Showing posts with label romance. Show all posts
Showing posts with label romance. Show all posts

Saturday, August 16, 2014

Contemporary Passion by RM Romarney


Title: Contemporary Passion
Author: RM Romarney
Publisher: Vivid Publishing
Rating: WORTHY!


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

I don't usually review poetry because I tend to find very little that speaks to me or impresses me in any relatable way, but I have to admit that this one has what it takes and turned out to be entertaining. It's a 38-page poem (in my ebook ARC) set in modern times, but played out as religious passion play. Actually, to me, it seemed more like a musical, or like that old Queen song, Bohemian Rhapsody, and I enjoyed it a lot despite its religious theme.

It features a group of young, passionate, and virile artists in process of recording an album of music, and having some serious relationship issues along the way - and I mean serious! And for once, I get a book with a truly appropriate cover! Yeay!

I think this poem made an impression on me because in some ways it reminds me of some of my own, such as published in Poem y Granite, but I've never written one as long as his! To reference my own work might seem self-serving or self-absorbed, but isn't that how we all are with poetry? It has to reach us, doesn't it? It has to say something to each of us personally, and speak in a voice we understand - one to which we can easily relate, otherwise it's meaningless, obscure, pointless, and boring. Contemporary Passion was none of the above, which is why it appealed to me. It was joyful and passionate, and had a life of its own, and I salute the author of it.


Thursday, August 14, 2014

The Great Gatsby by F Scott Fitzgerald


Title: The Great Gatsby
Author: F Scott Fitzgerald
Publisher: Cambridge University Press
Rating: WARTY!

Fitzgerald write this in 1925, but it's set three years earlier in the summer of 1922, and tells a story of some wealthy characters observed and narrated by a not-so-wealthy character, Nick Carraway, during their time in the fictional resort location of West Egg on Long Island sound.

Carraway is a prospective bond salesman new to the area, and he rents a place which happens to be next door to the magnificent residence owned by Jay Gatsby (whose real name is James Gatz, Jimmy to his father). Nick has dinner one evening with his cousin, Daisy Buchanan, and her husband, the burly Tom, an old acquaintance from college, and meets intriguing Jordan Baker, with whom he begins an affair.

It's through her that Nick learns that his cousin's husband is having an affair with one Myrtle Wilson, but he appears to have no problem with that because he attends a raunchy party with Tom and Myrtle where, as it happens, Tom punches her and breaks her nose.

One day Nick receives an invitation to one of Gatsby's famous parties which he;s seen but never attended. He's intrigued by the invitation brought over by Gatsby's chauffeur, so he attends and finds himself invited to an audience with Gatsby himself - a curious man who never attends his own parties, seems constantly busy with business schemes, and for some reason appears to take a shine to Nick.

It turns out that his interest in Nick is actually an interest in Nicks's cousin, Daisy, with whom Gatsby was in a relationship many years before, but which couldn't be pursued due to Nick's poverty. After they separated, Gatsby inherited some money and parlayed that into an empire, and now he wants to get back with Daisy, but Daisy has married - something he had not expected her to do.

He persuades Nick to invite Daisy - alone - to tea one day, and the two begin bonding again, and spending more and more time together. Despite his own affair, Tom begins to grow concerned about where his wife is spending her free time. A showdown comes in New York at an hotel which Daisy, Gatsby, Jordan, Nick, and Tom visit one really hot day. Gatsby outright announces Daisy's love for him, although Daisy protests and gives Gatsby a surprise by announcing her love for Tom, who in turn, denounces Gatsby as a criminal.

The gathering breaks up and Tom allows Gatsby and Daisy to travel together back to the Egg to demonstrate how little concerned he is, but Daisy drives and accidentally kills Tom's mistress Myrtle somehow. The latter's husband, who has come to the conclusion that Gatsby is the lover he's begun to suspect his wife has taken, tracks down this yellow car which killed his wife, and he fatally shoots Gatsby and then himself. Nick, disillusioned with this life on the eastern shores, moves back to the mid-west.

Throughout listening to this on audio, I wavered between liking it and then disliking it. In the end I cannot recommend it because the dislikes far outweighed the likes in the final analysis. Fitzgerald does have an interesting turn of phrase here and there, but his writing tended far too often, when it wasn't merely mundane, to descend into endless lists of things which I found irritating as hell.

The story is ok, but it's not particularly brilliant or inventive and I really don't think it merits of the acclaim it seems to have today. I'd recommend reading the wikipedia entry on it, however, which is quite interesting. This novel is based on real people whom Fitzgerald himself knew.


Sunday, August 10, 2014

His Secret Superheroine by Patricia Eimer


Title: His Secret Superheroine
Author: Patricia Eimer
Publisher: Entangled
Rating: WORTHY!


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Entangled Publishing. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.
I really appreciate the opportunity to review this novel, so thank you, Entangled!

ErratARC:
p71 "You're kind are what-" should be "Your kind are what-"
p83 "...effect Liza." should be "...affect Liza"

p125 "Flittering..." should be "Flitting..."
p196 "...his bicep..." should be "his biceps..." It's not singular.
p200 "...letting Liza slid out of her seat..." should be "...letting Liza slide out of her seat..."

Patricia Eimer, you had me at "TARDIS". That's an automatic five stars as far as I'm concerned. Just kidding. I'd really love to do that, but I have to rate the book, not her Doctor Who references! Sorry! But I knew then that I'd feel wretched if I didn't like this novel. Fortunately for all concerned, I loved it.

I have to confess right up front that I'm not a fan of sappy romance novels, so it was with some trepidation that I asked to read this one. The problem is that I couldn't not request it once I saw this scenario. How cool a premise is it?! If handled right, a story like this has the potential to be really entertaining and amusing. And in the end I can't begin to tell you how pleasantly surprised and really thrilled I was with this story. Okay, I lied; I can tell you, so here goes!

This is St. Louis Superheroes #1, and the story is about Peyton Pearson née Hughes, a woman who develops super powers after her (now ex-)husband (also a superhero) tampered with her birth-control pills. So she fights crime in St. Louis. When she's evicted from her house (denounced as a super hero sympathizer) through the the machinations of the very powerful 'Safer America Party', Dylan Wilson, a neighbor who lives directly across the street, offers her his spare room to live in while she gets back on her feet.

This offer will help her, and it will also help him because she has a really good relationship with his young daughter Liza, and it will give him some ammunition in his fight against Liza's drunk mother Aria, who is a total jerk and who wants full custody (although I have to confess that I strongly suspected it might not look quite as good as that when presented in some lights as it does in others!).

The problem is that Peyton has the hots for Dylan, but he's a police officer who's dead-set against super heroes getting involved where he doesn't think they belong. Worse, St. Louis is a breeding ground for an anti-superhero movement of which Dylan is a member. She doesn't know that Dylan also has the hots for her, being cursed, as usual, with a poor self-image dumped on her (as it is on every woman) by the abusive fashion and cosmetics industries. No wonder she doesn't trust men!

The author writes remarkably well, with a good eye for dialog and some really amusing asides, so despite my reservations, I was quickly drawn into this story - which also has a really good plot. Finally - a romance story that makes sense! It's told in third person, too, so I was seriously on-board with that.

The chapters alternate somewhat in perspective, some being told from Dylan's viewpoint, others from Peyton's. And the author doesn't shy away from plain English description either. If you're offended by bare-bones references to human anatomy, this might not be for you! In short, this isn't your usual romance novel. Either that or I've read some disturbingly perverse ones in my time....

The characters are intelligent, varied, and interesting, and the story keeps moving. Even relatively minor characters such as Dylan's daughter Liza, his younger sister Laura, and Peyton's friend (and side-kick) Shea stood out as having real personality and presence. I adored the interactions between Peyton and Shea. I also loved the name of Peyton's cat, but despite intense pressure from the Safer America Party I am not going to out this poor cat in public....

If I have a complaint it's that there's too much emphasis on lustful glances and lascivious thoughts on the part of the two main protagonists, and not enough on other qualities which might attract them to each other - such as personality, sense of humor, decency, integrity, empathy, and so on. I would have liked to have seen far more of that, but I guess that's par for the course for a novel in this genre. Fortunately, even this aspect is significantly toned-down as the novel progresses and the tension heightens. So I began enjoying it as I would any decent novel (and to hell with the genre!).

Peyton is no wilting violet. She has a presence and a personality (and a temper!). She has real problems and real feelings about them, and she has no problem in standing-up for her principles, especially against her super hero ex, who is actually stalking her. And there's no sad little love triangle here either, thank goodness.

If I have another complaint it's about the use of the word 'superheroine'. I know reasonable people can disagree, and I am not female, believe it or not, so perhaps my opinion carries less weight in this matter, but it bothers me, in the arena of female equality, that we're still saddling women with the '-ine' and the '-ienne', and the '-ess' (and even the '-ix') suffixes.

Why superheroine, and not simply superhero? I would ask this same question in other areas, too. For example, why actress and not actor? Why comedienne? Does a woman deserve less than a man? Or is there a problem that 'actor' and 'comedian' have been traditionally male, and women don't want to be saddled with that?

If that's the case, then why do we not still have murderesses? We have female murderers, but no murderesses any more! That gender-specific term (along with some others) has already fallen into disuse, and I don't see any movement afoot to resurrect it. Can we not allow - and even encourage - other specifically-female descriptive forms to lapse likewise? It just bothers me that there has to be a separate name if you're female. Okay, maybe 'mistress' and 'dominatrix' might be hard to get rid of, I admit! But waiter seems to me to be significantly better than wait-person...!

On a small point of order - especially since this is a super hero novel, I have to take issue with one of Peyton's epithets: "For Spiderman's sake...." It's actually Spider-Man. For some reason, while DC tends to run the "man" right into the superhero name, Marvel tends to hyphenate; Ant-man, Giant-man, Psycho-Man, Spider-Man, Stilt-Man, X-Men. The exception to this 'rule' seems to be Iron Man for some reason. DC comics goes the opposite way, as in Superman and Batman, although Bat-Man is also used. I'm just saying!

I have to ask about "Klangon" on page 53, the start of chapter six. Is it supposed to be klaxon? Or is it a humorous play on clanging and klaxon? Either way it's funny. The humor is one thing which impressed me repeatedly. I don't know what it is, but the author is on my wavelength (or I on hers), and she just keeps coming out with turns of phrase that tickle my funny bone, such as when she says, on page 57, regarding Peyton's chest showing through her accidentally soaked T-shirt "...both the girls were completely visible." That just got me right in the mammary glands. Yes, I know that situations such as these, apparently requisite in romance novels, are sadly contrived, but there's a readable way to do it and a sickly saccharine way to do it, and Patricia Eimer evidently doesn't do sickly saccharine.

Inevitably in this kind of romance there's a fight, a misunderstanding, a cross-purposes situation. I felt that the one in this novel was weak. Dylan didn't have a leg to stand on so his arguments were forced and empty, but what are you going to do? It was a small price to pay for the quality of the rest of the novel. Overall, this was so well done that it really felt a lot less like a romance-genre novel than it did just a regular novel of some other genre.

So in the end, only one question remains: Patricia Eimer, when is the next novel in this series coming out, and can I be a beta reader?! I guess that's two questions. Okay, I'm going to go off quietly by myself and look for other novels by this same author....


Saturday, July 26, 2014

A Very Long Engagement by Sébastien Japrisot


Title: A Very Long Engagement
Author: Sébastien Japrisot
Publisher: Simply Audio Books
Rating: WARTY!

This review is one of a brace of forays into World War fiction which I undertook this month. The other is Anne Frank's Tales from the Secret Annex which I have to say right now blew this one completely away. Anne Frank can write. This guy cannot, but I'll bet he's won more pretentious and snotty medals and acclaim than Anne ever will. Sébastien Japrisot is an anagram of the author's real name: Jean-Baptiste Rossi. I don't know why, but there it is. Consequently, all of my future novels will be penned by Waid Ono. Look for them on a loose bookshelf near you!

This novel is about a woman who wastes a significant portion of her life chasing a guy who isn't to be found because he's someone else and too stupid to grasp it. It's one of the most tediously pedantic novels I have ever not read. It should be neither seen nor heard. I picked it up thinking it looked really interesting. It isn't. Not even a little bit. It's tiresome and plodding, and as dense as a plate of day-old spaghetti. Don't start this novel unless you have a toolkit to hand for extricating deeply-embedded components, and preferably one of those fire department jaws-of-life devices for prying open the impacted and inscrutable.

The premise is that of a World War 1 widow/fiancée named Mathilde (aka Mary Sue) Donnay, disbelieving that her husband/fiancé, Jean Etchevery, aka Manech, is dead, and tracking him down after the war. She can afford this as a war widow/fiancée in 1919 because she is the spoiled brat of rich family. No word on how she ended up with that particular husband or why her family didn't cut her off because of him! No word either on Spanish flu, which was rampaging across Europe back then, but which didn't exist according to Sébastien Jean-Baptiste Rossi-Japrisot.

A lot of the novel's tediousness comes from two sources, both of which happen to be the author. The first of these is his verbal diarrhea in compulsively describing every last detail of everybody who is even tangentially involved in the story whether those details have any bearing on the plot or not. Stephen King would be proud of this writer. The other is in the abysmally artificial use of correspondence.

You that know that when novelist falls back upon quoting letters (or diary entries, for that matter, or newspaper articles) in the novel they're there for two reasons: first of all the novelist is just plain lazy; secondly, they're stupid if they imagine for a minute that they will fool us by adding a letter that miraculously (and in detail, yet!) moves the plot precisely to where it needs to go next. No one writes letters (or diaries or newspaper articles) like that, not even in 1919.

After the first disk on this audio CD, I had no interest at all in the five men who disappeared, one of whom was the woman's paramour. First it became immaterial to me whether they were ever found, and then I actively began wishing that they would be gone forever. Please interpret that how you wish. Mathilde does find pain-in-the-Manech in the end: he's lost his memory and the jerk-off was too incurious about his past to go looking, so she wisely ditches him and heads home. The end.

I rate this novel trench-mouth warty.


Tuesday, July 15, 2014

La Princesse de Clèves by Marie-Madeleine Pioche de La Vergne


Title: La Princesse de Clèves
Author: Marie-Madeleine Pioche de La Vergne aka Madame de Lafayette
Publisher: Read a Classic
Rating: WORTHY!

I feel like I should write this in French, mais mon français aspire! (See what I mean?) Originally published in March 1678, in France as La Princesse de Clèves, and possibly written by Marie-Madeleine Pioche de La Vergne, aka Madame de La Fayette, this novel was a huge success in its day. And it had a less nonsensical cover than this modern edition does. Seriously - the title in half English and half French, the accent which should be on 'Clèves' is missing, but the dot over the 'i' in 'Princesse' is warped so much that it looks like an accent? What was the cover designer smoking that day? Old book covers?

The novel's main protagonist is 16-year-old Mademoiselle de Chartres, who is maneuvered by her mom into marriage at the court of Henri 2nd, to La Prince de Clèves. This is her best prospect financially and socially, but it isn't, of course, the one she would choose for herself. Had she that choice, she would have aligned herself with the Duke de Nemours, a dashing young man with whom she falls in love and he, it seems, with she. They do not pursue this affair physically, but instead meet irregularly, when he attends her "salon" - regular social gatherings which she holds in her new position as La Princesse de Clèves.

The duke falls afoul of a scandal for which he is blameless, but for which he assumes responsibility in order to protect another. The princess at first believes him to be guilty, but learns later that he isn't. It's also at this time that her husband, who loves her dearly, realizes that she's actually in love with someone else, and she admits as much to him.

This causes an onset of the wilts and the vapors for the Prince, who takes to his bed and dies, but not before extracting an evil promise from his wife that she will not pursue any relationship with the duke. The latter pursues the princess even more ardently now that she's a widow, but she rejects him and enters a convent.

I like this novel not because it's a great novel. Far from it: it's the worst kind of chick-lit, but it's ancient chick-lit and that's what makes it interesting to me. It enables us to get inside the mind of a woman from well-over three hundred years ago. We're treated to few such insights and that's what makes this fascinating as far as I'm concerned.


Sunday, May 4, 2014

The Kiss of Deception by Mary E Pearson


Title: The Kiss of Deception
Author: Mary E Pearson
Publisher: MacMillan
Rating: WARTY!


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

The Kiss of Deception shares its title with another novel billed as: "Swat-Secret Werewolf Assault Team 3 Everlasting Classic Manlove" which is why authors should take care in their titles! The way to sales is to distinguish your novel, not conflate it. But that's the problem with Big Publishing™: when you go that route, you effectively lose control of your work with regard to title, cover, and other areas.

That said, I had doubly-mixed feelings reading this one. I started out, even in the first page or two, wondering how long I was going to be able to continue reading it, because it began so poorly. That's not a good feeling to get on page one, and it's definitely not one with which you want to imbue your reader. After that, though, I began to get into it and enjoyed it, and that's when the author put several major roadblocks in my path.

The first of these was the nonsensical triple first person PoV telling of the story. This was amateur and confusing. One first person PoV is too much unless it's done really well, and I can see how a princess might do this, but to also have the prince who is chasing her, and the assassin tell the story in their own first person PoV? It doesn't work, and I call bullshit on that one. When authors use more than one 1PoV, they typically title the chapters with the name of the person who's narrating, but this isn't done here, and it makes for an unholy mess. It would seem that the reason this choice was made was that the author wanted to screw with your perception of which was the prince and which was the assassin, but both characters are so useless that in the end it makes no difference. They both, in their own ways, assasinate her after a fashion, and she deserves it!

I tried to ignore these and read past them, but by the time I was about half-way through, I couldn't stand to read any more of this pathetic romance novel. And that's what it is: a Harlequin-style romance in the final analysis. It's certainly no adventure novel. It's not a fantasy novel, and it's not even historical fiction. Indeed, and as the author herself kept telegraphing, this isn't historical at all. Quite the opposite - which means it made even less sense.

So what were these roadblocks? Well the first was one which I detest most of all: switch and bait. I know with Big Publishing™ you lose control of important aspects of your work (like book blurbs for instance), but I felt I was promised an adventure with fantasy elements, and a strong main character. Instead, I got this sad little romance in place of adventure. I thought I was getting a strong female character who knew her own mind and was not afraid to go after what she wanted, but instead, I got this wilting violet whose heart goes all a-flutter whenever trope triangle guy #1 (his name is irrelevant) gets close. I am serious. The number of times her skin flushed and her heart hammered was truly nauseating.

This princess isn't a strong female at all. She's weak, selfish, sad, cowardly, dishonest, capricious, thoughtless, and pathetic - and the laughable thing is that even taken as such she still isn't credible. We're given snippets of her history here and there, and I'm sorry but that tomboy history doth not a wilting violet make. On the contrary. Neither does a mature woman, which is what she's presented as (even though she's seventeen years old) fall in love the instant she meets a guy. This was truly one of the most pathetic females I've ever encountered in fiction.

The second major roadblock was a totally unbelievable "love" triangle. This princess runs away to a distant city to avoid her arranged marriage, and starts living life as a waitress, and the prince she was to marry - one whom she had never set eyes upon, chases after her even though he didn't want to marry her either. Why? His motivation is entirely absurd, because he has none. He had no more interest in her than she did in him, so where is his drive to find her? It's nonsense.

It wasn't as if trope guy #1 was anything. He was supposed to be a prince of the land, but he came off as a country bumpkin and not just a country bumpkin, but a really stupid one. How would any self-respecting princess find such a man attractive? Well the author has that covered! He's tall. Yep. that's it. Oh, and he has a broad chest, because you know it's a capital offense for a YA chick to find any guy attractive if he's shorter and doesn't have a broad chest.

The real problem here however, is that we have yet another female author portraying a female main character through whom she advises her young and evidently impressionable female readers that it's okay for a girl to be involved with a guy who does not respect boundaries, who cannot take "No!" for an answer, who stalks the girl, and who enters her home without permission. That's unforgivable, and female authors who write stories like this ought to be ashamed of themselves.

Far from being offended by this behavior, this loser princess doesn't find any of this even so much as creepy, let alone objectionable. She rewards it with a kiss. I don't know: maybe she's so preoccupied by flushing like a public toilet and in coping with more flutters than your typical aviary hosts that she doesn't notice his obnoxious behavior? She is truly one of the limpest, saddest, most worthless female main characters ever.

Trope guy #2 (and he deserves that epithet) is even worse if you can get your mind around that. He's an assassin sent to kill the princess, yet he consistently fails to do so. Again, there is zero motivation for his failure. This novel simply is not credible. The really laughable thing is that this guy, the assassin, has more respect for the princess than the prince does! How hilarious is that?

Add to this the fact that this princess outright lies to her best friend about something critical, and that the only thing she can ever talk about, or even think about, is getting a guy, and this really puts this entire novel in the crapper.

At the risk of a big spoiler, I also didn't get why there were kingdoms, and this absurd 'first daughter' religion, and why the most advanced technology was swords. Given what the author has gone out of her way to telegraphing so loudly, none of this setting made any sense at all, which was yet another roadblock for me. That's all I am going to say about that! In short, this novel is pathetic. I rate it WARTY! It had a lot of potential, if it had been handled right, but it turned out to be the worst one I've read this year so far.


Monday, April 28, 2014

The Poison Diaries by Maryrose Wood






Title: The Poison Diaries
Author: Maryrose Wood
Publisher: Harper Collins
Rating: WORTHY!

Based on an idea by The Duchess Of Northumberland (who maintains a real garden of poisonous plants at her stately residence in the north of England, Alnwick Hall), this novel is in many ways a re-telling of the fictional tale of the slavery and subsequent liberation of Eve in the Garden of Eden. But if all you ever read is vampires, werewolves, and angels, then don’t venture into this garden. The raw power of nature will be outside of your comfort zone, and you won’t be able to handle a tale as subtle, seductive, insidious, and profoundly different as this one is.

If I have a complaint about his novel, it’s in the form of this question: Do YA authors honestly believe that it’s a capital offense to pen a YA novel about a female main character and not tell it in first person present PoV? I can’t think of any other reason why they would so spastically, robotically, and with tedious persistence write all such novels this way (and make them trilogies to boot). Usually such novels are awful. Once in a while (as is fortunately the case here) we get one that's done well, but even in this case the author is hoist by her own pen when it comes to a point in this story where she's forced to tell it from the perspective of another character. That was really clunky and could have been comfortably avoided had she only the smarts and courage to break this sorry mold and tell it in third person throughout.

The first similarity to the Biblical fable of Adam and Eve is that we begin with an innocent girl, living in a garden, overseen by her god-like father, who in many ways has power over life and death. There is no tree of the knowledge of good and evil here, nor one of everlasting life, but there is a dangerous garden of poisonous plants to which Jessamine (the Eve of the tale) is forbidden entry. The entire story is about the danger of a little knowledge, and the greater danger of ignorance, about innocence, and about temptation and deceit.

There is also a strong element of the devilish here - in the traditional sense. No serpent tempts Eve, but the poisonous plants tempt Adam, who shows up in the form of a boy of Jessamine's age, and who is known as Weed. For me, he was difficult to classify. Outside the protective confines of the garden, he was considered a witch (or insane - or both), and brought to Jessamine's father, Thomas Luxton, who is an apothecary, because Weed appeared to have knowledge of the medical uses of plants. Initially, I could not decide if Weed was a personification of nature, or if he was merely highly attuned to it.

He is a major frustration to Luxton, and a source of growing attraction for Jessamine. He's frustrating because, despite what the Judas figure said when he handed-over Weed to Luxton for judgment, Weed appears not to have any knowledge of herbal remedies which he could share, yet when he's under pressure, a simple walk through the garden seems to imbue him with sufficient knowledge to suggest a cure, or at least a palliative for the ailment in question.

At first, in the tail-end of winter, Weed lives below ground in the basement of his host's home, but as spring perks up the plant life around him, so too does weed come to the surface and blossom. He starts enjoying the outdoors, and long walks with Jessamine, during which he displays an intimate knowledge of the plants they encounter. She discovers that he's easily angered by her collecting of these plants for her father, as though she's committing murder. He's loathe to eat anything until he learns to give thanks to nature before he eats; then he starts to put on weight and grow strongly and healthily, but he seems far more in love with nature than with humanity, and this is a source of frustration and anger in Jessamine.

Things really come to a head when Jessamine's father is to be gone for a few days. He's barely out the door, and Jessamine and Weed are barely dressed, both of them appearing to be drugged, if not with love. How did this happen? And how is it that Jessamine's father returns so suddenly, and so unexpectedly, and behaves so oddly?

Far from being angry, he decides that his two charges are sufficiently in love that they must be wed, but before this can happen, Jessamine becomes seriously and unexpectedly ill, and it seems that the only thing which can save her Weed's willingness (or foolishness) to put himself at grave risk by communing with the residents of the seductively poisonous garden. It’s then, and only then, that we learn how truly powerful the garden is and why Thomas Luxton should never have corralled such a diverse array of poisonous plants in such close quarters. The term "plant suggestion" takes on a whole new meaning at this point, and the nature of Weed's relationship with nature becomes as disturbingly apparent as the devious motives of Jessamine's father.

I recommend this novel as a fascinating and alluring read. Aside from the aforementioned issue with person, it was a well-written, easy, and entertaining read. The only other problem I had with it is that it is apparently the start of a series, with Nightshade being the sequel. For me, this spoils a perfectly good novel. Sad as the ending might be in many ways, I don’t believe it called for a more than likely sadder sequel. I like this novel, but I feel no need to line the pockets of Big Publishing™ by literally buying into a trope series when it isn’t necessary. I think that would spoil it for me, but do read the first one if you want a different experience from your humdrum YA fiction and your YA romance.


Saturday, April 26, 2014

We Are the Goldens by Dana Reinhardt






Title: We Are the Goldens
Author: Dana Reinhardt
Publisher: Wendy Lamb
Rating: WORTHY!


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration for this review.

Finally! Another author who has a dot net instead of a dot com. Why is that such a rare thing?! But I digress! This is an oddity of a novel. That's probably why I liked it so much, but I have to ask why I appear to be cursed with long novels which are not always a pleasant read, and then short gems like this, which are irresistible? It doesn't seem right, somehow. Can't I have longer versions of the good ones and shorter bad ones? But here’s the thing: I appreciate an author more who knows when her novel needs to end rather than one who’s dedicated to writing 400 pages no matter what state the novel ends up in!

This story is told in first person by younger sister Nell, who obsesses over her older sister Layla. Despite my antagonism towards first person stories, this one wasn't bad at all in the telling. See? Some writers can carry it, but not many. Reinhardt is one who evidently can. This is the first of hers that I've read, and I am disposed now towards reading others since this was such a good experience.

It’s a love affair after a fashion, although one in which there's nothing incestuous going on. I must confess that I don't know about this choice of names for the two sisters. Somehow 'Nell' and 'Layla' (the names) don't seem to go together, whereas Nell and Layla (the sisters) are perfect together. This (the names) bothers me a little bit because names are really important to me. In this case, it’s like the two girls are from different eras, like each name has its own un-blend-able ethos, but I digress…(again).

The novel is told as though Nell is speaking to Layla (who might be lying in a coma or in her grave for all we know to begin with) or as though Nell is writing a letter - an old fashioned hand-written one, not an email, or a dear diary to a sister who has run away or who has mysteriously disappeared. It was intriguing to say the least, and part of what drew me in to this story, because at the beginning, we have no idea how it's going to end, and I wanted to know.

Both girls play soccer which I think is hot. Yes, I know, that might seem quite disgusting to you: Nell is only fifteen and Layla hardly any older, but I'm shameless - and anyway, I'm not saying that the girls are hot, merely that their penchant for sports is hot: that they play, and play well. A sport, anyway, since the only one that they play is soccer, which is wonderful, but it seems odd that they have no other sports interests.

On that, er, score, my only real problem here was that the author completely glosses over the soccer! I know it’s not the most important thing going on here, but this sport was important to them and yet we got nothing about the first game of the season, save that City Day (their school in San Francisco) won 2-0, and this was after she had given the game a little bit of a build-up. We get precious little later, too, and I felt somewhat let-down by this, which is never a good feeling with which to imbue your readers!

It was disappointing to learn nothing of how either girl performed on the pitch, when we had been delivered pretty much a blow-by-blow account of the rest of their lives, and when the soccer was shown as an important part of their lives, being mentioned repeatedly. That struck me as an important omission, but it does let me get this in (WARNING: shameless plug coming up) for some great soccer action, you can always read my novel Seasoning, which in my totally unbiased opinion is the ultimate girls soccer novel....

The soccer, however, is a delivery vehicle - it delivers to us the first clues about what's going on here: what the underlying current is in this novel. Some might argue that there is some telegraphy at play here too, but it was never so much that you had an "A-ha!" moment where you felt you knew for a fact what was happening (or more importantly, what was going to happen), and sneakily, the tide which begins to run here serves to mask an under-current which is going to become important later. Note that neither of these affairs is anything new or avant-garde. The joy of this story does not lie in that anything happens to teens here which has not happened before; the joy lies in how these things happen, and in how they're addressed by the author and by each of the sisters. That's what makes this a worthwhile read.

Here's a pet peeve; this author doesn’t get that it’s 'biceps', not 'bicep'. I can't believe how many YA authors make that mistake! It’s becoming bizarrely common, but no, they will not convince me that they're right and that I should join them over on the dark side with this error! Other than that, the quality of the writing was excellent. It was well-done, it was intriguing, it was amusing, it was observant, and it was engrossing: in short, everything I need in a novel right there!

If I had a real complaint about it, I'd use it to question the wit and vocabulary expressed by Nell, who in her fifteen years comes off as way more mature than reasonable expectation might lead you to accept. Maybe she is. There are people like that, but Nell presents like she's an Eng. Lit. major or a book critic, or an editor, with some stand-up comedian tossed in. I would have loved to have known someone like that at that age, or better, at eighteen or twenty-one, but for a mid-teen to express herself this way strained credibility a bit for me.

Having said that, Nell, it turns out when it comes down to the bottom line, is the more mature of the two sisters who in the end does the right thing. This was an amazing novel, with twists and turns that are remarkable. It's very readable, and I enjoyed this immensely. In reading this, I found a new, strong female character to admire, and a new YA romance to champion as how it should be done. I recommend this novel very highly.


Saturday, April 5, 2014

Looking For Alaska by John Green


Title: Looking For Alaska
Author: John Green
Publisher: Penguin
Rating: WARTY!

Audio novel almost acceptably read by Jeff Woodman.

I wasn't impressed by John Green's debut novel and more than I was with his novel Paper Towns. It's living testimony to the fact that people who hand out book awards, hand them out from their ass, where their head is. But take my advice: if you want to write 'great literature' and win such awards, the secret is to include multiple quotes from dead people, preferably men, and you're almost half-way there. Make them foreign dead people and you are half-way there. Include some bone-headed words about nature conjoined with spiritualism, and you're three-quarters the way there. Don’t worry at all about your writing style. That's irrelevant in great (perhaps) literature.

And Green is quite obviously trying oh-so hard to write literature, isn’t he? Given that what’s classed as such is all-too-often anachronistic, irrelevant, tedious, pedantic, and boring, Green succeeds admirably. In this one, he sets up his template for all his novels (at least the two I've suffered through). You need a smug, spoiled, self-centered, clueless, uninteresting guy, a quirky side-kick, and a female bitch, and you're there. In this case the tedious male lead is Miles Halter tells his story in first person PoV which is all-too-typically horrible in any novel, and which seems to be the trope du jour in YA fiction these days. To be fair, in this novel it’s not completely cringe-worthy, just annoyingly smug.

Halter's life is so utterly devoid of anything of utility that he spends it memorizing the last words of the rich and famous. He's never actually read anything by those purported 'greats' of literature, just their biographies, and all he remembers of those are their dying words. With this more than ample qualification, he decides he's ready to launch himself upon life, and he goes off to boarding school at the age of 16. His parents evidently have no objection to this, not even financially, yet somehow he's classed not with the well-to-do students, but with the riff-raff.

On his first day there he meets all the riff-raff he will ever need to know. No new people need apply. His roommate, Chip(!), is known as "The Colonel". Because Halter is so skinny, he's named 'Pudge'. Oh how hilarious is the irony! Halter immediately falls head-in-ass in "love" with a girl. Alaska Young isn’t; that is to say she doesn’t come across as a sixteen-year-old, but as an idealized Mary Sue, wise way-beyond her years, so you know this is going to be tragic. It couldn’t possibly be 'literature' otherwise, now could it?

Seriously, Juliet and Romeo live happily ever after? Teens who don’t stupidly kill themselves but go on to make a real contribution to life and to their society? Who wants to read that trash? So you know it's going to be tragic, and since the narrator is named Halter, and his "love" interest is young, who’s going to die? Do the math. The give-away is in the last name, and it’s not a word that's related to 'stopping', it’s a word that's too often and all-too-sadly associated with 'die'.

The problem is that Halter's infatuation is never about who Alaska is as a person, it's entirely about how hot she looks on the surface. Adolescent love, superficial is thy name. Halter's view of her never improves, nor does her behavior. She's entirely unappealing. I don’t care how beautiful a woman is supposed to be; if she smokes like a chimney (not that chimneys smoke so much these days) then she's ugly, period. She's apparently trying to smoke herself to death, how wonderfully deep and literate. I'm impressed. Impressed by how self-destructive these losers are. But of course, if she didn’t chain-smoke, then how could she possibly be an artist, sculpting Halter's rough-hewn adolescent rock into a masterpiece worthy of some dusty corner of a museum. Shall we muse?

Halter doesn’t get how pointless young Alaska is. On the contrary, like a male spider to a potential mate, he enters her web with great, perhaps, abandon, completely embracing her lifestyle of shallow rebelliousness, cutting classes, smoking, drinking, and generally wasting his time. Yes, I get that the claim is that he wants to idiotically pursue the last dying words of Rabelais (the great perhaps), as though the delusional ranting of someone at death's door is magically philosophical, deep, and sacred (but only if they're famous). You definitely have to slap a medal on that or die trying - or try dying. Moreover, if the person is foreign, then his words (no female who dies is worth remembering apparently) are to be hallowed for eternity!

But here's the rub: if that's the case, then why does Halter go to school at all? Why not drop out completely and run away from home? Great Perhaps because that's where the lie lies in his life? Halter isn't actually interested in exploring any great perhaps; he's just interested in geek mishaps. He "explores" the unknown by doing the staid, tried-and-tested, and very-well known: going to school! Yet even then, he's paradoxically not getting an education in anything that's important. Instead, he's hanging with his peers, his attention drifting even in his favorite class. Great perhaps he's learning nothing at all? He sure doesn't appear to be.

On his first night there, he's bullied, but this is never reported, because 'ratting out' the bullies would be the wrong thing to do, don't you know? The fact that he could have been killed is completely irrelevant; it's much better to let them get away with their recklessness and cruelty so they're encouraged to do it again and again until someone does die; then everyone can adopt a pained expression and whine, "How could this happen here?" The joke here is that he fails to come up with anything interesting in the way of last words.

Despite my sarcasm, I guess I really don’t get how a novel larded with trope and cliché manages to even get considered for an award, let alone win one. The Printz Award? Really? Is there an out-of-Printz award? Probably not, but I made one up and awarded it my own Dire Virgins novel! Every main character, and there are really only three, let's face it, is a trope. Chip is the 'seasoned pro' - the one who knows every trick and angle, who becomes the mentor to the new guy. His one feature is that he knows the names of capitals. Honestly? Character Tukumi's only real feature is his name.

We already met Halter, arguably the most trope-ish since he's the tediously stereotypical skinny geek - like geek and physique are inalienably alien bed-fellows, oh, and did I mention that he knows the last words of some dead dudes? Presage much, Green? Next thing you know he'll be writing a novel where he has a count-down to the tragedy to make sure that we don't miss it. Oh, wait a minute, he did count down to the tragedy in this novel!

Oh, and Halter failed to halt her. How awful for him. Boy! You gotta carry that weight, carry that weight a long time…. Maybe if Halter had actually learned about life instead of philosophically jerking-off to the 'great perhaps' he might have learned enough to see what was coming and been prepared to do something to prevent it, but from an awards PoV, it's a far, far better thing that he doesn’t than he ever did, and it’s a far, far better ending that he goes through than he's ever gone….

Even I saw that ending coming, and that was at the same moment that I saw the cover and read the title of this novel. A candle gone out? Seriously? I'll bet the cover artist got whiplash trying to pat their self on the back after that one. The Sylvia Plath Award for most tragically tragic tragedy goes, of course, to Alaska, a teenager who was in an ice-cold state even before she died.

But what really died here was a chance at a readable and entertaining novel. I rate this novel warty, but do take form it a timeless moral: never, ever read a novel with a person's name in the title - unless it's a children's novel. They don't seem to suffer from the acute lethargy and lack of inventiveness which is the stone from which John Green is hewn..

I Have to add that I can't help but wonder why Green insists upon making his female characters jerks. I've read two of his novels (all I am ever going to read, rest assured) and in both the female is a loser and a jerk. Is he a misogynist that he does this? Or is it simply that he doesn't know any better? Actually, the question which interests me more is why John Green went out of his way to call me a liar? Indeed, he called every one of us self-publishing/indie authors liars. In a speech which he made to the Association of American Booksellers in 2013 (of which I was unaware until very recently), he stated:

We must strike down the insidious lie that a book is the creation of an individual soul laboring in isolation. We must strike it down because it threatens the overall quality and breadth of American literature...without an editor my first novel, Looking for Alaska, would have been unreadably self-indulgent.
From Brit newspaper The Guardian

In short, John Green thinks we're liars if we say we did it all ourselves (not that your typical indie author ever does this in my experience). Guess what, Green behind the ears? I did it all myself and I know other people did too, and no, I am not lying. The question is why are you so insecure that you need an entourage to write your books? And yes, Looking for Alaska was self-indulgent so you failed. Deal with it.


Friday, February 21, 2014

Marta Oulie by Sigrid Undset





Title: Marta Oulie
Author: Sigrid Undset
Publisher: University of Minnesota Press
Rating: worthy!

Translated from Norwegian by Tiina Nunnally.


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration of any kind for this review. Since this is a new novel, this review is less detailed so as not to rob the writer of their story, but even so, it will probably still be more in-depth than you'll typically find elsewhere!

The novel covers much more than the lone topic of Marta's marital infidelity. It ventures deeply into feminism, it looks at morality, and it discusses the validity of religion, all in the context of what Marta and her husband are doing, how they're interacting, and how she's feeling towards him. Interestingly, Marta's lover, if he can be described as such, who is also Otto's business partner, hardly gets a look in. I found that rather intriguing.

This is very much a novel from Marta's perspective, told in first person PoV, which I normally detest, but which is not obnoxious here. That alone is commendable. It's annoying to have to pick novels without knowing from whose perspective they will be told (the blurbs almost never say - and I'm as guilty of this as anyone), so I always appreciate it when I inadvertently select one and discover that it's not nauseating!

On a technical matter, I have to say that while the Adobe Reader version of this is good, the kindle version is seriously hobbled by really annoying formatting issues. It looks like they simply took the PDF and dumped it unadjusted straight into Kindle format. Now you can argue that this is a "galley proof", and therefore we should not expect it to be perfect, but if you argue that, then I'm going to argue right back that while this novel is set in 1902, we are not! We're no longer living in 1907, when this was written, and novels had to be typeset using trays of metal characters laboriously put in place one-by-one line-by-line by hand! There is no excuse for sloppy proofs in this day and age!

Even rank amateurs have professional quality word processors, spell-checkers and formatting styles available to us! So no, there is no excuse for "galleys" that have line breaks in the middle of sentences or that have words like "UNCORRECTED" and "SALE" randomly mixed in with the text (the Adobe Reader version has "UNCORRECTED PROOF NOT FOR SALE" appearing on every page), or having one person's speech end and the next's take off with only a space (as opposed to a paragraph space) between the two separate quotations. If it had been corrected, though, I would never have enjoyed such amusing sentences as, "And I, the proper little merchant's wife who went around so nice and quiet, tending to my house, UNCORRECTED..."! Yes, this woman needs to be - as the butler put it in Stephen King's The Shining - CORRECTED! Or, "...my heart began to pound as a UNCORRECTED clammy sweat began to pour from my body..."! Correct that sweating, sister! Or how about this one: "It was a natural instinct that broke open inside me, raw SALE and insatiable." Yes, Marta Oulie sold out!

Known as Fru Marta Oulie in the original Norwegian, Undset wrote this in 1907 about a woman who was unfaithful to her husband, but it's not quite as simple a premise as it sounds. This was Sigrid Undset's first novel, but it was not her last. She enjoyed sufficient success to make a career out of writing, including a well-regarded trilogy which might be considered a fantasy story by modern audiences. Some of her life oddly paralleled Marta's. This novel is relevant today even as it seems understandably dated in some regards. It's relevant because there are still double-standards today, over a century later, in how women are perceived and treated in comparison with men. It's relevant in that feminism is just as much an issue today, when it shouldn't be, as it was back then when it was considered to be revolutionary.

You would think that over the course of a century these issues would have been long-ago resolved, and women would truly be equal, but it has not yet happened. It is easier to give voice to inequalities now than it was then, but it's also harder to be heard because ears have become lamentably inured to these issues over such a prolonged exposure. Feminism is no longer fresh in a culture which gobbles down fresh with an astounding voracity, and because it's not fresh any more, women have had to reach towards increasing extremes to get the message out. Consequently, feminists are now in danger of being mistakenly considered extremists instead of being correctly considered to be justified.

The novel starts out rather sensationally with the sentence "I have been unfaithful to my husband", which must have been far more shocking in 1907 than ever it is today. Had this been a modern novel, or even a modern historical novel, I would downgrade it for that. I think it has value in a 1907 novel; however, this did force me into a consideration of how this novel needs to be reviewed. Is it fair to review a 1907 novel by today's standards? There are arguments to be heard for either side. I asked this same question when I reviewed novels like Dracula, Frankenstein, and Pride and Prejudice. This is not a modern novel written in an historical setting, it's truly an historical novel translated into modern idiom. I think that latter fact is relevant: clearly those who brought this translation to published fruition think that this novel is relevant to our times, so reviewing it by the standards of our times isn't inappropriate.

In 1902 Norway, Marta is courted by and marries Otto. She tells us she loves him dearly. The two of them travel in Europe together (whilst Marta is a school teacher with commensurate salary, Otto is a partner in a business which is evidently doing well). They start a large family (by modern western standards), having two boys (Einar and Halfred) and then a girl (Ingrid), and it's with the arrival of the girl and the necessary simultaneous switch to larger accommodations that things begin to sour for Marta. It's not so much that Otto changes as it is that more of who he is starts seeping through un-modulated.

I don't know if Undset did this on purpose - juxtaposing the arrival of a girl (Ingrid, Otto's daughter) in the family with the attendant turmoil of lives being uprooted and moved around. If she did (and I am tempted to think she did), then that's pretty cool and smart on her part. Undset (which is reminiscent of 'upset' or 'unsettle' which is what this novel does) is a capable writer, but since this is a translation, it's really hard to know how much of the technical quality of the writing is due to Undset, and how much is due to her translator, Nunnally. Since I don't read Norwegian, I'll never know! However I take heart in the knowledge that even a bad translation cannot hide a decent plot! And no, this is not a comment on Nunnally's translation. Undset earned herself the Nobel Prize for Literature in 1928 - the last Norwegian woman to do so to date. I'm not a big fan of "literary" novels or of stories written by Nobel laureates, but I would have to assume she's a capable writer even were I lacking other indicators (which I'm not!).

The stakes ratchet up as Marta starts an affair almost accidentally with Henrik, and he starts to feature more in her life until Otto contracts TB, whereupon she feels such guilt that she ends the affair, but continues with the pregnancy. Is it Henrik's or Otto's? The only way to tell back then was by recalling with whom one had enjoyed sex at the right (or the wrong!) time, and since Otto became sick, there has been none with him, so Åse has to be Henrik's. This comes in intriguing counterpoint to the birth of Ingrid: whereas Otto's daughter stirred-up things uncomfortably and was a contributing factor in Marta's falling into an affair, Henrik's daughter has the opposite effect - bringing the affair to a precipitous termination, and sending Marta back to her husband emotionally.

In the end, I don't like Marta Oulie (although I do like the novel), and the reason I don't like her is not because she betrayed her husband, but because she betrayed everyone, including herself, and cruelly so in Henrik's case, who has a daughter with Marta, a child who he will never be allowed to know. I hope this isn't 'the moral of this story': that if you betray your husband you will become lonely and miserable, indecisive and inert for the rest of your life, because that runs completely contrary to the feminist portrayal of Marta which colors the earlier portion of this novel!

Again, there are formatting issues at the end, with the story ending seemingly unfinished and very abruptly, and being followed without a break by some notes on Undset's life, yet the author's name is spelled with all lower case characters, which is not only inexplicable, it also seemed rather an insult. I mean why make a big deal about bringing this woman's writing to a modern audience if you're going to slight her in this way?! She's not edward estlin cummings after all.... The name of Marta's lover appears on more than one occasion spelled with a lower case 'h', which is hard enough to explain since it's something which is easily fixed with search & replace, but to trot out the author's name like that is downright weird! However, I am willing to rate this novel as a worthy read, in the hope that the final version will have these formatting and case issues resolved.


Monday, January 6, 2014

Paper Towns by John Green


Title: Paper Towns
Author: John Green
Publisher: Brilliance Audio
Rating: WARTY!

This audio CD was read competently by Dan John Miller.

This novel, unfortunately told from first-person PoV, could be a lot worse, but it was getting there. Miller's narration helps, and the fact that the novel was amusing in parts also helped. The story hinges (and I use that word advisedly) entirely upon spineless Quentin Jacobsen's infatuation with his next-door neighbor, Margo Roth Spiegelman, who turns out to be a complete jerk.

Quentin is in fatuation with Margo, who shows up at his bedroom window one night demanding that he drive her around in his mom's van (he has no car) because she's had her car keys confiscated by her predictable, unadventurous, but also feisty parents, and she has eleven critical things to do that night (so she deludedly believes). The entire repertoire of criticality is inextricably entangled in Margo's juvenile need for revenge against a two-timing boyfriend, and she drags Quentin in on it with her, selfish much-adolescent-about-nothing that she is.

This plan having been more-or-less successfully executed, Quentin finds his life starting to turn around, but even as it does, Margo has disappeared. This isn't the first time she's taken off, and she's always left an impossible-to-follow clue before showing up shortly afterwards of her own accord, no less irresponsible or full of self-importance. This time, it's been six days with no word at all from her, and when Quentin discovers a whole series of cryptic clues, since he has no life and no self-respect, he obsesses on following wherever they lead, in hopes of tracking down Margo, and he starts to slowly come to the conclusion that maybe Margo has taken the biggest trip of all. Or has she?

Disk 6 wouldn't play in the car, so I skipped to disk 7 which turned out to be fine because disk 6 evidently had zero to say. Disk 5 ended with Quentin setting out to follow his last clue and disk 7 began with him arriving at his destination, which begs the question as to what value disk 6 was in the first place! Obviously none. Disk 7 was short and had a really unsatisfactory ending. I didn't like either invertebrate Quentin or Margo at all; in fact I think she's a jerk.

I can't help but wonder why Green insists upon making his female characters jerks. I've read two of his novels (all I am ever going to read, rest assured) and in both the female is a loser and a jerk. Is he a misogynist that he does this? Or is it simply that he doesn't know any better? Actually, the question which interests me more is why John Green went out of his way to call me a liar? Indeed, he called every one of us self-publishing/indie authors liars. In a speech which he made to the Association of American Booksellers in 2013 (of which I was unaware until very recently), he stated:

We must strike down the insidious lie that a book is the creation of an individual soul laboring in isolation. We must strike it down because it threatens the overall quality and breadth of American literature...without an editor my first novel, Looking for Alaska, would have been unreadably self-indulgent.
From Brit newspaper The Guardian

In short, John Green thinks we're liars if we say we did it all ourselves (not that your typical indie author ever does this in my experience). Guess what, Green behind the ears? I did it all myself and I know other people did too, and no, I am not lying. The question is why are you so insecure that you need an entourage to write your books? And yes, Looking for Alaska was self-indulgent so you failed and all of your team with you. Deal with it.


Thursday, November 28, 2013

Secret Lies by Amy Dunne





Title: Secret Lies
Author: Amy Dunne
Publisher: Bold Strokes Books
Rating: worthy


DISCLOSURE: Unlike the majority of reviews in this blog, I've neither bought this book nor borrowed it from the library. This is a "galley" copy ebook, supplied by Net Galley. I'm not receiving (nor will I expect to receive or accept) remuneration of any kind for this review.

Amy Dunne was raised in Derbyshire, England, just like me, so how can I not review her novel?! Well, I wouldn't if it looked like it was boring or outside of my interest range, but I'd already decided that this one was worth a look before I knew from whence its author hailed.

I don't do book covers since the author usually has nothing to do with their design, and this blog is about authors and their writing, not about snotty publishers, illiterate editors, and artists who've never read the book they're illustrating, but I have to wonder about the title "Secret Lies" (as opposed to public ones?) which I assume is the author's, and the black band around that cover - how funereal! - which I assume isn't. Unfortunately, unless Dunne designed the cover herself, I may never learn the point of that, nor did I learn the meaning of the title! Maybe if I'm lucky, Dunne will visit the blog and add her own two pence in the comments? The girl on the cover is neither one of the two around which the novel revolves: the sleeves are way too short for it to be Nicola, and the hair is wrong for it to be Jennifer; she's wearing no wrist bands, either. See what I mean about cover artists never having read the novel? (I'll bet the model hasn't either.)

So this is, be warned, a very sexually explicit story of Nicola Jackson, an abused step-daughter with a weak mom and a god-awful stepfather (did you know that the German word for stepfather is Stiefvater?!) who seriously needs to be hung, drawn, and quartered. The sexually explicit partner is Jennifer O'Connor, a good - well...not so good - Catholic girl. She resents the relationships she feels forced into, in order to keep up her appearance as the hottest girl in school. These two bump into each other one morning on the way to school, after Nicola almost lost her virginity to said evil stepfather. They end-up skipping school and spending the day together despite being from different social groups, and despite never having spoken before that day. Their relationship takes off from there. I liked this story and found it a really easy read, but I do have some issues with it, that I want to take a few to explore.

My first concern is the simplicity of the writing. Sometimes that's a good thing, and in many ways it works for this story, but the feeling it left me with was that this story was written by a younger brother of one of the two main protagonists (both of whom are seventeen), and neither of them had such a sibling! Worse than this, though, was the all-too-ready resolution to everything, with no ragged edges, no loose threads, not a hair out of place. It was unrealistic, like a half hour TV sit-com, and it reminded me very much of some of my own first drafts. Given the starting points from whence the various characters launched themselves into this tale, it was really quite insulting for me as a reader to see the story travel the route it did, but having said that, I'm rating it as a worthy read because overall, it deserves it. Secret Lies deserves to be read and the author deserves to be encouraged to keep on writing because there was a real story here, and whilst it may not have been told in its best light, I'm hoping that the sophistication will come, and we'll get ever more and better stories from Dunne.

Meanwhile, let's look at the issues I had with this one as I review it. The first thing which bothered me was the improbability of the encounter between Jennifer and Nicola which led to the start of their relationship. It came right out of the screen-play for the movie The Cutting Edge with them quite literally running into each other, and the even greater improbability that they'd end-up spending the day together. They live in completely different worlds. Jennifer comes from a really nice home with loving (if somewhat naïve and ignorant parents) whereas Nicola comes from a lowly and (more!) dysfunctional home. I don't get how it is that they would run into each other on their various routes to school, since it's strongly implied that they're not exactly neighbors.

I can see pathways by which the two of them could reasonably have come together (so to speak!), but I didn't see that happen here, so it was a bit too much insta-friends for me. As I said, the two have never spoken before, and Jennifer is a bit of a snob (in high-school terms), hanging out with the rotten-end of the higher-class students (pupils? Whatever they call them in Britain these days!), so her path literally and figuratively never crossed with Nicola's. Indeed, Nicola is an outcast at school, wearing strangely inappropriate clothing for the weather (and there's a good reason for that) and spending all her time by herself there. There was too abrupt of a shift from being completely alienated from one another, to being acquaintances, to becoming fast friends. It seemed way too fake and amateurish to me, but the story itself turned out, despite this poor start, to be really quite interesting and engaging. It made me want to keep reading, which is all I require from an author, let's face it!

I do identify with Nicola though, coming from the lower end of the scale myself. I was never beaten, so I can't claim to know what that's like, but I did have really strict parents who were not known for refraining from slapping their kids, and from whom I felt quite alienated most of the time, so I feel like I have a foot in her door at least.

Which brings me to the respective issues from which these girls suffer. I didn't quite see the point of having both of these girls be the way they were, one of them appallingly abused, the other abusing herself. I know that offers a route towards friendship by having them both have secrets, but why make this the starting point? Other than to get them together, it didn't seem to play any role in the story at all (apart from one overly-dramatic later incident), so why not make them much more average people? That would have had a far greater impact for my money. Putting them in this position seems to me to serve to create more obstacles than it serves to knock down fences.

Jennifer is a cutter who is trying really hard to divorce herself from that behavior with the help of a therapist - about whom her parents evidently know nothing. That's one thing, but she's also had some bad, even shaming sexual encounters with sadly trope-ish boys, which offended me for its genderism: as though a girl can't be lesbian without having had a rather abusive experience with a boy, and there's no such thing as a sensitive and decent boy anyway, so why not be a lesbian! It's almost like Dunne is trying to justify lesbianism by blaming it on uncouth males. I found that offensive on several levels, and dishonest with regard to lesbian motivation. Queers are queer because that's the way nature made them, not because some guy or some girl somehow "warped" them that way!

I have a book on my groaning library shelves titled The First Time by Karen Bouris, who interviewed some 150 women about losing their virginity, and many of them had a bad experience (which I think is more than adequately explained by society's god-awfully repressive attitudes towards sex!). I have no way of knowing how representative a sample this was, but it seemed to me that many of the women who were interviewed and who are lesbian, had a bad sexual encounter with a guy before they settled on their preferred sexuality.

This struck me as interesting, but in no way can it be deemed to be diagnostic, definitive, or causative! It seems a bit of a cliché (and a stereotypical male wishful-thinking cliché at that) to have Nicola take this road-less-traveled because lesbianism is 'nothing more than a result of a bad heterosexual encounter'! Sexual preference needs a hell of a lot more respect and realism than that. I'm not saying that Dunne believes this, or that she's trying to suggest or promote this agenda, just that writing this way might put the wrong idea in some people's minds, or imply things which were not intended. Then again, it's Dunne's novel - she can write what she likes, and I wouldn't try to suggest that no queer relationships ever began like this.

I can see that Dunne needs a way to bring the two of them together, and that she's doing this by giving them common ground to meet upon; it just seemed a bit clunky to me. I'm not the writer of course, so it's not my choice, but this overkill in background story detracts too much, for me, from the main story which is coming, and which is the reason I'm reading this!

So having spent the day together, Jennifer invites Nicola to stay over for the night when she learns that her new-found friend has left home and has nowhere to go. They make up a lie to tell Jenny's parents which improbably nets them a month together. It's early that evening that Jennifer accidentally espies the burn marks and bruises on Nicola's back, where her stepfather has stubbed out cigarettes. This, of course, leads to confessions and revelations, and eventually the two of them discover the truth about each other, and that truth is that they're falling in love.

This is a bigger problem for Jenny than for Nic, who has nothing to lose. Jenny has her mom and dad, staunch (not stanch!) Catholics. Jenny at this point is living much more in fear than Nic is, which was a fun reverse direction for this story to take. And talking of fun, there wasn't much humor in this novel. Yes, it's a serious story about serious things, but that lack of a fun element with these two young characters, both of them awakening to a brilliant and totally unexpected new love, was a bit glaring. The "stupid o'clock" comment at the start of chapter 25 was hilarious and every much appreciated, but that was it for notably funny bits, and I couldn't see that two Brit high-school girls like this wouldn't have more humor going on than they did, even given their circumstances.

Also, Nicola seemed to come out of her repressed shell far faster than seemed realistic given what she'd been through. In fact, the entire relationship was surprisingly just like any relationship I've read about, homo or hetero written by male or female writers, which struck me as odd, given the premise that both of them had these secrets and both secrets were way off the beaten track for most relationships. I mentioned this earlier - that the cutting and the abuse were merely a starting point, and played no part in the rest of the relationship, and this seemed to me to be a betrayal of those things - cheapening them into insignificance. I found that sad. Indeed, the pointed focus on the sexual rather than on anything else was a bit disturbing, too. I was expecting something rather different here, given the characters were coming out not only to each other, but to themselves, and given the awful back-story secrets they both had, but that was never delivered. It was like their sad pasts were magically washed away and mattered no more.

Then comes the evil stepsister - actually not even step, just sister (of Jenny's) - who seemed really odd to me. She went from being hugely vindictive, exhibiting stalker behavior, to total unconditional acceptance of Nicola and Jennifer pretty much literally overnight which was entirely unrealistic, and which stood out rather glaringly and amateurishly.

So why am I not rating this warty? Well, as I said, I liked the story, and I'm willing to forgive the writer a lot of warts if they tell me a worthy tale. I freely admit that Dunne really pushed me to the limit of what I would put-up with, and if the story had not been the one it was, and Jenny and Nic not been the characters they were (and Dunne had not hailed from Derbyshire, of course!), I might well have been nudged over the other side of the fence. I don't do stars, you see, so a novel is either a worthy read or it's warty to me, and this one is worthy, because I liked it despite a few warts, and yes I'd be open to reading more by Amy Dunne. Indeed, if she's looking for a truly independent (apart from the Derbyshire connection!) beta reader, I volunteer right here and now!


Saturday, August 10, 2013

Nick & Norah's Infinite Playlist by Rachel Cohn and David Levithan


Rating: WORTHY!

This is going to be a much shorter review than I normally give because I already reviewed the movie version of the novel. The two have a lot of similarities, but also a lot of differences. I liked the movie version much better, but I still liked the original novel enough to rate it a 'worthy' read. The novel is quite different from the movie in many ways, while following the same overall pattern. It has different events in it and a lot more four-letter words. I liked the Nick of the novel slightly better, and the Norah about the same, but I found the humor in the movie better. The movie screenplay was written by Lorene Scafaria, so kudos to her for carrying that off so well.

To the differences! In the novel, it's Nick who asks Norah to be his girlfriend, quite the opposite of the movie. In the movie Caroline (Norah's drunken girlfriend who Norah hands over to Nick's bandmates to get her home) escapes and runs away, fearifn she's being kidnaped, but this doesn't happen in the novel. In the novel, Nick and Norah make out in the ice room of a Hilton Hotel, but they don't go all the way, whereas in the movie, they go all the way in a recording studio owned by Norah's dad. In the novel they don't go anywhere near the recording studio. The novel features fewer locations than the movie, too.

The novel has chapters numbered sequentially, but alternatingly headed either with Nick's name (written by Levithan), or Norah's name (written by Cohn). Nick's band is called the Jerk-Offs in the movie but The Fuck-Offs in the novel - I did warn you that it was more foul-mouthed than the movie! The novel does get us a lot further into Nick and Norah's heads than is ever possible in a movie, but not all of that is a good thing. There's a lot to love but also quite a bit to dislike when you get that far into their heads. In the end, if I had to choose, I'd have to pick the movie, but the novel is well worth reading.


Saturday, July 27, 2013

Beta by Rachel Cohn





Title: Beta
Author: Rachel Cohn
Publisher: Simon and Schuster
Rating: WARTY!

Beta is by the same writer who wrote the novel behind the movie Nick and Norah's Infinite Playlist, the movie of which I reviewed not long ago, vowing to find the book and read it! My hope when starting this was that it would turn out to be as entertaining as that was. This novel is probably what gave some impetus to Karen Sandler's Tankborn because they both share the same kind of premise, but Beta was published four years before the latter.

And what is the premise? The premise is that at some point in the future, and perhaps not even on Earth (yes, it's that vague!), there's an island named Desmesne (Deh-MEZ-nay, believe it or not) where the very rich reside. It's a hedonistic island where the rotten rich are spoiled rotten. One way in which they're spoiled is that they can buy (yes buy) what are referred to as clones to do all kinds of things for them - from housework to massage, to companions. These 'clones' are the creations of Doctor Lusardi, who can make adult 'clones' without any trouble at all, but for some unexplained reason creating children is problematical. The so-called clones (more on this confusion anon) are marked with a fleur-de-lys tattoo on their right temple, and their purpose is defined by some other botanical tattoo on their left. Elysia (El-EE-zee-ya) is a prototype teen 'clone' referred to as a Beta because this technique is not perfected, although it looks like Elysia is perfected since she's fully functional and described as pretty-darned-near perfect in every way.

When a 'clone' is created, the "First" (the person upon whom the clone is based), 'has to die'. This was very poorly explained to begin with and led me to some confusion about exactly what was going on, and what, exactly, 'has to die' meant. At first I thought the "Firsts" were deliberately killed, but then it seemed like the clone was taken from someone who had died from some natural or accidental cause, but there are cases of people voluntarily giving up their life to become a "clone" so their family can be paid a handsome sum in return. None of this made much sense! I had a real problem with terming this cloning, though because of the confused descriptions Cohn hands out so miserly. If it's a true cloning process, then this makes no sense: since something can be cloned from any cell (in theory - Dolly the sheep, for example, was cloned from a mammary cell, hence her name), there is no need for the clone cell donor to die.

Elysia is quite literally standing around in a store awaiting sale when the island governor's wife, Maria Bratton, wanders in to look at clothes. She takes a real shine to Elysia, who becomes an impulse buy. Elysia is thrilled at being bought because it means she's serving her function. This early excitement is completely at odds with her later behavior. As she rides home with her "Mother" she reveals in a flashback some details of her creation. She was cloned as a full sized teen, not grown from a zygote as was the sheep and other clones we have created irl. When Elysia was done "cooking" she had a chip implanted in her head which provided her with a functionality specially tuned to her designated purpose in life, which in Elysia's case is 'companion'. She also has a tracking chip in her arm.

How this 'full grown clone' operation works is conveniently skipped over. although there is a revelation at the end of the novel which is interesting. The human body is quite simple when looked at as something grown from a single cell: we're basically little more than a bony worm after all. The genome is a recipe for a living thing and there's nothing miraculous about how it develops sequentially; however, to create a full-sized human body from scratch without it growing according to its genetic recipe is a task of huge complexity. This isn't what they do in this novel, but it takes an annoyingly long time for Cohn to clarify this, and even then she's so vague about it as to be annoying, still!

Since nothing is explained, I was forced to cast around a lot to try and figure out what was going on, which really detracted from my reading experience. Eventually I came to the understanding that this isn't cloning in any way, shape or form, so why Cohn misleadingly used that terms is a mystery - and an irritating one at that. What seemed to be going on at that point was a variety of Frankensteinian reanimation, with Elysia occupying the original body of her 'First' which has had nothing more than a brain make-over. There is talk of souls, which not a scientific topic (there's no evidence that anyone has an immortal soul) even though Cohn treats it as such. I find that a bit strange and Cohn herself seems to be sadly confused about what she means by 'soul'. Cohn is a Jewish name meaning priest. Now I have no idea what religion, if any, Cohn practices, but I assume with her name that she might know something of her Judaic heritage, and this concept of eternal life is not really an overriding part of Judaism as it is in Christianity.

There really isn't any talk of souls in the Biblical Old Testament, which is essentially all about land-grabbing and massive slaughter. The out-and-out obsession with an afterlife is only developed in the New Testament, but in Beta the soul is a scientific part of life, and exists only in real humans, not in their 'clones' we're told. This means that the body Elysia now inhabits is actually the very same body her 'First' occupied, but her first cannot be brought back to life because her soul has "gone on" apparently. At the end of the novel I learned that I'd been misled even over this! The technology of the novel is up to the task of reanimation, however, which is how Elysia came to be. But there are problems even with this!

Elysia is an interesting character, and her observations are amusing to begin with. Her placid acceptance of her role in life combined with her compulsion to meet her owner's expectations fully is as endearing as it is disturbing. What's also disturbing is that when she joins her siblings (a teen boy and a younger girl) in the governor's swimming pool, Elysia discovers that she's a natural born athlete, but when she immerses herself in the water, she has visions of a guy talking to her and swimming with her: a guy who she thinks she recalls from memories leaking over from her 'First'. She is (or was) in love with this guy, yet she has no problem ditching that supposedly loving and passionate god-like guy for someone else with whom she thinks she's in love, and then in ditching that someone else, too! That's how shallow she is.

This memory leakage is problematical for me. If Elysia had been a true clone, then it could not have been possible to retain memories, because your genome doesn't perform this function. Yes, DNA can be thought of as being a species' memory, but that's not the same as an individual's personal memories, which is merely a conjugation of chemical states in the brain; once that brain ceases to function, those states decay and your memories - you - are gone. This loss includes your soul, since that's nothing more than a chemical state in your mind. So a true clone cannot possibly have memories from the organism which donated the 'starter' genome.

But if Elysia is a reanimated corpse, memory leakage is still not possible, for if the memories had been intact, then the body wouldn't be dead and it would still be the 'First'. If the body had truly been dead, then those memories would be gone and not available to Cohn's plot for leakage purposes! This, of course, revolves around exactly how the corpse is reanimated, and if technology is so good that it can do so, then why did the original mind (soul if you like) become lost? Since Cohn is so vague, she does leave herself some wiggle room: whilst most of the 'First' was gone - that is the chemical states in her brain which made her who she was - it is possible, dependent upon how the heck this process works, that there could conceivably have been some chemical states which were retained, although IMO, these would be so disjointed that any coherent memory would be nonviable, which again defeats Cohn's purpose! Well, I've rambled enough. Back to the tale!

Elysia's household duties are soon quite sharply defined. She exercises with her 'brother' in the mornings. Ivan, for reasons unexplained, is heading for military college. Now I say reasons unexplained, because I don’t consider 'because dad was in the military' to be a reason in the context of this novel. If Desmesne is perfect, then why is there a need for a military? If the military is employed away from the island, then why would anyone on the island care about it or volunteer for it? What exactly is the threat for which the military exists? And if it’s needed, why is it not populated with 'clones'? This is one of many things which go unexplained in Beta.

We're given to understand that the governor is not a legitimate resident of Desmesne, and is only there by reason of his duty as governor, so this is a possible explanation, but it doesn’t seem to me to be a very good one, and we’re pretty much left in the dark on this topic as we are on so many others. Having said that, there is a bomb-blast on Desmesne, which weirdly doesn't freak anyone out anywhere near as much as it ought. No one was killed and it's all soon forgotten! Elysia's acquaintance from the store - the other beta teen, named Becky, who was on sale with her, but who apparently was never bought - is charged with the incident and sent to be dismantled and analyzed. This chills Elysia, because she has seen the "infirmary" with its clone body parts lying around inside, and clones being experimented upon.

When he's not prepping for military college, Ivan is focused completely on video games or on doing drugs. Ataraxia ('raxia) is the drug of choice (technically, ataraxia is merely a state of bliss, and the drug is named after it because it supposedly delivers such bliss). It’s made from an extract from the seeds of a local plant, and Ivan is starting to experiment with producing his own. The indulgence of a large portion of Desmesne's population in 'raxia is interesting given that they're all supposedly already living in the lap of luxury. But all is not well, as the maid Xanthe, at the governor's house reveals. She and Elysia start trading confidences, and Elysia learns about the discontentment amongst the clones, and about "Insurrection" - apparently some fomenting rebellion. She's also hit upon by the governor himself, and rescued by Ivan the not-so-terrible, which makes his behavior later completely out of character - another problem with this novel. When Xanthe is discovered to be a "Defect", she's unceremoniously tossed over the cliff by security personnel at the governor's home. This is a warning to Elysia to clam up about her condition, but she doesn't heed it too well.

When she's not occupied with Ivan, Elysia is required to spend time with Liesel, the young daughter of the governor and his wife, playing games with her, and comforting her if she wakes from one of her nightmares. Elysia is also required to spend the afternoons with her Mother acting as a companion and personal assistant, but she gets free time during which she hangs with Ivan's teen friends. She's sent on drug runs for these people and plays sports with them - sometimes dangerous sports. It's during this time that she meets Tahir, a dark-skinned teen son of the richest family on Desmesne, who has just returned from convalescence occasioned by a serious surfing accident. Tahir is a whole episode to his self.

It turns out (and here's a huge spoiler) that Tahir actually died in the surfing accident, but was resurrected by Doctor Lusardi's 'cloning' technology. He is an illegal clone replacement for their son, sanctioned and created by Lusardi herself. I actually saw this coming, but not until shortly before it was overtly revealed. The signs are there, however, in retrospect. Elysia is falling for Tahir, although there’s no earthly reason given for why she should. When she's sent on loan to his family for a week, they get to know each other very well. She confesses to him and to his enlightened parents that she is a "Defect" - and therefore ought to be given the same treatment as Becky by the laws of Desmesne - but the family accepts her as she is. Her affection for Tahir is cemented one evening with a kiss, but Tahir cannot feel affection for her in return, being a 'clone'. Elysia resolves to teach him how. Good luck with that!

So once again we're back to what, exactly, these clones are. Until Tahir, I had understood that they were not clones, but reanimated corpses; however, Tahir's story seems to make it clear that this isn't the case at all: they are indeed clones, but the process is maddeningly not explained, not even vaguely. This revelation (or clarification, if you like!) brings me right back to a question of believability - as to how Elysia supposedly has retained memories. Tahir has none and is far more of a beta than is Elysia even though he has his own memories in his chip! He did not retain anything like Elysia did and cannot feel emotion as she does. For some reason during this week with him Elysia undergoes a transformation from placid clone to antagonized rebel, and none of this works for me, because we’re given no valid reason why she should suddenly start thoroughly detesting all humans. She discovers nothing, is exposed to nothing, and is given to feel nothing which she had not already discovered and felt beforehand, so why now and why so extreme? Such a magnitude of change is simply not credible given what we’ve been told.

It’s also entirely inexplicable how almost instantaneously devoted she is to Tahir, but as soon as he's forcibly removed from her picture, she gloms on to Alex without so much as a by-your-leave and with equal passion! Tahir is forgotten and she's placidly subjugated herself to Alex! Honestly? So she hated being subjugated as a clone, but being a love slave is fine? And the number of times Alex is described as "muscled" and "chiseled" is truly, honestly, and irritatingly pathetic. You have to wonder what Cohn is doing with her life for her to write this repetitively and obsessively. Reading this, I found it hard to believe that this is the same Cohn who wrote Nick and Norah's Infinite Playlist. Although now I think about it, she didn't write it - not the movie. She co-wrote the novel and Lorene Scafaria wrote the screenplay (yeah, I had to look that up!). So now I'm wondering if I even want to read that novel!

I have to confess that I had some really mixed feelings about this story. Sometimes it was entertaining and amusing, yet other times it was a bit tedious, but what really tossed it into the trasher for me was how much of an airhead Elysia turned out to be! Rather than make her own mind up about things, which is what I mistakenly assumed was the point of this tale, she proves herself to be completely reactive, not proactive, subject completely to whim, tossed around in the tide of whatever is currently going on around her! She's so capricious. She goes from being this placid, easy-going person who fits in and strives to please, and who is treated rather well (for a Clone), to the complete opposite in zero seconds flat with no apparent acceleration or deceleration curve.

It’s like she's one thing one minute and inexplicably the diametric opposite the next without any good motivation offered for this voltafaccia. Yes, she spent time with Tahir and this gave her a wish list which she didn't have before, but it doesn't explain her out-of-control behavior. It doesn’t help that Ivan rapes her, of course, but it helps even less that after that coercion, she's pressured by two people she only just met, to keep the child and she placidly goes along with their demands instead of making up her own mind.

If it were not for one thing which happened at the very end of the novel, which really did put an interesting spin on things for me, I would have been happily ditching the entire series, but now I want to read volume two. This doesn't mean. however, that I'm prepared to rate volume one as a worthy read. I am not! It's warty.