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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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Patrick Gale – A Place Called Winter

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But a book as lovely as summer.

Publisher: Tinder Press (Headline)
Pages: 338
Type: Fiction
Age: Adult
ISBN: 978-1-472-20529-2
First Published: 1st January 2015
Date Reviewed: 6th July 2018
Rating: 5/5

In the early 1900s, Harry is in an asylum and given forced bathing treatments until he is brought to a more holistic treatment centre for people whose lives and personalities do not fit the social norm. Now in hypnotherapy he has a chance to find out why he was in the asylum in the first place; the mental journey back will take him from Britain to Canada, from family man to outcast, inherited wealth to pioneering homesteader.

A Place Called Winter is an epic historical with a similar atmosphere (due to both time period and writing) as Anna Hope’s Wake, though the stories are very different. A book with a definite main plot but lots of supporting elements, Gale’s novel offers a sumptuous escape into history alongside a hard story of discrimination.

It would be impossible to talk about this book without revealing the main plot point, as it’s too important; Harry is gay – not always conscious of the fact, or at least not to the reader – living in a time when it was illegal to act on it. When his affair with another man is discovered, Harry’s given two options – leave his family and country or be turned in – and so the book moves on in its location but not its look at Harry’s sexuality. Gale has populated his novel with good characters, both people who are simply likeable – most who would welcome the changes we are making today – as well as those who make hassle; these ‘villains’ at good at presenting the problems and reasoning in the historical context. As much as this is a plot and situational-driven book, the characteration is superb.

Amongst the plot points related to Harry’s sexuality is Gale’s study of other aspects of life that were deemed inappropriate. Time is spent on Harry’s friendship with Ursula, a cross-dresser who in their Native Canadian tribe was living a life revered by their kin. As Canada was taken over by the British, Ursula’s ‘wrong’ way of living meant she was moved to an asylum.

Gale’s writing is wonderful; it adds to the historical atmosphere and is just a joy to read. The information he provides on homesteading and the beginnings of the changed Canada is fascinating, giving more time to a part of the American continent that’s often overlooked in this way.

The novel, told in two narratives, comes to a head as Harry remembers why he was sent to the asylum. It’s not as strong an answer as you might expect, but the threads tied by its revelation are lovely and Gale gives his character a good end, despite everything that has happened previously. And whilst the reason for Harry’s treatment isn’t as strong as the rest of the book, the previous chapters, which constitute an ending themselves, are. Harry finds his people, Gale demonstrating what we know from historical evidence, that social rules didn’t fit everyone. It’s a story that has hints of Kate Chopin, and the better concepts of Charlotte Perkins Gilman, and it’s great.

A Place Called Winter is brilliant. Go and pick it up; it’s engaging from the first few pages. Any more words included in this review would be superfluous.

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Charlotte Lennox – The Female Quixote

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No tilting at windmills, but plenty of running away from ordinary folk who might be out to get you.

Publisher: N/A (The one shown is Oxford University Press)
Pages: N/A
Type: Fiction
Age: Adult
ISBN: N/A
First Published: June 1752
Date Reviewed: 6th June 2018
Rating: 4/5

Arabella had a solitary childhood; taking up her deceased mother’s book collection, she read widely – or so she thinks. When her uncle and cousins come to stay, they find a a very well composed woman who, as the days go on, is discovered to have gained all her knowledge of life from romance novels which she believes are factual. And whilst admittedly no one will simply tell her the truth, she will not listen to anyone’s misgivings. Her slow entry into society will be full of mishaps and confusion, and the gulf between her knowledge of history and everyone’s will continue to baffle her.

The Female Quixote is a comedy of errors that looks to the romances of centuries prior in a parody of Cervantes’ epic, Don Quixote (1605-1615). Changing the situation to the life a high-born bookish lady, the book is a satire of the work of medieval writers, displaying just how much fiction about the ancient world is different to the then-present day and how reading without context can be a problem. Mostly, though, it’s just a lot of fun – for however much it may or may not have been written to denigrate romantic novels, its focus is on hilarity.

…She gave herself over for lost, and fell back in her chair in a swoon, or something she took for a swoon, for she was persuaded it could happen no otherwise…

The humour is constant – laugh-out-loud, and often very silly. It’s split into a few areas – the humour that comes from Arabella’s solitary musings on what ‘should’, in her mind, be happening at any given time; the humour created by the confusion of her relatives and friends who don’t understand what’s going on because they’ve no knowledge of these supposedly famous historic figures Arabella talks about; the humour that arises from Arabella running away, or thinking she might faint because that’s what ought to happen. The interactions between Arabella and her servant are particularly good, and there’s much mirth to be had in the way that Arabella expects a medieval, no, ancient, sort of courting, which include things no suitor in reality would do.

After a while, the jokes do become a bit too much. Around the late double digit pages, it starts to feel not forced, exactly – because it isn’t – but just drawn out. As with many older text this is where the difference in literary culture becomes particularly apparent – in a slower-paced, 1700s society, the continuation of jokes were likely well-received. (The book was very popular in its day, though its fall from the public sphere was fairly sudden.)

Unfortunately, some of the length of the book is down to the opinion of Samuel Richardson:

‘Richardson… sent suggested revisions to Lennox in response to her being “apprehensive of Matter falling short for two Vols”. Having expanded the novel along the lines suggested by Richardson, by early 1752 Lennox felt that she would need a third volume to complete the novel.’ (Brack and Carlile, 2003)

Richardson wrote on 13th January 1752, telling her,

‘You should finish your Heroine’s cure in the present Vols… the method you propose tho’ it might flatter my Vanity, yet will be thought a contrivance between the Author of Arabella, and the Writer of Clarissa.” He further suggests that by making ‘your present Work as complete as you can, in two Volumes… it will give Consequence to your future writings, and of course to your Name as a Writer.’ Pursuant to completing the novel, Richardson advised Lennox ‘to consult Mr. Johnson before you resolve.’ (Ibid.)

Whilst the first draft was undoubtedly longer than an editor today might suggest, those incorporated suggestions surely made it more so. Indeed there are a couple of occasions where Arabella is on track to be told that everything she has learned is from exaggerated fictional accounts until the author brings in a literary device and quashes the possibility.

So this is where your reason for reading comes into play: the book was written in the 1700s for a 1700s audience (we can assume Richardson was on the ball there). If you’re reading the book to get a sense of literature, and parody, in that period, it’s a lot better than if you’ve picked it up purely for pleasure.

Lennox breaks the fourth wall on a constant basis; the break is as much an element of the book as the parody itself, with Lennox informing the reader of the contents of the chapter ahead, cluing them in as to details her characters are yet to discover, and subtly hinting as to the issues that arise with taking fiction – or rather certain fiction – seriously.

An example of a chapter subtitle: “In which a lover is severely punished for faults which the reader never would have discovered, if he had not been told.” Foreshadowing of the reader’s reality happens constantly and there is irony in the way that Lennox makes sure you know exactly where she is coming from – she wouldn’t want you to become even a little like Arabella! The use of ‘he’ in terms of the reader is perhaps telling – does she think her readers would likely be male? Is she writing directly to Richardson and Samuel Johnson (another person she looked up to)? It’s a cautionary tale – be careful when reading books… but do read this one!

Going back to the denigration of epic romances, one must consider this context as much as they should the parody aspect. By Lennox’s time, romance novels were seen as frivolous and silly:

‘Charlotte Lennox’s Female Quixote… seems to join a persuasive eighteenth-century effort to dispel as “unreal” and dangerous the romance tradition that English readers had valued for two hundred years.’ (Gordon, 1998)

A turning point in the literary culture in Britain, this idea is heavily supported by Lennox’s text:

…in which, unfortunately for her, were great store of romances, and, what was still more unfortunate, not in the original French, but very bad translations.

One of the reasons the novel can become boring as it continues is Arabella’s need to describe scenes and stories from her books; she comes to realise that few know about the ‘history’ of the ancients as well as she does (rather than question whether she’s got it wrong). This is an occasion where you could ask a person from centuries in the past what a common term meant and they would be able to tell you correctly – what Arabella does is best summed up as ‘splaining.

Of course whether or not Lennox herself ascribed to the notion that romance was frivolous is something we may never know. It could be that for all she wrote in Arabella, it could have been a way to write romance without writing romance.

Literary devices abound in the way the other characters suffer an inability to tell Arabella that what she has read is fiction. Glanville, the cousin/suitor, is often ‘confused’, and this raises two questions: why does Glanville allow the woman he supposedly loves to embarrass herself? And why does he remain interested in her? His sister, Miss (Charlotte) Glanville, despite being presented as spiteful, ends up becoming the most sensible and relatable character in the book, interrupting Arabella’s grand info-dumps; if it weren’t for Lennox’s devices, Miss Glanville would have told Arabella the truth towards the start of their acquaintance… but then, alas!, we would have a novella instead of a novel.

Does your Ladyship consider how late it is? Interrupted Miss Glanville, who had hitherto very impatiently listened to her. Don’t let us keep the gentlemen waiting any longer for us. I must inform you how the prince of Persia declared his love for the incomparable Berenice, said Arabella. Another time, dear cousin, said Miss Glanville; methinks we have talked long enough upon this subject.

If you are expecting a grand ending, whether full of fainting and forsooths or just some reasonable changing of character, you may be disappointed. Whilst over a chapter is spent on a conversation better Arabella and a doctor, the relative suddenness of Arabella’s ‘cure’ is hard to believe and any thoughts you had of seeing Arabella progress in society are not realised in the book. Indeed, the ending was written with Lennox’s mentors firmly in mind:

‘The weakest part of the novel, critics have agreed, is the conclusion and her decision to depart from her usual style to show her esteem for Johnson by an exaggerated imitation of his style was not a good one.’ (Brack and Carlile, 2003)

Brack and Carlile, among others, believe that the penultimate chapter, and part of the last chapter, may actually be the work of Johnson himself. I myself don’t know enough to comment: the chapter is more verbose, dare I say more academically written, perhaps, but then the doctor is obviously a learned character. That the Lady who befriended Arabella – prior to the doctor’s entrance in the novel – with a view to getting her out of her thoughts, didn’t get authorial leave to complete her mission, does suggest in our present day the leaning towards a man having to do it, whether simply Lennox’s choice of a doctor or Johnson taking over.

So, with all this said, is the book worth reading? As said previously, it’s better as a study than an escape. If you want to know about the 1700s without so many of the stereotypes – or at least with the stereotypes used as stereotypes – it’s a good choice. You only need a basic knowledge of Cervantes to enjoy it (though you’ll doubtless find more to appreciate if your knowledge is extensive). You’ll also gain knowledge of another popular 1700s novel, one that is slowly becoming more well-known in our present day. And, of course, you’ll gain a whole heap of knowledge about medieval romances without having to read them, which is a tremendous boon when you consider that the one most referred to is the longest novel published by a mainstream publisher and stands at a whopping 13,095 pages.

But there is one more reason for reading that only becomes apparent once you begin (or, of course, if you’ve heard about it, as you are now): The Female Quixote was a major inspiration (I’d put money on it being the inspiration) for Jane Austen’s Northanger Abbey; the premise of a reader believing fiction inspires reality, the breaking of the fourth wall in such a similar way, the writing style… even the prefaces of the two books are similar in tone. Lennox’s book isn’t as fun as Austen’s, but if you want to understand the background of Austen’s book, Lennox’s text is one to read. And yes, it’s fascinating that Lennox’s is the one book not mentioned by Austen – perhaps that was taking the intertextuality a little too far. If you want to know the meaning of ‘meta’, ask Austen.

Read this book, just remember one important thing – none of it exists outside the confines of its pages.

References

Brack Jr, O M, and Carlile, Susan, (April 2003) Samuel Johnson’s Contributions to Charlotte Lennox’s “The Female Quixote”, The Yale University Library Gazette, Vol. 77, No. 3-4, pp. 166-173
Gordon, Scott Paul, (1998), The Space of Romance in Lennox’s Female Quixote, Studies in English Literature, 1500-1900, Vol. 38, No. 3, pp.499-516.

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Weike Wang – Chemistry

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In all its forms.

Publisher: Text Publishing
Pages: 209
Type: Fiction
Age: Adult
ISBN: 978-1-925-60367-5
First Published: 23rd May 2017; 31st May 2018 by Text Publishing
Date Reviewed: 25th May 2018
Rating: 5/5

Our unnamed narrator has been proposed to by her fairly long-term boyfriend Eric. She enjoys her time with him but isn’t sure about saying yes, and she’s not sure why. As the days after an answer was requested continue to roll by, she muses over their relationship, her childhood and present relationship with her parents, and her situation as a PhD chemistry student, trying to work out what she should do in life in general.

Chemistry is a deceptively complex novel awash with superb characterisation.

It seems so simple – formatted in a medium-sized type face, with large margins and many scene breaks that are effectively vignettes, Chemistry presents itself as an easy and quick read; and in many ways it is, the text itself fun and straight forward, winsome. But once you look beyond the surface, which you’ll find happens naturally as you continue reading, the depth and complexity of the novel starts to pour from the spine.

And there really is a lot to this short novel. The first-person narrative, which flips about in time to slowly uncover for both the reader and also the narrator herself why she feels as she does, is told in a slightly broken English that reflects her situation as a Chinese American who, whilst having been in the country since early childhood, has struggled with her parent’s expectations, school bullying, and what is presented as gentle teasing by Eric (which of course you slowly see has had quite an adverse effect).

The writing also allows Wang to develop a strong comedic streak to the book, which, whilst not often commented on, it’s revealed the character is ‘in’ on herself.

At the gate, he goes through his repertoire of tricks – sit, lie down, crawl, play dead, roll over, high-five, sit, lie down, crawl, play dead, roll over, high-five. I ask him to please be dignified about this, but I have not yet taught him that command.

You might expect that, given the sense of distance – somewhat literal – that can occur between reader and text due to the nature of vignettes, the characters would feel distant, but that is far from the case here. Despite the lack of a name for the narrator, and despite the fact that everything you hear about others is told solely through her in a report-like manner, there is an incredible strength to the characterisation of everyone, even the dog. (The dog is marvelous.) Wang has created a fully-realised cast of characters that are fantastic to read about and the lack of a name for the narrator becomes a very good argument for time spent developing characters – in this case, the lack of a name is of no importance; she didn’t need one. It could be argued you get a better sense of who the person is without it, because without a name to fall back on in order to reference her (though of course you can say ‘unnamed narrator’ as the blurb says and I’ve repeated) you are even more aware of her personality. And Wang takes this concept further – the only people who are named are Eric, and the narrator’s parents. Even the dog is called ‘dog’.

There just might be a point to that separation between the named and unnamed. Something the narrator has struggled with, that you come to feel she’s starting to realise but can’t quite grasp due to her upbringing and family culture, is the emotional and somewhat intellectual neglect she’s suffered from her parents, who at once want her to be great like her father but don’t offer the more subtle things she needs in order to reach her considered potential, a potential that she receives a lot of pressure to fulfill. One of the repeated situations in the book is that of the narrator’s visits to a counselor – shrink, she calls them, pointedly – who questions how she feels in the context of her background, trying to help her see that where she feels like a complete failure at life in general, these things have largely happened as a result of what she didn’t and still hasn’t received from her various relationships.

Let’s not forget the science and the industry – Chemistry is teaming with scientific facts made easy to understand. The narrator’s knowledge and Wang’s background in the subject make for a wonderful element that is both a backdrop for the rest of the story and a huge factor in itself. The facts are woven into the narrator’s feelings and experiences, a point here, an atom of knowledge there, so that you’re always learning (or revising!), never taking a break from the rest of the story.

Refraction is why I am not invisible. It is also why things in water, like fish, appear farther and bigger than you think, and once that fish gets pulled out of the water, you are vastly disappointed.

And yes, of course, ‘chemistry’ here is also romantic.

At its heart, then, Chemistry is a story about identity, which won’t surprise you if you consider other unnamed narrators, such as the second Mrs de Winter. It’s a story of indecision, the discovery of identity and personhood in general needing to happen before the decisions can follow. And it’s a story that will grip you until the final page, where Wang both ties things up in a beautiful, contextually reflective bow, and leaves you with the ribbon hanging loosely so that you can come to a bit of a conclusion and pulls the ends tightly by yourself.

Catalysts make reactions go faster. They lower activation energy, which is the indecision each reaction faces before committing to its path.

This book is better than a whole lab of experiments.

I received this book for review.

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Manu Joseph – Miss Laila, Armed And Dangerous

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Or is she?

Publisher: Myriad Editions
Pages: 211
Type: Fiction
Age: Adult
ISBN: 978-1-912-40810-8
First Published: 19th September 2017
Date Reviewed: 16th May 2018
Rating: 3.5/5

The day Hindu nationalists win the elections, a building collapses; Akhila arrives as teams are trying to find survivors and she offers to crawl through a tunnel to help a man who is still alive. The man is muttering about a person on his way to commit a terror attack. A member of the two groups chasing the man and the girl sat in the passenger seat next to him, Mukundan isn’t sure what they’re doing is right, and is sure there’s a better way of extracting the girl, but his boss bids him to wait.

Miss Laila, Armed And Dangerous is a work of fiction which switches back and forth between a number of narratives as the author seeks to explore social injustice in its various forms.

This is a book that is at once an easy read, an uncomfortable read, and a hard-hitting read that requires your attention. Joseph’s use of satire and general slight humour often lures you into thinking it’s a fun novel. That may be part of the point – Joseph gets his thoughts across through via an easy writing style that’s nevertheless full of report-like phrasing.

Sometimes, the style and structure makes the book hard to follow – Joseph, a journalist away from his novel writing, has chosen to write his book in a similar style, and adds to it many different points of view. As an example, you might think that Akhila Iyer, the medical student and social media prankster who targets people in or close to the political sphere, will be moonlighting as this Miss Laila, and it takes a while for Joseph to get to Miss Laila herself wherein you have to get your head around the fact they are two different people.

Joseph’s major commentary apart from the controversies surrounding Mukundan’s story is the difference between rich and poor, high caste and low caste, Hindu and Muslim, and in the context of politics, and due to the basis of fact underlining the book. There is lots to consider here, with Joseph’s bold dialogue looking at both past and near present, holding nothing back. One person named outright is the author Arundhati Roy, who Joseph speaks of in the context of the female author’s visit to the house of a very wealthy person and her views about how much money this person had compared to those nearby; Joseph takes his Akhila Iyer to Roy’s own apartment building where she conducts an interview with a woman who says similarly of Roy’s house. (Whether this is truth or fiction this reviewer cannot say.)

So, to the narratives, you have the man trapped inside a fallen building. You have the narrative of Akhila Iyer, often told in the chapters focused on Professor Vaid as her own narrative is taken up by the collapsed building; occasionally you hear from Akhila about her family, the mother that was often away helping other people as an activist, leaving her daughter to grow up without her. (A lot of Joseph’s commentary is about activism and the way it can simply just switch people’s situations until another wave of activism is required, the once powerful becoming the powerless and then powerful again.) You have the narrative of Mukundan, who tails Laila and Jamal, and the narrative Laila’s sister tells of the days before Laila left with Jamal. And you have the narrative of election winner, Damodarhabi.

A revelation comes towards the end that may lessen the impact of what you’ve read. It’s a good idea going into this book, to consider that the non-linear timeline might expand.

Miss Laila, Armed And Dangerous is a difficult book to make a call on. Some of it is excellent – compelling points, good writing – but it does come across more as an essay or piece of reporting rather than a story or study.

I received this book for review.

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