the 50s after all, given its ‘vintage’ status – but it is more than enough.

There is also the social angle, which is only a minor feature but means that parts of the book are compelling; the regular life occurrences such as dances and movie nights, but also the racism between immigrants, and the changes that came with allowing black people to move in previously white-only spaces. Tóibín does not spend long on these, and more’s the pity, because they’re the highlight.

The storytelling in itself is fair. Language is generally good. Reasons for character decisions, whilst not often reasonable in terms of what we’d think now or what the reader themselves might do, are accounted for.

However the novel falls down a few levels when it comes to characterisation. A number of the secondary characters, in part, for certain, due to their role as secondary characters, are developed a fair amount – developed as much as they are needed to be. But Eilis is largely vague. She is very passive and easily replaceable.

The problem here is that Eilis never makes decisions for herself, something that becomes incredibly apparent during the last section of the book wherein she lets a lot of people walk all over her, keeps secrets, and goes along with things that she ought to consider ludicrous. It is difficult to talk about without giving away a small piece of information that may or may not be considered a spoiler – included in this book is Eilis’ return journey to Ireland. She’s not intending to return for good, having a specific reason for going back for a short time, as many people would have (hence why it’s not exactly a spoiler to reveal it).

Although Eilis had been making ‘decisions’ based on what other people were pushing her to do before this, her lack of agency in the last section is particularly frustrating and unfortunately, whilst you’d expect Tóibín to do something about it at the end, to show Eilis coming into her own, he does not. Whether or not that was something he purposefully excluded to create a discussion is hard to say; it’s fair to say Eilis’ sister had good reason for putting Eilis on the boat, and that Eilis is and likely always was the victim of emotional manipulation, but whilst Tóibín allows you to see this, somewhat, he does nothing to change Eilis’ situation. And whilst that in itself is not bad, because it can be hard for someone in her position to find herself, there needed to be something from Tóibín, even if just a direct, single line, on why Eilis is so passive. It might have helped account for the strange turns Eilis’ ‘choices’ take and definitely would have given the story a bit of action.

Therefore you have a book with wonderful world-building and writing, a book that you won’t want to put down, but ultimately there is no real story here except of constant indecision and pressure, and a sudden and completely unsatisfactory ending. Again, perhaps this is something the author was actively looking to achieve, because it certainly creates a reaction, but that doesn’t help make Brooklyn any better.

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Rosie Travers – The Theatre Of Dreams

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Lights, camera, and action… are all badly needed by this group of people.

Publisher: Crooked Cat
Pages: 300
Type: Fiction
Age: Adult
ISBN: 978-1-721-12292-9
First Published: 1st August 2018
Date Reviewed: 21st August 2018
Rating: 4/5

Actress Tara’s director boyfriend becomes interested in a rising reality star and the resulting fallout shatters Tara’s professional image. When she receives a letter from an elderly woman, inviting her to take over a dance school (the real reason is to help save the old pavilion) she decides to go for it, moving from London to the south coast. But there’s more to Kitty’s request than she included in the letter, more than any meetings and debates with councils.

The Theatre Of Dreams is a contemporary story of historical conservation, with a healthy dose of mystery. Told via two characters, one in the first person, the other in the third, it gives a good view of the past and present and ensures all questions, whether explained openly to other characters or not, are answered for the reader.

Travers has constructed a good tale; seemingly nice but ordinary for a while, there comes a point where the first mystery element makes an appearance, and this then runs parallel to the main story, pushing the interest up several levels. It adds a completely new dimension and genres that move the novel, particularly the final third, into page-turner territory, somewhere between a casual whodunnit and a cosy mystery, whilst never losing the easy-going nature of the narrative.

Characterisation is fair, with most time understandably going to Tara, who gets a complete, realistic, life change. She’s as important as the fight to save the pavilion.

The pavilion itself is what the story revolves around but it would be prudent not to expect to see a result here – the book is about the journey to start the restoration rather than about the restoration itself, with Kitty desperate to find a way out of the bind her family have put her in of selling off the pavilion to developers. The fictional history looks at stories from factual places (the building is based on Lee-On-Solent’s old Lee Tower) and calls to mind similar, factual, stories of campaigns to save history.

There’s but one issue and that’s in the book as a product; there are a lot of proofreading errors – spelling, grammar – that, whilst not on every page, are numerous enough to be noticeable and do on occasion mean you have to stop reading to work out the meaning behind the sentence. The language itself is good and Travers’ style confident – the errors are an editing stage problem.

Besides the errors, the book is great. It’s one you can pick up for a chapter or two but quickly find yourself wanting to carve out time for, and the subtle elements of mystery that Travers includes make you want to race through the end to find out what’s happened.

I’ve met the author a couple of times.

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Kirsty Ferry – Watch For Me By Candlelight

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Not only at the first stroke of midnight.

Publisher: Choc Lit
Pages: 302
Type: Fiction
Age: Adult
ISBN: 9B079H1LTJB (ASIN)
First Published: 3rd April 2018
Date Reviewed: 8th August 2018
Rating: 4/5

Kate lives in Suffolk where she runs a local history museum, set up in a row of old cottages. Originally from Cambridge, she fell in love with the village she found there, feeling drawn to it. One day a new visitor to the museum, Theo, arrives; Kate begins to slip back in time, into the shoes of someone who looks very similar to herself and who knows someone who looks similar to Theo.

Watch For Me By Candlelight is a time-slip romance with a well-constructed fantasy thread. At first understandably seeming to be an editing error, Ferry’s seamless integration of Kate into her historical past is excellently done, with Kate effectively becoming her historical counterpart whilst remaining herself, able to apply modern concepts to what she is hearing but knowledgeable of what she actually ought to be saying in context. On occasion she does lose herself completely in Cat, Ferry intentionally bringing the history further into the proceedings so that you get to know Cat as well, albeit not as much as Kate.

Partly as a result of all this, the romance is a good one – well plotted and paced. Ferry doesn’t dwell long on minor conflicts, letting the plot go where it will – for example a problematic, more minor, part of life will be solved in good time to aid the path of the main story.

The author’s decision to use a pretty ordinary backdrop and characters allows the spotlight to be on the fantasy, and allows the story to feature a strong dose of reality (the time-slip itself being not so unrealistic). Kate is friends with the family who own the local historic estate, and counterpart Cat was a relative of their ancestors – neither are particularly privileged. Theo/Will (it’s not a spoiler to say he has a counterpart) is well placed in an equally ordinary situation, and it’s this that creates the main conflict in the historical sections.

The writing is good – any anachronisms are the result of the time-slipping and thus not an issue, and the grammar on most occasions is refreshingly super.

There are little things at odds, but the main element that invites question is the ending – it’s not at all as the plot leads you to believe; the mystery is not predictable but might have been better if it was predictable, more suitable.

Apart from that, as described, Watch For Me By Candlelight is a good book. It’s understandably an easy read, enjoyable both in terms of its genre and for the cleverness of the construction, putting genre first to great effect. It’s the second in a series but can be read as a standalone, the references to the first book intriguing and informative.

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Claire Fuller – Bitter Orange

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When friendships sour.

Publisher: Fig Tree (Penguin)
Pages: 274
Type: Fiction
Age: Adult
ISBN: 978-0-241-34182-7
First Published: 2nd August 2018
Date Reviewed: 30th July 2018
Rating: 4/5

When a historic estate is purchased in 1969, the new owner asks Frances to stay at the house for a time and create a report on a bridge in the grounds. Upon arrival, she meets Cara and Peter, a couple who are there so that Peter can report on the house itself. Cara’s moods change quickly, her stories fantastical, and Peter sometimes seems overwhelmed by her actions. Staying in the attic above the dilapidated rooms Cara and Peter have been assigned, Frances finds a Judas Hole that gives her further information about their strange relationship. The couple captivate her, Peter in particular, but as she starts to find her rooms amiss, she wonders what is going on.

Bitter Orange is Fuller’s very fine third novel. It’s a tale that balances the aspects of a great summer read with a fantastically subtle suspense thread that may well surprise you at the end but in a good, literary, manner.

The book revolves around Frances’ acquaintance and interactions with Cara and Peter but particularly the former. Told in the past tense, we see an older, very ill, Frances looking back on her life to the time when she was impressionable, feeling grown up but with mistakes and misunderstandings she was yet to mature out of, and easy to win over. Coming across at times as somewhat of an unreliable narrator, Frances’ younger thoughts of the couple can be at odds – though not too much, which is where the ‘somewhat’ of the ‘unreliable narrator’ comes in – with what the reader sees under the surface.

Suffice it to say the characterisation is very good. There is a lot of depth in Frances as a character – you see a lot of her personality, insecurities, and Fuller spends a good amount of time showing the effects of Frances’ childhood on her adulthood. Cara and Peter are well drawn, too, and only held back from being easier to read due to us knowing them through Frances’ understanding of them; Cara the self-described Italian who creates melodrama in church, tells stories of death, and makes awful threats, and Peter who, seen though Frances’ rose-tinted eyes which may or may not tell the truth, is constantly trying to keep the peace, stop Cara going off the rails, and saving himself.

Woven in carefully, the effects of Frances’ childhood are excellently explained. The older Frances speaks to the reader (or to herself – she is talking because an old acquaintance is asking about her life but whether she’s actually voicing the thoughts are not always known) of the emotional and psychological abuse she suffered at the hands of her mother – the major reason for her lack of understanding when it comes to reading the personalities and interactions of others and making the correct choices. It’s a sobering story that highlights how abuse that is often not recognised can impact someone’s sense of self so fundamentally and for years and years after the abuse has finished, defining the novel in a quiet way.

Set in August and published in August, late summer is a great time to read this sun-drenched book. It has all the breezy laziness of a heat-glazed day and all the fantastic history and surprises of a good historical fiction, the setting of the 1960s interlaced with stories and ideas of a house from an earlier period, with spooky goings on that would be right at home in a ghost story.

The fruits may not taste very good but the packaging is brilliant; Bitter Orange is a great novel that rewards its reader handsomely with luscious writing and literary pleasures… which is just as well because by the time you come to the end you’re going to want something sweet you help you mull over the final revelations.

I received this book for review.

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