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Chimamanda Ngozi Adichie – Americanah

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Working with stereotypes.

Publisher: Fourth Estate (HarperCollins)
Pages: 475
Type: Fiction
Age: Adult
ISBN: 978-0-007-35634-8
First Published: 14th May 2013
Date Reviewed: 8th October 2018
Rating: 5/5

Ifemelu met Obinze at a party – everyone expected him to be interested in one of her friends. After an initial romance, Ifemelu leaves Nigeria to go to university in America, and once there she comes to discover that she is black. Working as a writer in the industry, she later starts a blog on the subject of race in America, becoming very popular. Meanwhile Obinze looks to get into Britain, but finds it hard to gain a visa despite his status in Nigeria. He doesn’t understand why Ifemelu ended contact, and sometimes, neither does she.

The above is the bare basics of this complex book. Americanah is both a commentary on the concept of race in America – African American, black, in particular – and a romance with a bit of ‘finding oneself’ included. Told in sections, moving between Ifemelu and Obinze, and moving back and forward in time, it studies its major subject to excellent effect.

The variety of conversation in this book would be difficult to list, especially without spoiling some of the plot. It is huge, encompassing a great many thoughts, general ideas, specifics, and from all manner of viewpoints; the characters’ moves from Nigeria to America, and Nigeria to London, enable Adichie to study her subject thus. There’s the Nigerian perspective that takes into account the perspective of the African continent in general through the use of other characters, and how ‘black’ isn’t a thing there. There’s the concept of there being no such thing as race, from various perspectives, and the breaking down into pieces of all of them as commentary. Adichie uses Ifemelu’s experiences her, with the character experiencing racism as a new ‘black’ person, the conversations black Americans have amongst themselves and with others of different races, conversations where Ifemelu is the only non-white person, and so on. The character tends to question everything. And then there are her own thoughts, that are used for her blog, her commentary drawn from her boyfriends, and various privileges.

What’s interesting here – beyond all of the above, of course – is that Ifemelu isn’t a particularly likeable person; the author has commentary happen through the use of the character but not only develops her into her own person away from that but makes it so that you’ve a mix of stunning inner thoughts and actions that aren’t always nice, are, in fact, often selfish. It’s a bold move on Adichie’s part that rounds off the whole novel with aplomb. Ifemelu is nice enough for you to keep reading, and then there’s Obinze to take over when she becomes too much, his character representation an entirely different world to the one Ifemelu moves in and objectively being a much better character in terms of reader enjoyment. His life in Britain offers the perspective of immigrants in the current political climate – that which would soon aid the lead to a Brexit vote – poverty, and the working class in general. (The book was written before Brexit; there is more of a focus on the reason for immigration on those who travel, rather than the thoughts of those already in the country.) Obinze’s life is more of an extra when it comes to commentary; Adichie uses him more for general narrative purposes and the novel is all the stronger for it, having therefore both a good plot and good commentary.

The romance is very much a secondary, almost tertiary part of the novel. Due to Ifemelu’s personality and choices it is obviously not developed as much as it might have been otherwise but is still written well in accordance with the rest – it’s a romance that’s not great because it’s been planned to be so.

There is a general look at Nigeria on its own terms, both at the beginning before Ifemelu’s move and some increases in time spent on it as Ifemelu inevitably compares her life before and after.

Lastly, it’s worth noting that Americanah minors in books – it’s a book about books. The main characters share a love of literature, particularly classics and famous contemporary books, and there are a good few discussions. Literature and literary education is one of the main factors of their chemistry, and Adichie, somewhat understandably for an author, doesn’t scrimp on details.

Americanah is a feat of writing. The sheer amount of commentary included, the number of angles and takes on each subject and the dedication to covering it in detail is incredible. There’s a reason this book is so long. To read it is to take on a study, but also a tome full of enjoyment. It is quite an undertaking but it’s worth it.

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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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Nicola Cornick – The Lady And The Laird

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A little more conversation.

Publisher: Mira (Harlequin)
Pages: 370
Type: Fiction
Age: Adult
ISBN: 978-1-472-01628-7 (ebook; paperback out of print)
First Published: 30th July 2013
Date Reviewed: 22nd June 2018
Rating: 4.5/5

Lucy’s twin died in love and now Lucy is afraid to fall herself; happy as a near spinster, she writes erotic letters for her brother’s friends to give to the ladies they wish to woo, donating the money she makes to those in poverty. But her last letter hits the mark a bit too close to home – in helping her brother, she unwittingly ruins the upcoming marriage of Robert, the man she kissed some years ago. Robert needed to wed the lady in order to gain his inheritance and Lucy may be the only possible bride left.

The Lady And The Laird is a very well-written regency romance that includes conflict but never at the cost of a good story.

It is the defining feature of this work that allows the rest to flow so well. The Lady And The Laird sports a good handful of problems that keep the story going without ever going too far. This is to say that the main conflict that prevents the romance moving forward – as you would expect such a thing in romance – carries on only until a very realistic point wherein the characters open up to each other and communicate their problems. Communication is a big element of this book. The characters have trouble at first but they give it their all; there is no situation where a lack of communication is used as a device.

That said, there is one area that could have been tied up a bit quicker, and that is the story behind Alice’s death. It’s not a conflict in itself – the conflict is the result it causes for Lucy as explained above – it’s that it’s one of those times when the reader can tell very quickly what’s gone on but the narrative takes a while to fully inform.

The romance is well done; with the characters given a lot of time to progress and with the realism included (away from the obvious fantastical perfection and coincidences that create a story) it’s steamy not just in the scenes themselves but otherwise. The characters are on a par with each other and whilst there are times when Lucy is undermined by others, Cornick quickly flips the tables and puts her in a position of strength.

There is plenty of history to be had both in terms of the Scottish Highlands and a Scottish version of the Bluestocking society, both of which this reviewer can’t determine the reality of but whether fact or fiction provides a good representation of the real life. (Cornick refers to the ‘Golden Isles’, which may be a nickname for a real place.)

For all of the above then, the book is a fun, quick read. The world-building is often such that you find yourself immersed in the scene, with the running and repairing of inherited land written with aplomb. There are some editing errors but these are mostly confined to the opening chapters. The only thing missing is one possible thread – there is some dialogue and a long-term quarrel between two secondary characters that is presented in a way that suggests the two will discover a romantic connection, but which is not ‘completed’; it could be that it was just a quarrel, it’s simply that it’s referred to a good few times but doesn’t get an ending besides the characters returning to their respective homes.

This book is pretty damn good. It brings refreshment to the staid idea that a romance must have a continual conflict, shows the importance and positive result of communication. The characters themselves may not be the most memorable – because the novel itself is so good.

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Charlotte Smith – Emmeline

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Previous posts refer to the author as Charlotte Turner Smith. For this review I have left out the middle name, matching the original edition of the book.

How my poor heart aches with every step you take.

Publisher: N/A
Pages: N/A
Type: Fiction
Age: Adult
ISBN: N/A
First Published: 1788
Date Reviewed: 13th April 2018
Rating: 3.5/5

When orphaned Emmeline’s nursemaid dies, she moves away from the castle she called home. Her rich uncle, who has paid for her upkeep but not bothered to visit her, finally arrives with his son, Delamere, who becomes instantly infatuated with her. Angry at this, the uncle and aunt try to keep Emmeline away from him – and Emmeline would be happy if he did stay away – but he follows her in her travels and harasses her for marriage. All Emmeline wants is to return to her castle, perhaps with her new friends, but her choices are not her own.

Despite the fact of Emmeline‘s success when published and the great historical value it presents to us today, in the context of the here and now the things it includes are difficult; whilst what it shows could be said to show further evidence of why society has changed in the way it treats women, the scenes and characters in the book, particularly when added to the stereotypical fainting, literary devices, and padding, make for a book that is difficult to read.

Chief in this is the role a good half of the male characters play; Emmeline’s beauty – her personality is of little consequence to most – creates, at the instant of meeting, an obsession in the minds of many she meets and the vast majority go on to pursue her in earnest. What we would now consider harassment, narcissism, and emotional abuse, are major features of this book, with Emmeline and her friends travelling extensively in their quest to outrun various suitors, an effort which nevertheless fails to endear her to her uncle; it takes a long time for Lord Montreville to see Delamere’s entitlement and childish temper tantrums, which involve hitting his head against walls.

So the problem isn’t so much that it happens, because in fact it shows well the issue of Emmeline being controlled by her uncle; the issue is the way Emmeline’s friends handle it and how Smith – perhaps because her goal is to illustrate a woman’s lack of choice rather than any sort of commentary on how things are reached – often writes without commentary on it, leaving Emmeline to truly fend for herself. The times when the author is blunt, and these do increase about halfway through, make the novel palatable again, with Emmeline granted authorial leave to stop painting and singing for Delamere, things that give him the idea she likes him, that it seems the author has instructed her to do.

‘The regard she was sensible of for Delamere did not make her blind to his faults; and she saw, with pain, that the ungovernable violence of his temper frequently obscured all his good qualities, and gave his character an appearance of ferocity, which offered no very flattering prospect to whosoever should be his wife.’

And, later:

“His love, too ardent perhaps to last, will decline; while the inconveniences of a narrow fortune will encrease [sic]; and I, who shall be the cause of these conveniences, shall also be the victim.”

On the subject of a women’s choice to live how she wishes, comparisons can be made between Smith and Mrs Stafford. Smith’s husband lost them a lot of money and the author ended up living in jail with him for a time before they separated; Mrs Stafford, mother of a few children, spends more time with Emmeline than she does her husband but her life is necessarily entangled with his so that his lack of care for his family and career of gambling away his money means she must go back to him and try and work things out. In life, Smith left her husband, and died ill and with little money. In fiction her friendships enable her to have a happier, healthier, wealthier family despite him. Even Mary Wollstonecraft, who otherwise hated the book, liked Mrs Stafford.

Otherwise, Emmeline fits every stereotype of novels from the period. If a woman does not carry smelling salts she is very much out of luck, for a great deal of fainting and, on some occasions, actual dying, occurs for relatively minor reasons such as the appearance of one’s lover, the realisation that a person isn’t the golden perfect child they were molded to be and, in what is a particularly unsatisfying literary device, the jealousy of one for another who is also obsessed with a lady no longer available.

One unfortunate drawback to the usage of characters from the 1780s with extreme personality traits is that the hero of the book isn’t all that much of a hero. In comparison to others he is a knight in shining armour, and Smith uses him as a device in order to insert poetry that history tells us was more her sort of thing, but he himself can get quite angry on occasion, jealous, and, whilst historically considered the right thing to do, his enforcement of a woman’s estrangement from her lover when few relatives seem to care – including the woman’s husband – means that he doesn’t come across nearly as well as he perhaps should… particularly as Smith resorts to deus ex machina to continually put him in Emmeline’s path… which, given the rest of the novel, effectively becomes a pursuit.

Smith does acknowledge this:

‘…who seemed providentially to have been thrown in her way on purpose to elucidate her history.’

The lead-up to the ending promises a great future for Emmeline but Smith draws out the last few chapters with filler material before tying everything up very quickly in the last few pages. After almost 500 turns, or 500 swipes of the screen, it’s a big disappointment.

Given the way this review darts back and forth between saying that things are bad and then that they make sense and are good, you’d be forgiven for thinking that the reviewer – referring to herself in a fashion she has come to find synonymous with 1700s and 1800s writing – is utterly confused as to the merit of this book. But – and this might be an ‘alas!’ – she is not. Seen entirely in the context of its history, society at the time, and the life of the author, Emmeline is quite a feat. Thus, seen as a subject of study for whichever element it is chosen, it is rather good even if, as its declining fame aptly shows, it’s far from the best. But in terms of the reading experience for escape or pleasure, it is not a good one and the general, public, success of the novel is long gone.

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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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