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Terri Fleming – Perception

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Redux.

Publisher: Orion Books (Hachette)
Pages: [to come]
Type: Fiction
Age: Adult
ISBN: 978-1-409-17062-4
First Published: 13th July 2017
Date Reviewed: 25th September 2017
Rating: 4.5/5

With Jane, Lizzie, and Lydia married and away from the family home, only Mary and Kitty remain. When Mr Montague arrives in town – single, wealthy, – Mrs Bennet sees possibilities ahead. Mary is inclined to believe marriage is not for her, but the man proves bookish, has a large library, and may have taken a shine to her.

This is a superb book, a fine follow up to a famous book by someone else.

Fleming has chosen to stick with Austen’s way with words; the language is Victorian and the effort to get it right practically leaps off the page – but it’s never overwhelming: Fleming blends in. Are there occasion moments of modernity? Yes, but more often than not it’s a discrepancy with grammar, wherein one could say that perhaps, maybe, Austen or her contemporaries might have said whatever it is. It would be impossible to say that this book has not been gone through with a fine tooth comb and that those few errors are not the equivalent of the odd typo found nowadays. (Indeed there are far fewer errors here than there in new books sets in our present era.)

The overall literary atmosphere is also Victorian, with Fleming keeping to the same relative lack of action as Austen. In terms of physical movement, nothing much happens – it’s all in the character development, which is rather good. It’s also an easy read, a book that makes you want to keep reading and isn’t at all difficult to resume reading when you need to take a break. It can be read in short bursts to no ill effect.

As said before, the character development is good. Fleming’s got them just right – they match Austen’s well yet Fleming manages to bring a bit of our present day feeling into it without distracting from the original context. Where, for example, some now say that Mr Bennet did not treat Mrs Bennet well (I’m personally of the opinion that they are a bad match and Mr Bennet is dealing with a lifetime of unnecessary drama), Fleming slides this idea in finely, looking at the question without detracting at all from the surface dressing.

There are a few characters that the book could have done without, namely the two shopkeepers whose role doesn’t have any true impact and who could have been edited out without issue. Thankfully their chapters are very short and there are only a handful of them. (They are also two of the purely fictional people so that combined with their lack of impact renders them completely irrelevant.) The other new characters work well and the original characters have been handled carefully, Fleming putting her own spin on proceedings and detracting from the original context as little as possible.

This is a book for book lovers. In addition to the major factors of the book, the story revolves around libraries, with Mary’s bookish nature allowed full reign. Whereas Jane and Lizzie’s stories are full of sweeping romance, Mary’s is more quiet (though no less compelling). It could be said it wraps up a bit too neatly but the same could very well be said of Mansfield Park.

Kitty’s romance is a lot less important in context, and isn’t as developed – at least in terms of time – as Mary’s, but given the relative shadow over her from Lydia’s presence, it’s not so out of place, so to speak. That Mary is provided more time, with all things considered, does make sense.

Perception is fantastic. It looks to conquer any language and structure issues head on, and creates a story that whilst factually unnecessary, does provide a lot of value, enough that you can say that its worth goes far beyond the simple idea of continuing a story very much loved. It’s also an excellent read just for the effort put into it, Fleming’s time spent researching and getting it all right being a delight to witness for itself.

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Barbara Erskine – Sleeper’s Castle

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Now I lay me down to sleep…

Publisher: HarperCollins
Pages: 530
Type: Fiction
Age: Adult
ISBN: 978-0-007-51319-2
First Published: 30th June 2016
Date Reviewed: 28th August 2017
Rating: 3/5

When Andi’s partner dies, she’s forced out of his London home by his ex-wife; Andi moves to Hay-On-Wye to house and cat sit for a friend. Sleeper’s castle, as the house is known, poses a bit of a paranormal conundrum – those who remain there are visited by history, dreaming of the lives of the medieval residents of the house. Andi must balance this mental take over with the looming presence of her partner’s wife, whose home Andi starts to visit in her dreams. The woman seems to have a penchant for violence.

Sleeper’s Castle is an epic novel of history, and a psychological thriller. It requires a lot of time that may be seen as a reward by some but not worth it to others.

The book is effectively two stories melded into one package and it can be a bit jarring when the narrative moves from one to the other; especially where it concerns the time-slipping, the reversion back to thriller can seem an after thought. And as the novel continues, it does drag on, not knowing when to call it a day.

What’s interesting though, is that the historical content isn’t particularly compelling in itself; aside from the bit on Owain Glyndŵr it’s largely an ordinary tale; but the time-slipping itself is a lot of fun to read. The process of it. The theories. The way the cat is a fully developed character, an aspect that has been done with aplomb.

The thriller starts off well enough, with the long-gone wife returning to lord it over the long-standing loyal partner, and the ensuing conversations between the characters affected by the woman, about emotional instability, make for a solid foundation, but it starts to get unrealistic with people leaving things to fate instead of acting on the threat. The ending of the thread is very unsatisfying.

The writing is so so. There appears to have been a very heavy hand in the editing process, a distinct lack of commas and odd grammar choices which are at odds with the author’s longevity and affect the dialogue badly.

So it’s fun sometimes but for the length of it and everything that detracts from the fun, you might be better off reading (or re-reading) Erskine’s previous novel about the town of books.

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Susanna Kearsley – The Shadowy Horses

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Even when not in Rome, if the Romans are there, do as they do.

Publisher: Allison & Busby
Pages: 397
Type: Fiction
Age: Adult
ISBN: 978-0-749-00703-4
First Published: January 1997
Date Reviewed: 16th August 2017
Rating: 4/5

When Verity is offered an archaeological job in Scotland, the decision to go for the interview is easy, but saying yes to the job – digging where only one person thinks there’s something to be found – is harder. But she takes it, and together with her equally sceptical colleagues, starts to see the paranormal aspects that are making her employer believe there’s a Roman fort underfoot. And by the time she’s been there a few days, the presence of David means she won’t be leaving quickly.

The Shadowy Horses is a paranormal historical with a bit of romance, looking further back in time than Kearsley tends to.

The use of location here is very good. Kearsley has steeped the story in the Scottish setting, the specific place. (There’s very much the feeling that if anything has been changed it was in error.) There’s some sunshine but a lot of wind and rain, and the descriptions are excellent. It’s easy to get a feel for the place and world-building is well-balanced between town, weather, and the subjects at hand. Kearsley mixes the present-day and true history with the paranormal very well, letting the ghostly elements and slight magical realism blend in neatly; it does become more fantastical at a certain point, with everyone believing, but this suits the temperament of the leader of the archaeological group; suffice to say you don’t have to believe it possible for it to work as part of the story, you just have to believe the characters believe it.

In this Kearlsey has been prudent. Her version of a sixth sense aligns with the more realistic ideas about and there’s an even split between others who believe, are not sure, and completely disregard the notion. The author taps into the idea of ‘feelings’, sensing consciousness.

Due to drawbacks covered below, Verity is not a particularly strong character owing to author intervention, but the others are written well enough. There’s some sudden changes – mostly in Verity, and different to the author intervention – that are there presumably to aid the slow transition of the book from paranormal historical to paranormal historical with romance, but it’s enough to make you want to keep reading through the problematic sections. Quinnell, director of the dig and the person who believes in it all despite a complete lack of evidence, is winsome. (Kearsley uses this idea a lot, to good effect – the utter belief in something by one balanced out by others who require evidence.) The romance itself is strictly okay, its average nature in part owing to the fact that you’ll find yourself wanting to return to the archaeology, and there’s obviously more development of other aspects of the book than couples’ chemistry.

There is a lot of research behind it all, both in terms of present-day Scotland and the Roman legion, and in the notes Kearsley has thanked many local residents for their help. But whilst there’s a lot of information that is great, particularly about the Romans and, of course, archaeology (though the author does info-dump a bit when it comes to methodology), the show of how much Scots Kearsley has learned is continuously referenced. Verity is always pulling out her Scots dictionary to look up a word that’s just been used by someone else. It detracts from the character, making her a mouthpiece for language lessons. The specific detailing in the book, away from world-building and characterisation, is a little too much, with information about what the cats are doing and which cat is doing any one thing (when names are not needed because you’ve been informed as to their markings) a mainstay of the book.

The dialogue and narrative is mainly good but the Canadian phrasing and words of the author have sometimes slipped through – an understandable factor that will affect some readers (British English speakers and others familiar with it may find it jolts them from the text).

The Shadowy Horses isn’t Kearsley’s best but is still worth reading. It’s her only ancient history-based book, so it’s something very different in terms of her work, and not as refined as others, but there is still a lot of fun to be had.

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Jennifer Donnelly – Revolution

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‘Let them eat cake’ did not happen here.

Publisher: Bloomsbury
Pages: 470
Type: Fiction
Age: Young Adult
ISBN: 978-1-408-80152-9
First Published: 12th October 2010
Date Reviewed: 30th April 2017
Rating: 2.5/5

Andi’s little brother, Truman, died unexpectedly a couple of years ago, and Andi is struggling to come to terms with it; it happened under her watch. Failing school and with a poor outlook on university, her father tells her she must join him on a work trip to Paris. She doesn’t want to go but Paris was the home of a historical musician she loves and her father’s friends are converting an old museum into a house; the building is full of artefacts from another time, including the diary of a girl living in 1700s Paris.

Revolution is a semi dual plot line book that looks at the horrors of the French Revolution starting from before the time of the fall of Bastille; it connects a young travelling servant’s life with a contemporary person in a not dissimilar position, one grieving her brother, the other trying to look out for a young prince. The book has a lot of promise – history in tandem with the present; the possibility of time travel that is somewhat realised – but is unfortunately plagued by very lazy writing.

Andi does not read as real. Her status in society – high – is not explored enough for you to believe it. The way she speaks does not correspond to her age. Donnelly has inserted a lot of strange non-words that heighten this – ‘parslied carrots’ – and employs the likes of the unnecessary ‘shake my head no’. Were it contained to Andi’s narrative, the laziness would not be so bad, but the 1700s Alexandrine speaks the same way, anachronisms running riot, the two girls sounding one and the same – in a literal way rather than symbolically. You could say Andi is translating it, but it still doesn’t ring true.

The information on the Revolution is the redeeming factor – this book has it in spades. The musician of Andi’s thesis may not be real (in our world) but everything surrounding him and his time is. The underground tunnels. The morbid death parties. The author’s research seeps through the pages.

In regards to the sort of time travel, it’s worth knowing that Andi is always under the influence of pills – she overdoses often – and whilst this doesn’t excuse her awful behaviour, it’s enough to wonder if she would have been such an uncaring person before. (Neither character is likeable.) The time travel concerns Andi, solely. Alexandrine’s part in the novel is limited to her diary. The diary is a bit far-fetched, with Andi reading it everywhere, including the artefacts section of a library, and not being asked about it. Her restringing of a guitar from two centuries ago using modern strings without research… thankfully this is fiction!

If you want information about the underground mausoleums in Paris, it’s worth dipping in and out of the pages, but otherwise it’s one to pass by.

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Joanna Hickson – The Agincourt Bride

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Metaphorical swings and roundabouts.

Publisher: Harper (HarperCollins)
Pages: 406
Type: Fiction
Age: Adult
ISBN: 978-0-007-44697-1
First Published: 3rd January 2013
Date Reviewed: 20th June 2017
Rating: 3.5/5

Mette entered Princess Catherine of Valois’s household when she miscarried her own baby and took the job of wet nurse. Now, many years later, she looks back at her time with Catherine as she became the princess’s friend and confident through years of childhood neglect, the back and forth of negotiations with the English King Henry V for Catherine’s hand, and the surrounding issues of civil war.

The Agincourt Bride is the first in a duo of books about Catherine de Valois. Focused on the princess who, during this retelling, becomes Queen of England, the book sports a lot more politics than the cover might have you believe.

Hickson combines the overall atmosphere of historical romance, but not romance itself, with the social and political discussions and wars of the day. Catherine’s marriage to England’s Henry V was something that started to come into being since her early double digit years, a part of the agreements that were decided between the ‘guardians’ of the French crown – the Queen and the Duke of Burgundy, who effectively took over proceedings due to the King’s failing mental health – and the English monarchy. What this amounts to is a lot of good political detail of events that relate in some way to Catherine. Due to the female point of view there is no opportunity for Hickson to detail the war in the first person – in particular, of course, Agincourt – but she brings in messengers to relay what happened. The author balances it well, towing the line neatly between cluing you in and including too much research, effectively providing you with a fair run down of the battle and how it went down.

To look at the narrative, it could be said that a book told from Catherine’s point of view would have been better. As a narrator, Mette has her moments of goodness but she is a bit of a bumbler and overly enthusiastic. Catherine is rendered somewhat distant to the reader so you have to be okay with this idea (you get to read several letters written by the princess, dotted about the narrative, that aid your comprehension of her thoughts, but it’s not a narrative in itself). However Catherine has been well-written and presented. She stands out boldly and Hickson is always careful, rightly having her overshadow Mette.

But if Catherine had been the narrator you would have missed a lot of the content that Hickson wanted to explore. The most obvious element is that of a report, a chronicle, that by Mette’s presenting the story you get to hear a lot more about Catherine, albeit from afar, than you would otherwise. (Mette does end up in a lot of convenient places, Catherine promoting her and taking her everywhere with her, which helps the author tell the story, however there are sections that are missed when Mette cannot accompany the princess.) The presentation from someone older is good, particularly in the case of Hickson’s exploration of the potential child abuse Catherine and her siblings suffered from their mother and the Duke of Burgundy. The current thought is that there was no abuse but in years gone by it has been a prominent suggestion that the children were neglected. Hickson uses this idea in her book, effectively covering two bases at once – the fact that abuse was treated very differently in older times and thus there is a need to explore it, and the way our mindset has changed over time; the author looks at attitudes both then and now, subtly including – for of course it is never stated by our medieval narrator – what appeals to us today in terms of discussion, study, and general discourse of morality. Mette’s narration, beginning just before her introduction to newborn Catherine, allows for a mature assessment of the possibility of abuse, and if history so far is anything to go by, we know that thoughts do chop and change so Hickson’s research may well be of use in this way later on.

There is sexual abuse in this book that many readers may find difficult on both a literary and historical level. Its inclusion asks that you stray from the usual narrative of royalty in the period and it would be difficult to point to specific value in terms of the story.

This is a book well set in its time. It takes a while to get somewhere in terms of plot because it is hampered by historical indecision, the person at the heart of the story bound by limitations and others’ decisions. It is a book that shows how little power women had in the 1400s, how much they would take when they could to good effect, but how it could be for little or nought. Hickson has made Catherine strong in spirit and her personality is winsome, so whilst you know there’s only so far she will be able to carry the story herself before someone with power comes in and decides to change her fate because they didn’t win a battle and she’s the prize they’re dangling, you’ll find some happy moments wherein she’s able to carefully manipulate a situation through all she’s learned.

Very much about Agincourt in terms of the plot’s time scale, The Agincourt Bride is a book that sets the stage for the next but is a story in its own right, shining light on the woman who in time would be at the heart of the beginnings of the Tudor dynasty. And whilst Mette is not the strongest character she does provides a good, solid story of politics and historical possibilities, Hickson’s use of research blending beautifully with the overall story.

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