Attempting to make those who live in darkness see the light.

Publisher: Gollancz (Orion Books)
Pages: 279
Type: Fiction
Age: Adult
ISBN: 978-0-575-08938-9
First Published: 2002
Date Reviewed: 26th January 2012
Rating: 4/5

Considering she had agreed to work for Eric, it was unlikely that the vampires were going to leave her alone with her 19th Century boyfriend, living life as before. First Sookie discovers her co-worker’s dead body in Andy Bellefleur’s car, and then Eric calls her up about a mystery he’s signed her up for. Sookie’s telepathic power is the one needed in order to find out where the missing person is. It may also help her find out what happened to LaFayette.

If the first book in the series, Dead Until Dark, was a funny but gruesome and truly adult novel that was a good read, Living Dead In Dallas takes it up a level. There is perhaps more sexual content in this one, and more blood and guts, and it’s not always an attractive read, but Harris is now in the prime position to introduce her readers to what she really wants to say.

It’s rather interesting in fact that a comical book about vampires could have such a message, but it works, and Harris comes up trumps, able to not only deliver the message but to illustrate how seemingly contrasting lifestyles can be blended into one. This wouldn’t make sense in any other situation.

“Andy let a black queer sleep in his car?” This was Holly, who was the blunt straightforward one.

“What happened to him?” This was Danielle, who was the smarter of the two.

Harris portrays quite a lot of sexual orientation differences and gender bending, and in her world it is the norm because what has now taken over as the big taboo is the recognition of the undead being on earth. Instead of picking on sexuality, people have turned their distaste to vampires. This doesn’t mean of course that everything else has been defined as natural, but in this world, vampires are the brunt of prejudice. To use the simplest case of this change in society, one minor character tells how her parents would’ve preferred her to date an African American rather than a vampire.

But of course unlike groups generally prescribed discrimination, there is at least a true danger in the vampires. While they have been accepted into mainstream society, the vampires do not always behave well and this is a constant issue between the heroine and her boyfriend. While their relationship certainly pertains to Harris’s fantasy world, she does touch on things that relate to connections in the real world. And while Harris’s goal does seem to be to revel in her paranormal genre, and to provide black humour as well as lighter laughs, there is the sense that she wants to get her teeth into our actual world. Yes, that pun was definitely intended.

To be sure, as with Dead Until Dark and undoubtedly every other book in this series, Living Dead In Dallas may require a suspension of a lot of principles. These characters will have sex, a lot, and it’s not always vanilla.

Sookie is proving to be a very strong character. Whilst not fitting the mould of your standard strong heroine, she proves that one can be different and still be just as effective. And she remains strong through tough situations, when characters in other books would be given a sudden personality changes and made into weaklings.

Albeit at different speeds, the major characters are being developed. Sookie, as narrator, has already told the reader a lot about herself, so in most cases her development is in learning how to use her power. But her relationship with Bill, as discussed, provides times for new thoughts to enter her always-busy head. Bill himself is developed in drips and dabs (intended again) but it is given a lot of time when it happens. In regards to Sam’s ability, there are some revelations there too.

Living Dead In Dallas is proof that there can be balance found in the world of paranormal fiction, between books with flimsy females and books with out and out horror. And Harris demonstrates that if done right, there can be a place for humour too.

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Two Normans may be able to work out their relationship given time, but add Wales to the mix along with a lot of angry kin and life is unlikely to go smoothly.

Publisher: Sphere (Little Brown)
Pages: 341
Type: Fiction
Age: Adult
ISBN: 978-0-7515-4026-0
First Published: 1990
Date Reviewed: 12th December 2011
Rating: 5/5

Please note that this is a review of the updated version of the book, which, it seems, was published in 2008.

When Guyon attempts to gain his uncle’s lands through supplication to the king, he is granted them – on the condition that he marries a particular girl. Judith is the sole heir to her father’s domain and the king wants to be sure that there will not be a war over it. In marrying Judith, Guy gives up his mistress for a fifteen-year-old girl. Judith is terrified of marriage, having witnessed the violence of her father towards her mother and the slap of his hand to herself. But that isn’t the only issue Guyon will have to deal with – the king may have ordered the marriage to aid relations, but Judith’s extended family aren’t about to let the lands pass to another.

In this, Chadwick’s very first novel, we see all the talent that she has continued to wield to this day, only here it is targeted towards absolute fiction. Whereas in her later novels Chadwick focuses on real people in history, here she creates the main characters from scratch and makes use of history for secondary characters. And her weavings in and out between the factual and fictional are flawless. She references many real events and has Guyon and Judith join them, and looks too to legends, such as that concerning William II’s sexuality.

The book is drenched in the issues that arose from the Norman conquest of the British Isles, there are insults between the Welsh and the Normans – and Chadwick makes the story of Guyon’s ex-mistress a part of this by having her and her family mock his Norman wife – as well as touching on the murder of William II and the rise to power of his son Henry. In the latter case she puts forward a comical version of why the eldest son was unable to inherit the throne, which aligns, in its treatment, with fact.

Something that is important to mention is that although Chadwick creates her own characters from their historical bases, for example she creates the character of Henry I, one never feels that she is turning history on its head. A quick bit of research on the reader’s part proves that Chadwick has thought through her book and written it in accordance with real life.

Although the book is character-driven, the world building is, to use an old word given new life in our modern age, epic. It is so easy to be engrossed in it all that you can forget where you are in the present day. Neither does it take long to get into the story. As the story is based in battles and family feuds there is little time to get to know the common people but there is enough on the workings of settlements to keep the budding historian interested.

And while Chadwick is a modern author and often uses elements that are more acceptable to a modern audience, there is never a case of changing history to suit today’s principles and political correctness. An example of this would be Chadwick’s description of her heroine as a fast learner and able fighter – while not by any means reflective of medieval society at large it is nonetheless easy to believe that some women would have been, and evidence backs this up.

Talking of the heroine, both the main characters are winners. They have chemistry enough to explode any science lab and are not perfect while being totally likeable. As said, Chadwick does not step back from looking at things from the medieval mind set, the marriage is important to both Judith and Guyon, but as Guyon waits for Judith to mature and be ready to accept him in the bedroom, things become difficult. In regards to this issue of Judith’s acceptance, Chadwick spends time detailing effects that are still relevant.

And, as in any Chadwick novel, when they end up in bed there are no holds barred. There are racy scenes, there are curtains drawn in front of the reader, and the innuendo is well written. Chadwick masters all of these scenes brilliantly and even when there isn’t a pressing reason for one, for example when both characters are completely comfortable with each other, they serve to inch the relationship further.

The Wild Hunt is a feast for anyone interested in this period of history. Chadwick’s writing is just something else and her passion emanates from the pages. Whether you are new to her work or a returning admirer, The Wild Hunt is as good a place as any to start.

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Women in the 1700s weren’t supposed to join expeditions, but rules are made to be broken.

Publisher: Broadway (Random House)
Pages: 249
Type: Non-Fiction
Age: Adult
ISBN: 9780307463531
First Published: 2010
Date Reviewed: 5th January 2012
Rating: 4/5

In eighteenth century France, a poor herbalist was able to change her life by, firstly, becoming the lover of Commerson, a prominent botanist, and secondly by following him onto a ship that would take them around the world in order to gain knowledge of the new lands being discovered. To join the ship, Jeanne had to pose as a man and this led to both happiness at being able to see what few before had seen, and utter wretchedness as she strove to keep her identity concealed. Ridley presents Jeanne’s story, or at least as much as is known, introducing readers to the woman that science forgot.

Here we have perhaps the only book that details Jeanne, and while it cannot always be reliable – for reasons that will be discussed in due course and doesn’t necessarily equate to a bad thing – the information it provides is of great value and interest. Indeed you need not have a passion for social history or even science in order to enjoy it as most of it revolves around the voyage and there is a lot about the finding of new lands, meaning that there is something here for many. And it means that although Ridley rarely sways from her main subject, when she does it is fascinating in its own right.

There is plenty to devour on maritime activity, and all the hilarity that the mixture of hardened scurvy-ridden sailors sharing space with curly-wigged nobility brings. A good basic knowledge of plant collecting is here too as well as information about the initial meetings between Europe and the Americas. Ridley grants the reader insight into both sides of the story, including primary source material from the French and the thoughts of the native populations in, for example, Tahiti. And reading about the way the French, in their insecure position as travellers by sea, treated the islanders, is often a nice respite from all the information we have about the atrocious treatment that happened after colonisation.

As the theme is of a woman going round the globe at a time when women were nothing, there are a lot of mentions of gender differences as seen from Ridley’s perspective. As a woman herself, Ridley tends to give the full view, which is always interesting. Depending on the gender and opinions of the reader they may find her harsh, correct, or completely brilliant.

Copus asked his [male] guests if any man could identify the herb. None could, and all agreed the tasty addition to the salad must be some newly introduced exotic. Calling in the kitchen maid to see what she might say on the matter, Copus watched the surprise on his guests’ faces as the woman announced the “unidentifiable” herb to be parsley.

[…]

Ordinary women know what plants look like in the field and in the kitchen, while supposedly educated male scientists know only what they are told.

[…]

In an age of crude woodcut illustrations that only served to obscure identification… even the best [reference books] were inadequate as field guides.

In fact the reader is very much included by Ridley as she employs an intriguing interactivity – describing how a person might find a place today, meaning how the place has changed. By doing this she inevitably draws parallels, which give you pause for thought.

Ridley makes use of evidence and generally tells you where her information comes from, despite a lack of footnotes. However sometimes what she says, or, moreover, her point of argument, is difficult to follow because it becomes mixed in with everything else. It is understandable that when a person writes on a subject they know well, they are not going to explain everything because it may appear to them obvious, but there are a few places where more detail would have been of great benefit. There are also many many mentions of how far, or rather how not far at all, peasants would travel from their homes during their lifetime. This is an issue by itself, but it’s also an issue when the author concludes that Jeanne would have met Commerson when she was away from home and he also. Unfortunately it sounds just as romantised as the ideas of others that Ridley dismisses.

Yet this is where we come to the major point. There is a great deal of speculation in the book. And although Ridley is generally good at saying what is factual and what is not, there are times when it’s not obvious. Now there are two schools of thought here. One is that it is bad to spend a book speculating. However two is that if there is little evidence surrounding a person but an author feels the need to introduce them to the world, then speculation can be forgiven. It’s not as though Ridley is talking about, say, Louis XIV, of whom there is lots of information – she is talking about someone who is interesting for being the first woman to travel the globe but, for reasons of gender equality as well as there simply being no records, remains someone whom we can never know all that much about unless new evidence comes to light. As Ridley is not suggesting she has new evidence, indeed Ridley’s goal is transparent – that of an informer – the speculation must be viewed more favourably and seen as a positive rather than a hindrance.

The work Ridley has done could spawn a new burst of research, thus hopefully less reason for probabilities, and indeed in the afterword Ridley says that since publication a plant has been named after Baret at last.

It is up to the reader, of course, to come to their own conclusions. It’s far from an easy book to continue at times as the content often sounds archaic for the behaviours of humans back then, but the vast amount of information is worth its weight in gold (which is a lot more than can be said for the results of the expedition).

Ridley has done Baret a great service and if further research proves that some declarations are false then so be it – Ridley has propelled Baret back where she should be.

I received this book for review from Crown Publishers, Random House.

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Sometimes you have to make a solid choice, but you don’t.

Publisher: Black Swan (Random House)
Pages: 496
Type: Fiction
Age: Adult
ISBN: 978-0-552-77385-0
First Published: 2010
Date Reviewed: 30th September 2011
Rating: 1/5

Anil loves Lina, and Lina loves Anil – but she’s held back a little by their differing religious views, and a lot by her own indecisiveness. She also has dreams of working for a charity while Anil favours architecture. The differences between them mean that they are constantly at odds over their relationship.

It’s very hard to write a proper summary of this book because there isn’t a true plot to it. Although cited as another Romeo And Juliet, The Obscure Logic Of The Heart is not like the great work of Shakespeare at all, in truth it doesn’t really know what it wants to be. Lina’s indecisiveness is reflected in Basil’s inability to decide just what her book is about.

There’s nothing much this reviewer has to say that is positive about the novel because there are just too many issues with it. One is the issue of time. When is the book supposed to take place? If the book begins by recounting the future, and thus the present is the future, it doesn’t much sound like it. If the present is our current present, then their years at university are too advanced. Lina arrived at her first job two months after 9/11. This would mean she was about 21 or 22 years old in 2001. If the author has set the reunion in the present day – around 2009/2010 when she wrote it – that would make Lina only 30. Therefore the decades that have reputedly gone past could never have happened. This is why some proper timing is required because Lina and Anil should be reuniting in the 2020s or 2030s and yet Basil has made no attempt to make the world any more developed, as it surely will be.

The characters aren’t at all memorable nor, like the world, are they developed. Anil is given more space to grow than Lina – who is silly and hesitant throughout, although she needn’t be – and the rest of the characters, though they have more life in them, aren’t particularly good. The purpose of the book is to highlight social, cultural, and religious issues but the youthful relationship between the protagonists isn’t given any time. The author tells you they are a good match but does not show it. It’s impossible to be convinced that they are – indeed it’s difficult not to feel that Anil has been wasting his time from the word ‘go’.

It’s as though all the characters are acting. The romance is supposed to be mired by religious conflict yet neither Anil or Lina are particularly religious – the former is not religious at all. The hero’s parents aren’t religious. The heroine’s mother is, but could be won over, while her father broke with tradition himself (as shown very early on via some letters that make the recipient obvious). So the relationship is not believable and neither is their trouble.

It’s also quite sad that Basil has formed the basis of Lina’s problems around the fact that Anil isn’t Muslim because this isn’t actually the real issue. From the way Basil has drawn the characters, even Lina’s virtuous mother, it’s difficult to see that a little more effort wouldn’t have overcome these complications. The fact the book tries to present a real issue current in our world today, and presents it so poorly, is worrying. The religious conflict is rather throwaway. What actually keeps the characters apart, even though Basil might not admit it, is Lina’s selfishness. Lina doesn’t particularly suffer when away from Anil, in fact she forgets him most of the time.

And this is where the biggest problem of the book lies. Basil is clearly torn between wanting to write about a forbidden romance and wanting to write about the issues in Africa. Lina leaves Anil and then suddenly all emphasis is on the UN and Basil is dedicating pages upon pages to describing conflict and why things must change. Obviously she’s an advocate, and there is nothing wrong with that, but instead of being compelling as it would be if she had written a book that left out the romance, she just leaves the reader confused. If Lina doesn’t seem to care about leaving Anil, the reader can’t be expected to either.

The characters that work for the UN go on about their expensive products being ruined by sand and have lots of parties and a great amount of sex. The way Basil portrays it really doesn’t give the reader a good impression of a group of people who are meant to be aiding the poorest people of the world.

There is a scene in which Lina is with an American colleague. One – the American does not sound as though she ought to be anyone’s boss, in fact she sounds like a silly teenager. Two – Lina says she loves these kind of conversations – a conversation about rape being used as a weapon in war-torn countries, that is being spoken by a man and the American woman, while the latter is trying her best to display as much cleavage as possible. As mentioned prior to the conversation, Lina doesn’t like this flirty behaviour of her colleague’s – if so, wouldn’t she be wondering about the distaste of a conversation about the plight of African women being spoken by someone who is currently trying to get her breasts out? If in writing this scene Basil was trying to show irony, then she surely would have commented on it.

And whenever things get difficult? Basil dons her Victorian clothes and turns to melodrama, causing accidents in convenient places and getting rid of characters that could have caused interesting moments to happen.

There are some errors that are truly terrible, such as the London Underground signs being written in red (an author who has lived for a while in London ought to know that the signs are written in white against a blue background); and human beings do not have green pupils.

And it’s unfortunate really, because the pace of the book is good and it’s an easy read.

Having religious conflict as a theme requires depth. Having social relations as a theme requires depth. And as this book sadly shows, Basil is not a person who can do it.

I received this book for review from Transworld Publishers, Random House.

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Perhaps the best example of how wonderful Austen’s ability to create characters was.

Publisher: N/A (but I’d wager Vintage’s a good one)
Pages: N/A
Type: Fiction
Age: Adult
ISBN: N/A (Vintage’s is 978-0-09951-1168)
First Published: 1816
Date Reviewed: 13th October 2011
Rating: 5/5

Emma Woodhouse is rather well off, and intelligent and charismatic to boot. She wishes to add to this list a talent for matchmaking, and indeed already has introduced a widowed neighbour to her governess and they are a fine couple. Now she wants to enhance her new friend Harriet’s position in society, and the man who wants Harriet’s hand does not fit the proposed expectations. Emma doesn’t want to marry herself, but will she able to carry on her initial success?

Emma is a fantastic examination of what happens when a person tries to involve themselves in other people’s affairs, and what this means for that person’s knowledge of their own feelings. The events in Emma are largely held in the same one place, in fact Emma herself never leaves her village, and yet Austen succeeds in being perhaps more witty and introducing a more detailed cast of characters than in any other of her books (Mansfield Park aside as this reviewer has yet to read that one).

It cannot be disputed that what makes Austen so readable is her cast of characters. In Emma every single person is very different to all the others so that it wouldn’t be difficult to know who was speaking even if you stripped the manuscript of all names. If it seems that some characters are similar it is only because they are less talkative. Of the ones who speak often you can clearly discern the man of sense, the woman who talks too much, the joker who wants entertainment, the hypochondriac who tries to push his hypochondria onto others, and so on. There is a particular chapter in volume 2 of the book, chapter 11, that is simply sublime – hilarious, all show and no tell, and a prime example of how these very different characters interact. Surely Austen is one of very few authors from whom this reviewer would be happy to read all dialogue and no description.

“Did you ever see such dancing? – Was not it delightful? – Miss Woodhouse and Mr. Frank Churchill; I never saw any thing equal to it.”
“Oh! very delightful indeed; I can say nothing less, for I suppose Miss Woodhouse and Mr. Frank Churchill are hearing every thing that passes.”

Austen undoubtedly had a whale of a time writing this book. The discourses between Mr. Knightley and Emma are brilliant, Mr. Knightley being the one this time round who has a level head. And as usual Austen shows us that she was not only ahead of her time but would fit very well in society today.

Where Emma thinks wrongly, Austen is always ready to have a laugh and put her on the straight and narrow in the form of her Mr Knightley. As is the case with Northanger Abbey, bar the narration itself in that novel, Austen employs a male character to voice her feelings. In a way, the reader may wonder why Austen, a woman in a male-oriented society, would often want to make her male characters the ones with the most sense, but in doing so she opens up her work to a wider audience.

It is this continual discourse between Mr Knightley and Emma that sets the reader up with the knowledge of what is to happen. In the character of Emma we have Austen trying to test the boundaries of class and seeing what happens when people try to get around them, even if it is only for their own benefit and fun.

As a counsellor she was not wanted; but as an approver, (a much safer character,) she was truly welcome.

Emma herself is fun for being so intelligent yet so out of her depth when it comes to matchmaking, and for having the inept ability to choose entirely wrong people for her friends.

It may be possible to do without dancing entirely. Instances have been known of young people passing many, many months successively, without being at any ball of any description, and no material injury accrue either to body or mind…

The reader might say that the set up of matchmaker could have been continued longer, with more people involved, but what is included is so well thought out that it doesn’t really matter. The way that Emma provokes her friends to follow her ideas and, as is once the case, literally follow her around, is worth a lot more than numerous matchmaking attempts.

Pride And Prejudice may be perhaps the most famous of Austen’s novels, but Emma makes a good run for Elizabeth Bennett’s money. Whether or not Emma would have chosen Mr Darcy for Elizabeth however cannot be speculated. The phrase that would conclude this review best is “read it”.

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