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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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Claire North – The End Of The Day

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In life, only two things are certain…

Publisher: Orbit Books (Hachette)
Pages: 401
Type: Fiction
Age: Adult
ISBN: 978-0-356-50733-0
First Published: 4th April 2017
Date Reviewed: 7th December 2017
Rating: 4.5/5

Charlie is the Harbinger of Death – the Milton Keynes office sends him the details of his next appointment, he gets on a train, bus, or aeroplane, and goes to see someone who is dying or whose world is fading away. It’s a tough job at times, very tough, but Charlie enjoys it; his role is to honour life.

The End Of The Day is a philosophical literary fantasy novel that explores many moral and ethical questions and issues we have in our world today.

This book is original; starting with the potential of a Terry Pratchett influence in its basic concept, it uses a gentle fantasy-type humour, and whilst it appears at first simply to be a solid addition to the genre before revealing itself to be a blend of this and literary fiction.

The plot is scant – in fact it’s more a series of events than anything else – and the character development is not big, but both these things are intentional and with good reason; this is where the philosophical nature comes in. North’s book is primarily a study – a very good, enjoyable-in-its-own-right study – and secondly a good old work of fantasy. Death here is of a distinct type – whilst quite likely being fond of cats (its the personality, the basic construction of Death that is like Pratchett) – the defining nature of North’s Death, which doubles as one of the points the author wants to get across – is that it doesn’t just appear at the end of someone’s life, but at the end of an idea, at the end of a world, a culture in decline.

And it’s not just the usual thought of a cultural element ending (though a language dying along with its last speaker is one of the things North looks at) but also things like the end of a tradition that excludes black or poor people, and the start of a society that denies LGBT rights. Here Death comes at the last instance of the old way to usher in the new.

The above is part of the philosophy North includes – most of the blunter referencing, that becomes blunt the more you read, happens in extracts that aren’t directly related to Charlie. It’s apt here to bring in the writing as it’s part and parcel of this; North uses various different writing methods and markings to deliver her commentary; poetical verses sit alongside sentences full of ellipses, dialects, accents; different languages – even different scripts – are scattered throughout; bunches of sayings, stereotypical sentence beginnings, opinions, and presentations are added as paragraphs and verses, the different sentences of one whole effective conversation jumbled up with the others – a handful of different thoughts displayed at once. To summarise (the following statements are here as examples of the sorts of topics covered) “I’m not racist but…”; “won’t anyone think of the children?”, “well I think”; “but they come to this country…”; “I might be a woman myself but I’m not going to go employing young women – they’ll all go off getting pregnant”.

I only get seventy-two pounds a week to cover everything… will that stop, now I’ve got money for my flat?
And the copper wasn’t sure but wondered if maybe it would, if perhaps now that Jeremiah had savings and no roof over his head, the government didn’t regard his welfare as its concern.

There is a great number of ideas, thoughts, political and social points included so often-times these sentences are generalised or simply provide more insight into what North is doing, but on occasion – more than a few occasions – the author looks at something in more detail. The more generalised do include a certain amount of detail for the sheer amount of insight they provide in just a couple of sentences, it’s just that the chapters (very short in most cases) have more space to give a concept.

Speaking of chapters and thus the writing as a whole, North’s use of language is exceptional. Then there’s the way she goes about her philosophy openly, the obscurity near the beginning of the book there only due to the fact you’ve not yet realised what it’s all about.

And then the world turned, and someone tweeted something new, and everyone retweeted it and moved on, and nothing fucking changes.

The subjects are heavy, and North sends Charlie all round the world, showing that it’s not one place but the entirety. One of the more poetical, experimental aspects included – the only experimental (this is an easy enough read) – is the different number of repetitions of the words ‘human’ and ‘rat’ that are used in all parts of the book – both statements and sentences, and Charlie’s narrative. What is it to be human? What separates us from animals? When are we good or bad? There are a variety of ways this can be interpreted.

The one drawback is the book’s length. There is a lot to cover and it’s all excellent but there comes a point where Charlie’s journeys and the philosophy becomes less powerful simply due to the amount to think about. It’s a difficult one because it’s all important and relevant to North’s study but still just a bit too much, and there’s the possibility with it that you’ll become over-exposed to the point of it becoming less powerful.

But then is that the point? Is it, to reference a completely different book that nevertheless shares a few ideas, rather like The Hunger Games, wherein Suzanne Collins seems to be using over-exposure on purpose, making the reader reach a point where the absolute horrific violence ceases to produce a response because they’ve seen so much of it, and then using that lack of response to make her point? Is North showing you what she wants to both to the point where you ‘get’ what she’s saying but also to the point where you become so used to it that it’s easy to just keep reading without being constantly shocked, rather like we’re so used to seeing pictures of starving children in Africa and the many different charities that promote other causes that it becomes a sort of background worry, spoken about, but then left? It’s open to interpretation.

If you’re looking for either a literary book or a fantasy book this isn’t the one to go for because it’s both and neither at the same time and is the opposite of escapism. But you absolutely do want to make the time to read it and see for yourself. As much as any review can tell you what it’s about, there’s a great level of individual interpretation here, a resonance for each reader and, in a very unique way, there is something for everyone.

I received this book for review. The book has been shortlisted for the Young Writer of the Year Award.

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Julianne Pachico – The Lucky Ones

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Please note: as well as today’s post – which is in lieu of yesterday – and Wednesday’s usual post, I’ll also be posting this Thursday. As I haven’t been able to blog much recently I’ve a small backlog of posts that I’d like to share with you before Christmas. Next week will be back on schedule.

Or are they?

Publisher: Faber & Faber
Pages: 259
Type: Fiction
Age: Adult
ISBN: 978-0-571-32974-8
First Published: 31st January 2017
Date Reviewed: 5th December 2017
Rating: 3/5

In 2003, a girl decides to stay home instead of go to the party at an equally rich family’s house on the top of a hill, agreeing with her mother to tell the maid not to open the door to strange men. A few years later, a professor who may be a prisoner teaches a class made up of ferns, and leaves and twigs of other plants. And as the professor teaches the plants he mistakes as children, elsewhere the girl who lived at the top of the hill listens as her words are delivered as a lecture to the militia.

The Lucky Ones is somewhere between a short story collection and a novel, the stories focusing on different characters who are all fundamentally linked by their school years. Set in Columbia (with a brief sojourn in New York), it looks at the drug war conflict in the country in the 1990s and early 2000s.

Starting with the topic, it’s a difficult one to make out – you can by all means research but you may have to read a fair portion of the book first to work out what you’re looking for, instead of spending your time appreciating what the author’s saying, because so much crucial information has been left out. The identity of each story/chapter’s character is left out until a good way into it, and you have to piece together clues further on. This lack of identity is combined with a non-linear narrative. If you happen to know a lot about the topic already you’ll likely ‘get’ it but the approach may still prove a problem.

In view of the writing, there are some outstanding turns of phrase throughout, most often those that expose the things you should be considering. But there are also many clunky sentences, an abundance of hyphens, and a very noticeable reliance on ‘abruptly’.

Looking at the content, what Pachico is saying is very good. Thankfully there are some moments when proceedings are looked at openly, where times in the characters’ lives are referred to in a manner that clearly shows the shocking reality of the situation. There is also a story written entirely in metaphor – or is it? In this case, at least, you are meant to wonder about what you’re reading.

To speak of another positive, the title of the work is irony at its best, referring to all the characters. Some of them are in good shape but others have been altered forever whether mentally, physically, emotionally – if these damaged people are the lucky ones, what of the rest? It’s an excellent title which, when combined with the use of its singular version as the title of the first story, asks a few more questions.

So, in sum, notes of importance, but it could have used a different approach.

I received this book for review. The book has been shortlisted for the Young Writer of the Year Award.

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Helen Oyeyemi – What Is Not Yours Is Not Yours

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…But this book may be yours.

Publisher: Picador (Pan Macmillan)
Pages: 263
Type: Fiction
Age: Adult
ISBN: 978-1-447-29936-3
First Published: 8th March 2016
Date Reviewed: 14th November 2017
Rating: 5/5

An abandoned child looks for the lock that the key around her neck is linked to; a girl looking for a place in the world joins a puppetry school and her experience of the paranormal extends beyond the ghost in her house; an all-female university society seeks new members, detailing its history with the all-male society that led to their own creation.

What Is Not Yours Is Not Yours is a fantastic and fantastical short story collection of the sort that draws you in swiftly and keeps you glued to the page.

These stories don’t always come with a message or shocking ending like some, but there’s a grain of truth (or fictional truth) in all of them. What they are is incredibly enjoyable; the mix of fantasy and paranormal together with the balance of contemporary and historical is a dream to read. Then there’s the fact that often, stories are written in such a way that they seem historical when they aren’t, and it’s the magic of them that makes them feel as though they’re set in the past. Take the first story, for example, Books And Roses that has a big element of The Secret Garden in it, where things are not bona fide magical but do feel so. (Books And Roses also features a massive library so it’s beautiful in that way, too.) Is Your Blood As Red As This? calls in a paranormal, almost horrific, vibe, looking at ghosts and puppets, the second of which might be able to move by themselves. Then there’s the wonderfully titled If A Book Is Locked There’s Probably A Good Reason For That Don’t You Think? which doesn’t tell you exactly what it’s about – you find out the consequence for unlocking the book but not the history or reason for what happens – but that doesn’t really matter. It’s bizarre, but here bizarre is a feature, something that you nod or even shrug about and then move on, the strangeness somehow making the book even better.

On the subject of stories sometimes seeming historic when they aren’t, the writing plays a big part. Oyeyemi’s prose is simply gorgeous, somewhere between the literary fiction of today and the glorious Gothic of the Victorian period. (Oyeyemi recently covered Emily Brontë’s writing for a television documentary so there’s an influence here. She’s also inferred a love of classics elsewhere.) It’s just lovely, the sort of writing you want to be reading for hours.

The book mainly looks at women but there are a number of men, and the book is diverse in race, setting, and sexuality. Sometimes these things are they with reason, so to speak – that is to say they are there for a studious reason – other times they’re just part of the story, the collection being a mix of stories for interest-sake only and ones that look into society. Indeed one story looks at one society in particular, focusing on the fictional Homely Wench Society of Cambridge, formed to rival a male-only one.

Do the stories go on on occasion? Yes and no. These are slightly-longer-than-usual stories, so it can feel you’re reading them for a long time, but as books go, the 263 pages really aren’t a lot and there aren’t any dull moments. The object of the book does seem to be to entertain first and foremost and perhaps leave you with something to think about. Above all, the experience of reading it is the highlight. With its admittedly random, long titles, no matter how interesting they might be, it can be difficult to recall later exactly what you were reading and for once that’s not a big drawback, the similarities in the tales being intentional with the same characters showing up various times.

In an entirely unrelated song from the 1980s, Radio Musica, British singer-songwriter Nik Kershaw sung ‘Experience has made me rich’. I note it here because that is the perfect way to describe What Is Not Yours Is Not Yours. Reading this book leaves a small mark in your conscious – whilst you may not necessarily wish it would carry on forever, your sense of literary knowledge will be better for having read it.

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Louise Douglas – The Love Of My Life

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The tree makes the apple fall… and calls itself lighter for it.

Publisher: Pan Macmillan
Pages: 328
Type: Fiction
Age: Adult
ISBN: 978-0-330-45358-5
First Published: January 2008
Date Reviewed: 8th November 2017
Rating: 4/5

After Luca died, Olivia decided to move back up north, where she and her husband were originally from. She wanted to be close to their childhood homes but true to form his family are not at all interested in seeing her return, in fact they really don’t want her to come back. Olivia’s childhood was not a happy one and the choices she made were seen as rebellions. Only Marc, Luca’s twin brother, is happy to see Olivia, and they find themselves becoming closer in their grief, a dangerous thing in the situation they’re in.

The Love Of My Life is a short novel with a dual narrative, Olivia speaking of the present in tandem with the past. The book is somewhere between a contemporary novel of social issues and a work of suspense, the reason for all the hate unravelling slowly but the slowness being rather apt as Douglas has something she wants to talk about – the way Olivia was brought up and the effect her mother had on her maturity. Olivia is only somewhat a heroine, often remaining passive and often quite annoying to read about, her decisions being the sort we call wrong; however your like or dislike for her is not the point in this book, rather the importance lies in how Olivia has come to be in the situation she is in.

Olivia was, is, and likely will always be the black sheep of the family, her mother spitting out such phrases as ‘you’re just like your father’ and demeaning her. Because Olivia was not as talented academically as her sister and because she often made very normal mistakes for her age, she was belittled. The town being small meant that this hatred from her mother spilled over into society, with adults believing Olivia was trouble. And so as she aged she rebelled, but there were also a lot of things she did that weren’t her fault at all.

So Douglas looks into the effect of this treatment. Struggling in a place that hates her, Olivia’s choices often look bad but aren’t. A good example that doesn’t spoil the plot – because it’s known from the start – is the way she ‘stole’ Luca from his family, ‘ruining everything’ by starting a relationship with someone who she’d known since childhood and who loved her very much. Olivia wasn’t good enough for their family.

The only possible point of contention with this study is how it continues into the ending of the book, the climax being perhaps not as satisfying as you might have hoped and Olivia leaving things be that she could very well fight against. Whether or not you like the ending will largely depend on how much you’re willing to suspend bookish enjoyment for what Douglas is trying to do, however either way you will likely see and appreciate it for what it is.

Interesting to consider is the way the author balances showing and telling. As a first-person narrative, Olivia obviously tells the reader a lot but Douglas’ look at grief and its effects allow for a lot of showing. There’s a lot to Olivia that she, the character, may or may not realise – things that the reader is privy to. As much as she can be difficult to emphasise with on occasion, you will feel a lot of understandable pity for her and the desire for her to spend her time with those who support her.

It’s a book steeped in grief but there are happy times. Douglas’ flashbacks and writing of Luca are so winsome it’s easy to forget you’re reading about a character who is no longer there; whilst Luca doesn’t ‘haunt’ the book, so to speak, his personality makes the pages brighter. Luca’s inclusion provides extra ‘evidence’ alongside Olivia’s descriptions and the phone calls with her sister as to the way the protagonist has been manipulated and split as black, the scapegoat everyone uses to take all their issues.

As for the writing, it’s rather lovely, and is enough to keep you reading when things are difficult. Douglas’ careful prose and attention to detail makes the pages fly by as you seek to know what happened all the while feeling at ease with the pace she’s set.

This is a book that exposes why things that seem so trivial or different on the surface affect people – a lot of the conflicts are small on the surface but big for the characters. It’s a book with a lot of romance but balanced by a massive dose of reality. But whilst it may be difficult at times it’s never too much to handle, Douglas’ expertise ensuring a good reading experience.

I read this book in preparation for my event.

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