Amalia Gkavea
''They tell you revenge isn't worth it. I say there's nothing finer.''
When a writer makes an effort to compose a story out of all the different well-loved myths about the deities of Norse Mythology, putting the Trickster at the heart of the narration, and having him confessing all the crimes he has committed in all their evil glory, then it deserves no less than a fairly positive review. The result is a fascinating work, able to transport the reader into Asgard and the whole Nine Worlds, but not without some hindrances along the way.
The incorporation of the myths is well-done, atmospheric and skillfully bound. The Nine Worlds are as realistic as can be. The wonderful rendition of Thor's trials in the Hall of the Giant King, one of the most well-known myths about the Thunderer, is one of the best moments in the book., The end is darkly beautiful.
As much as I liked the way the stories are told, there were a few things I had major problems with. The ‘‘Yours Truly'' code name became too tiring rather quickly. In addition, the pseudo-funny, aloof, semi-modernized interactions and descriptions alienated me from the narration in a significant degree. There were a few parts that lost their beauty and their impact because, to my ears, they sounded like a silly Nickelodeon teen-movie. I'm not suggesting that I would have preferred a translated Old Norse text, but between that and the ‘‘I Was A Teenage Loki'' style, there could have been a balanced mixture of both. Still, this is my personal pet-peeve, I am sure many readers will find this kind of language satisfying and entertaining. Easier to understand, most probably. Here, I will agree with a reviewer on GR who stated that, perhaps, this is the kind of book that would engage the younger generation, but not the adults of my age.
My biggest problem has to do with the characters, and this one I can't easily forgive. The gods and goddesses are strangely represented, portrayed as rather simplified versions of themselves. I don't care whether they represent archetypes, the Norse myths never treated them as such. Poor Heimdallr (as is his proper name) and Baldr are ridiculed to no end,as is Sigyn whose legendary loyalty is portrayed as the infatuation of a plain old-maid ( I hated that with a vengeance!). Iðunn is a stupid teenager, Freyja is someone who would go all the way to acquire a piece of jewellery (and yes, it did happen according to the myths but here, it is described without any elegance), and the tormented Skaði, my personal favourite goddess, doesn't have a kinder luck in the hands of the writer. I admit that all these didn't sit well with me, the complexity of the deities is vanished and we steer too much away from the myths. I tried to have in mind that we witness everything from Loki's perspective, and it made sense, but still, it bothered me deeply.
I don't know how these legendary, larger than life, mythical figures are portrayed in some recent popular action movies. I couldn't care less, I haven't watched them, I never will. My guess is their luck can't be much better than here. But the Thor I have in mind, the Thunderer of the myths, isn't a dim-witted brute, gentle Baldr isn't vain and silly, Freyja isn't a shrew with no presence at all. In the hands of any other writer, this issue would have made me abandon the book shortly after I started it.
Joanne Harris is a writer I love and trust. Her books have a certain something, her writing a distinct kind of beauty. When you choose to present such beautiful stories out of the Pantheon of Norse Mythology, the responsibility must be quite heavy. The Gospel of Loki is well-written, and adequately respectful to the original material which has brought up generations and generations. I am certain that if Loki ever had the chance to read it, he would love it. And I, for once, was satisfied with this book, even though there were some issues that prevented me from granting it four stars. Would I read it again? Probably not. However,I was told there is a sequel to it, I checked in the synopsis, and my answer was a big, fat NO. Let us respect some things, let us not turn everything into cartoon super-heroes...
The newest addition to the wonderful universe of the Peculiar Children and their surroundings, created by Ransom Riggs, is every bit as interesting and special as Miss Peregrine's Trilogy. No. It's even better. You won't find our familiar Peculiars in this collection, what we see is their ancestors' struggle to cope with their talents and with the cruel ways society used to ostracize them. Our guide back in time is our beloved Millard...
''The Splendid Cannibals'': Cannibals are creepy and nightmarish. Sometimes ‘‘ordinary'' humans are even worse.
''The Fork-Tongued Princess'': One of my favourite stories in the collection. Here, we have a princess with a special kind of beauty, unwilling to let men dictate her life. It reminded me of a well-known Russian fairy tale.
''The First Ymbryne'': A beautiful story about the First Ymbryne that created the very first timeloop. Set in Medieval England.
''The Woman Who Befriended Ghosts'': Such a funny, bittersweet story this one! Many times the substantial and insubstantial world can be equally harsh and frustrating.
''Cocobolo'': Fascinating Peculiars in ancient China, during the reign of Kublai Khan.
''The Pigeons of Saint Paul's'': I bow down to the genius that is Ransom Riggs in this story. Also, mental note: Raise head and say ‘‘hello'' to the feathery friends next time I visit Saint Paul's Cathedral.
''The Girl Who Could Tame Nightmares'': A dark, ominous story. Is every gift - peculiar or not- a blessing or a curse? A coin of two faces? This is my favourite story in the collection.
''The Locust'': It doesn't matter how kind you are. People will always be cruel enough to keep on hurting those who are tender and gentle. People will always view kindness as weakness...
''The Boy Who Could Hold Back The Sea'': An atmospheric tale of the sea, coming from Ireland.
''The Tale of Cuthbert'': A tale of old, mixing echoes of Oscar Wilde and the myth of the giants made of stone from Yorkshire.
It's not necessary to have read the Trilogy of the Peculiar Children to enjoy this collection. I'm sure the tales are interesting enough to lure you all by themselves. Still, those who are already familiar with the World of the Peculiars will appreciate them even more. This magnificent universe is a never-ending source of great stories and beautiful themes. Enjoy!
This is the novelization of ‘‘Angel of Death'', the mediocre sequel to ‘‘The Woman In Black'' , a 2012 beautiful film based on the novella by Susan Hill. An attempt to cash out on the success of the first film, it verifies the rule of the sequels. The book is as good as the movie and that means average at best. There's nothing to write home about, really. Other than its striking front cover, the characters are weak, irritating, the ‘‘scares'' badly-written. It certainly can't hold a candle to the original. Worth reading only for the atmospheric setting, amidst the time of the Blitz, during the Second World War.
[b:Daniel Deronda 304 Daniel Deronda George Eliot https://images.gr-assets.com/books/1320432000s/304.jpg 313957] by [a:George Eliot 173 George Eliot https://images.gr-assets.com/authors/1396882294p2/173.jpg] is a book that brings me back to the days in University, when I first read it. It had caused a rift between me and my best friend, actually, since Anne was an idealist back then- before age and experience caught up with us- and I was as pessimist, cynical and stubborn as I am now. She was an ardent supporter of Deronda's spiritual and melancholy side, I was feverishly backing Gwendolen, one of my favourite anti-heroines, loathing Deronda's dreams built in sand. So, we had to present an assignment for the novel and we chose the antithesis that lies at the heart of the story. Fast forward about 10 years later, Anne still holds a soft spot for Danny boy and I still loath him, keeping Gwendolen firmly on her pedestal. Which is why I picked Diana Souhami's book without a second thought.Gwendolen is a controversial character. Many consider her spoiled, superficial. I think she is confused, troubled, complex and one of the most realistic heroines in Victorian Literature. She is, in other words, a human being. Souhami has done absolute justice to the character and to Eliot's novel. She brings Gwendolen alive, she gives her the voice she deserves and the chance for her story to be heard. We witness her troubles over the state of her family, her marriage to a monster, her deep love for Deronda, and her efforts to come to terms with quite a few let-downs.Souhami's language is a very successful mixture of Victorian dialogue along with a distinctive modern voice that creates a psychological text, an insight to the female psyche, the restrictions and hypocrisy of an era that cared more about the decorum and ignored the happiness, safety and well-being of the family and especially of women. Her Gwendolen is as enganging as Elliot's. It couldn't get much better than that. Her husband is so evil she makes Joffrey seem mild in comparison, and Deronda is ...well..as plain and irritating as in the original. I've never tried to understand his motives, because I knew I would never agree with his views. I respect them as a principle, but in terms of Literature, he makes for a pretty boring character. I can't say what was Gwendolen saw in him...Souhami finds a clever way to incorporate the writer in her narration and to touch upon the theme of homosexuality in a respectful and honest way. An issue that was problematic to me was the heavy presence of indirect speech. I admit I am not a fan of this technique, I believe in the power of dialogue and I would have loved to read those parts as direct interactions. At a point, my mental exercise of turning them into direct speech became too tiring. Equally tiring was the third part of the book, where Souhami creates Gwendolen's life after she becomes a widow amd Deronda departs for Israel. Her cry of despair for him grows old.This is a quiet, beautiful book. The voice of a woman who lives in the later Victorian Age, but whose views, ordeals and problems are as modern and relevant as ever. It was very satisfying to see the amount of respect that the writer pays to the original text, unlike most of the ‘‘writers'' who dare to presume that they are capable to recreate Austen's universe, by adding zombies, ninjas, vampires and other elements of ‘‘quality''. Don't get me started on those... If you love Gwendolen, you will certainly appreciate this work. If you don't, I'd say that you should give this book a chance. Perhaps, then, you will give a chance to Gwendolen as well...P.S. By the way, that project turnt out really well. At least, our friendship wasn't put in jeopardy for nothing....
Just when you think you know a city really, really well, bam! There comes a cute book to tell you ‘‘well, you know nothing'‘...(I hope not in an Ygritte voice, but anyway...)
This marvellous guide takes us into some of London's most interesting places worthy of a visit. Some of them are already well-known, others are waiting to be discovered and become more popular, to find their way in the ‘‘to-be- visited'' tourist lists. All of them offer something special, each one is a unique experience, a gem on the crown of one of the most beautiful cities of the world.
Speaking for myself, the most familiar of the places presented-being the ones I have visited- are the Cheshire Cheese Pub, the Westminster Cathedral and my personal favourite, the National Theatre, where I had the pleasure to watch ‘‘War Horse'' a few years ago.
The spots are divided into categories. Entertainment, Food and Drink, Places of Worship, Special Museums, etc. The photos that escort each text are beautiful, vivid, doing justice to each place of interest. Many of the spots are accessible, others are less so. For example, there are a few really expensive restaurants that serve almost as ‘‘private clubs'', but this guide gives us the opportunity to know more about them. Who knows? Perhaps we may be able to visit them one day...
Mark Daly and Peter Dazeley have done a beautiful job with this book, but you know what? Now I'm all set up for a trip to London and summer is too far away...
''Reading challenges you to figure out what kind of person you want to be.''I might as well spare you all with my boring introduction and tell you this is an astonishing book. Not simply good or well-written or interesting, but astonishing! One of the best non-fiction books I've ever read, one of the best book ‘‘about books'' of recent times.As you might know from my reviews, I'm not usually moved by a book, no matter how much I may have loved it. But this one...one must have a heart of stone (yes, cliché, I know) so as not to be deeply touched by Will Schwalbe's writing. He has a way with words that cries out to the reader and the reader freezes and listens, transfixed. I've never felt that with a non-fiction book. He takes some of life's greatest difficulties, some of its most well-felt emotions, and tries to show how books can help us- nay, heal us- to overcome them, to cope with them, to avoid being defeated and traumatised. Not only he succeeds in doing that, but has managed to make me look upon well-loved books under a different light, to realise them better, to love them even more.He bares his soul and talks about his life in a conversational tone, as if he's talking to a close friend. How can one not appreciate that, especially as he touches upon some really sensitive topics. In beautiful, engaging language, he shares his views, his experiences and not once does he become bossy or self-centered. He is open, honest and sympathetic, the voice of a friend you haven't met for a long time. His ‘‘me'' and ‘‘I'' are confessions, not egocentric speeches of achievements.His heartfelt, moving remarks about the horrific discrimination against the LGBT community during the 1970's are wonderfully reflected in his text about [b:Giovanni's Room 38462 Giovanni's Room James Baldwin http://images.gr-assets.com/books/1389658936s/38462.jpg 814207] by [a:James Baldwin 10427 James Baldwin http://images.gr-assets.com/authors/1343346341p2/10427.jpg]. While I was reading his text about the outbreak of HIV, the hysteria, the hatred of the misinformed society, I felt terror gripping my heart. This is how good Schwalbe's writing is. Images from history pass through your eyes as if you have been carried away in that era (and I wasn't even born at the time), as if you're experiencing them this very moment.I really enjoyed the fact that he writes primarily about less well-known books. Yes, you'll find [b:1984 5470 1984 George Orwell http://images.gr-assets.com/books/1348990566s/5470.jpg 153313], [b:Rebecca 17899948 Rebecca Daphne du Maurier http://images.gr-assets.com/books/1386605169s/17899948.jpg 46663], Murakami's works, but his focus turns elsewhere, and I found that extremely refreshing. He makes a text about a book which advises you on how to de-clutter interesting and enjoyable. On a more personal note, I loved his references to his teachers, and as a teacher myself, I sincerely appreciated his wonderful passage about mediocrity, using none other than Odysseus, the mythical king of Ithaca, as his inspiration.I don't have much to say. To state that I recommend this book would be a frightful understatement. I think it is essential that everyone who loves books shoud read Books For Living, not to discover new books (that as well), but to experience a kind of writing that is immediate, sincere, free of pretensions and fake philosophies full of verbose nonsence. This is a breath of fresh air. Breathe it deeply. I leave you with one of the most touching sentences I've ever had the pleasure to read...''I read to live. I read for life''.
Where do right and wrong stop? In what way is each of these notions perceived by every individual? Do we have the right to play God and presume we will be able to correct the injustice that may have inflicted our lives? Tom and Isabel's course in the story is determined by their own answers to these questions.The Light Between Oceans has been waiting patiently in my TBR list for quite some time. Once it knocked on my door, I started reading it more than eagerly, my expectations were high. Now that I have finished it, I can say that it was an average book, maybe good, perhaps very good for most people, but not for me. I didn't find it earth-shattering,it didn't touch me, it did not do much for me.The story goes back and forth, initially, between the years of 1918 and 1926. The opening scenes definitely picked my interest, they were a perfect introduction to the characters and the setting. I won't bore you with plot details, but I must say that I am a completely biased person when it comes to lighthouses. I am obsessed with them, I can browse pictures of those magnificent structures for hours. Therefore, the main reason I wanted to read this book was the setting, it is not often that we get to experience a story taking place in a remote island where the lighthouse is the real sovereign of the land. Another feature I appreciated was the inclusion of all those Australian colloquialisms. It was really interesting to read and discover the meaning of the phrases, some of which were really beautiful. This brings me to my main point of complaint : the writing.Many of the descriptions are beautiful and vivid, and convey the isolation of the setting well, but the dialogue did nothing for me. I found the majority of the interactions too dramatic, a bit unrealistic, too much soap-opera territory. Also, repetition was another issue I had to fight with while I was reading. I don't need to read twice about a christening, I know how it's done. Well, even if I didn't, I do now. The writer uses almost the same words on both occassions. How many times should I read about lens? Or about a guilty conscience? Too many words in pages over pages over pages...I don't know whether this is a trope of romantic novels. To be fair, I didn't think I was holding a romantic novel when I started reading this book. I wanted a historical fiction with a controversial, dark story, not a reading that would- almost forcefully- try to make me cry. Well, it didn't work. Actually, it never works. It is very seldom that I cry in books or films, but that's another story...Was all dialogue bad? No, Tom was a bright ray of light. He is a very interesting character, his thoughts are coming through clearly, his feelings were conveyed in a beautiful manner. His trauma of being a survivor of the First World War is everywhere in the narration, and it provides a very interesting insight to his actions, his fears and hesitations. And Isabel? Well, I tried to understand the motives of her actions. I did, this was no problem. My problem with her comes from her words. There was something in her interactions that made her appear aloof and ignorant and vain, and in many times plainly stupid and evil. Unwilling to see what's in front of her eyes, her only capacity to hide the problems under the carpet. Hannah was indifferent, the other secondary characters laughably bad. I felt anger and sadness at a point, but not for the reason I expected. I was sad over the way the community treated Frank. Should innocent people pay for the faults and the sins of the heads of their countries? This is a question that we will ask forever, to the end of time, and there will never be an answer. Or rather, there is an answer, an immediate NO, but it is a voice crying into the wilderness. And that was the only thing in the book I felt strongly about.The Light Between Oceans should be interesting and appealing to many of us. It has a strong protagonist, it provides a view to a place unknown, isolated, wild. I wouldn't say that I regretted reading it, but it didn't move me, it won't stay with me, I don't consider it ‘‘unforgettable''. Far, far from it. For me, it was just average, and nothing more. I enjoy dark and controversial stories, and that is why I had problems with all the melodrama here. I don't want a tearjerker just for the sake of it. Perhaps, I was still too engrossed in the magic of [b:The Snow Child 11250053 The Snow Child Eowyn Ivey https://images.gr-assets.com/books/1327098624s/11250053.jpg 16176521]...Ah, there's a nice way to write about feelings of love and loss without constant hysterics and evokings to God to come and save you...
''To die, to sleep- To sleep, perchance to dream-ay, there's the rub. For in this sleep of death what dreams may come.''
William Shakespeare, Hamlet, Act 3, Scene 1
The immortal words of the Bard evoke a belief that goes back to the ancient days and the Greek Mythology. Nyx, the goddess of Night, has two twin sons, their names Hypnos and Thanatos. Hypnos is Morpheus, the Winged god of Sleep and Dreams, and Thanatos is the god of Death. It seems to me, my forefathers got something right, for if we come to think of it, how else can the state of sleep be described, similar to that certain greater rest? And to continue with being morbid, isn't sleepwalking a bit as if the human being -made of flesh and blood- becomes a ghost? Worse than that, an automaton with no perception and consciousness? On the other hand, let us think of hibernation, this miracle of Nature that helps sustain the existence of so many species.
Insomnia, night terrors, recurring and prophetic dreams, the effects of sleep deprivation on beings, the notions of Freud and Jung about sleep and many more topics grace the pages of this extremely interesting and innovative book. Written in simple, clear language and with the right amount of quirkiness- let us admit it, sleep can be quite quirky by itself- Sean Coughlan has created a wonderful account of this sweet and frightening thing we call ‘‘Sleep''. It is a book that will make you think, contemplate on questions that are, seemingly, without answers, on something most of us consider a given thing.
''Sleep that knits up the ravelled sleave of care, the death of each day's life, sore labour's bath, balm of hurt minds, great nature's second course, chief nourisher in life's feast.''
Macbeth, Act 2, Scene 2
Well, after reading this book, William, not so much....
''There once was an old man and woman who loved each other very much and were content with their lot in life except for one great sadness- they had no children of their own.''
I've often read that it is difficult to write a review about books that left you indifferent, distant. I agree, but for me, writing a review about a novel that left me speechless with its beauty is equally hard. Where do words stop? Where should we stop analyzing and dissecting a work of literature and let the power of the story speak for itself?
Jack and Mabel is a couple that love each other unconditionally and yet, their life together is tarnished by the absence of a child. Their decision to move to Alaska, in a remote area of the Last Frontier, is their final attempt to start anew, on virgin ground, away from their relatives' gossips and silent pity. A tough place to begin again, one may say, but I believe that we are often in need of a shock, in need of a drastic change of environment, to look upon our lives under a new light, to attempt to correct our wrongs or chase our fears away. It is not easy. Far from it. And it is not easy for our protagonists either.
''November was here, and it frightened her because she knew what it brought- cold upon the valley like a coming death, glacial wind through the cracks between the cabin logs. But most of all, darkness. Darkness so complete even the pale-lit hours would be chocked.''
While Jack retains his contact with the ‘‘outside'' world, Mabel stays home waiting, reading, baking pies, slowly letting herself become a vulnerable prey to her sadness. Then, one cold, beautiful, snowy evening, she and Jack decide to let themselves become children again, and a miracle happens. A beautiful child starts visiting them.
No more about the plot, we are treading on thin ice here. Let us turn our focus to the characters. The way Ivey has created the relationship between Jack and Mabel is astonishing. It is a love that is realistic. earthy, devoted and full of equal trust. Jack is like a rock that supports Mabel in her every step, Mabel is tenderness, determination and the sole reason he keeps on going. Actually, they are each other's reason to persevere and tame the wild, formidable nature and make it their home. Mabel adds to the ambiguity of the narration. There is an intense feeling of uncertainty, especially in the first half of the story. Is she a reliable narrator? What is this young girl that seems to appear out of nowhere? Is she a forest child spirit? A creature of winter? Or is she a human child of flesh and blood with an unquenched, primeval instict of survival? The characters that move in the periphery of the action are quite interesting in their own merit. Aside from Faina, Esther and Garrett occupy much of the plot. Esther is a solid character, a strong woman, as strong as the harsh landscape. I'm sure that most of us would like to have her as our close friend. Garrett takes on quite a distinctive role during the second half of the novel.
Ivey writes her tale in a language of impeccable beauty, creating immediate images in the mind of a reader, with a vividness that takes you away, carrying you into the heart of the story. The characters jump out of the page, you are able to smell and feel the wintry air on your face, the aroma of the cold and the fur trees. You can feel the softness of the snow, the crispiness of a newly - formed snowball, the heat from the woodstove and its cozy light around the wooden cabin. There is a nightly ice - skating sequence that is, possibly, one of the finest, most beautiful, heartwarming passages I've ever read.
''We never know what is going to happen, do we? Life is always throwing us this way and that. That's where the adventure is.''
Based on a Russian fairy-tale, this story resembles every bit of the beauty of the Russian folk tales. It is sad, hopeful and sensitive, its characters are people like us. It is an example of how exciting can the mixture of realism and magic realism become when done right. It is a creation of love, nature, darkness and light. A creation of persistance and strength, of all those elements we encounter in our daily lives, those we adopt and the dark ones that we try to scare away. The way I see it, these are the ingredients of a beautiful, classic story. The Snow Child by Eowyn Ivey is certain to become one. So forget all pretentious ‘‘philosophies'' about the ‘‘deeper meaning the author wanted to convey'', and allow yourselves to become children, playing with the snow on a starry night. Escape to a snowy plain in Alaska and let magic in. You will not be disappointed...
''This night is different. Sleep is thin in the house, because strange blood is drying on the stones of the square.''What is left when even the ability to dream (literally) is considered a crime? And even worse, when your dreams are nightmares for which you may be punished severely? You are marked by society, exiled to the House of the Tainted, the left-overs of the community.I tend to approach every book that wishes to belong to the Dystopian genre with extreme cautiousness. First of all, when [b:1984 5470 1984 George Orwell https://images.gr-assets.com/books/1348990566s/5470.jpg 153313] and [b:The Handmaid's Tale 38447 The Handmaid's Tale Margaret Atwood https://images.gr-assets.com/books/1546031886s/38447.jpg 1119185] grace my bookcase, there's bound to be a comparison. Secondly, everyone and their mother have decided to write a dystopian novel of late and I have always had a slight disliking for things that are en vogue. However, Emmi Itäranta comes from Finland and call me biased, but I would even read a phone book if it was written by an author from the Nordic lands. And thus, I ventured into The City of Woven Streets. The title is extremely intriguing and the two themes on which the story is built are dreaming and isolation. This society isn't as bleak and dark as others we have come across. It is made beautiful by the intricate webs created in the House of Weavers. In this dystopia, governed by the Council, dreaming is not allowed. Dreaming equals Freedom, the Council cannot control the thoughts of the islanders and this is toxic to them and their regime. This is a very interesting premise on Itäranta's part. We've seen many kinds of totalitarian societies, but not one where occupation is so absolute, so extreme that stretches into the most private, personal, solitary activity of a human being, that of sleeping. ''First the monster swallows you, then it digests you and eventually you come out of the other end feeling filthy.''The night terrors can be quite a shocking experience. I used to suffer from sleep paralysis during my university years when my anxiety level was sky-high. Naturally, we know that science has explained this weird phenomenon to the point of exhaustion, but still, I cannot avoid thinking how its traces approach the thin line between the Natural and the Supernatural worlds. In the novel, the writer makes good use of the myth of the night-maere (as is the original spelling), the Old Hag as it is also called. In Greece, we call it ‘‘Mora'' and the people of the past used to believe that it was a demon, visiting those who were ‘‘unclean'', targeted by the devil. Not unsimilar to the belief of the Council in the story. Here, the dominant religion is organised around a mysterious figure of many faces called Our Lady of Weaving, a combination of many goddesses of the European pantheons, and a divinity we never come to know much about.''A wind does not rise. A rain does not come. The dead stay dead, and do not respond.''''Do you look at this island and believe you see the truth?''Placing a dystopian community within the narrow space of an island makes the feeling of isolation and enclosure tense and atmospheric. The mists arising from the waters cover the city and the characters' actions. There is no contact between Eliana and her brother, except for the times when he comes to visit her.All these must sound very interesting and, believe me they are, but there are a few weaknesses as well. The plot becomes tedious after a point. All the talk and the details about the different kinds of ink and their ingredients become boring and slow down the narration. Around the 60% mark, it became too wordy, with long descriptions that offer nothing new and I began to lose interest. Worse, I started feeling confused, losing touch with the plot and this doesn't happen often. The characters are nothing to write home about, to be honest. Eliana is a nice, sympathetic heroine, clever, loyal, developing an interesting relationship with Valeria- a rather mysterious presence- but nothing we haven't seen before.I don't know if it is considered a YA novel as I am not familiar with the category, but I can say that it is an interesting book, a nice addition to the Dystopia genre and I definitely intend to read [b:Memory of Water 18505844 Memory of Water Emmi Itäranta https://images.gr-assets.com/books/1389990493s/18505844.jpg 18908129] by the same author. However, The City of Woven Streets, as well-written as it may be, is not [b:The Handmaid's Tale 38447 The Handmaid's Tale Margaret Atwood https://images.gr-assets.com/books/1546031886s/38447.jpg 1119185] for the younger generation.
''June is a good month to purge. It's a time to flush things out, to eliminate, to seek liberation. It's a month of light. The month of the midnight sun.''Cecilia Ekbäck's [b:Wolf Winter 21413846 Wolf Winter Cecilia Ekbäck https://images.gr-assets.com/books/1419320744s/21413846.jpg 40714611] is one of the greatest literary loves of my life. A novel that transported me in a distant, mystical setting, in a way that few novels have managed to do. Therefore, there was much anticipation and excitement when I opened the front cover of [b:In the Month of the Midnight Sun 25766707 In the Month of the Midnight Sun Cecilia Ekbäck https://images.gr-assets.com/books/1466034423s/25766707.jpg 45613626]. As I was reading on and on, I realised that Cecilia Ekbäck is a witch of words. She weaves and casts spells with her sentences and the images she creates.The title alone is enough to attract our interest. The midnight sun is a uniquely beautiful experience. The resurrection of nature after the endless darkness. But is light a source of joy and hope? In this story, the light of the sun is not enough to reveil the secrets of a troubled community and a family that is falling apart.The story starts in Stockholm, where we meet Magnus, a mineralogist, who is sent by his father -in -law to a mission involving the brutal murder of three people. Lovisa, Magnus'sister-in-law, is sent away with him. So, the story moves on to Lapland, the land of mystery and the midnight sun, and particularly to Blackåsen, a place we first met in [b:Wolf Winter 21413846 Wolf Winter Cecilia Ekbäck https://images.gr-assets.com/books/1419320744s/21413846.jpg 40714611]. Magnus will find more secrets in his attempt to seek the answers, secrets that go beyond everything he has ever taken for granted. Biija, an older woman and one of the residents of the area, becomes his guide, while she is struggling with her own questions and terrors of the past.There are three points of view in this novel. Magnus, Lovisa and Biija who names herself Esther. Each character represents a microcosm, a smaller part of that big, dark-mouthed monster called society, but they aren't stereotypes- how could they? It's Cecilia Ekbäck, after all. They are fully fleshed-out and fascinating. Magnus is a scientist, a man who believes in what he sees and has the clarity of mind to realise the secrets that are kept sealed, and still, the patriarchal values with which he was raised, manage to influence his own views. It is through his contact with Lovisa and Biija that he succeeds in reavulating his prejudices. This brings us to Lovisa who- for me, at least- is our eyes to the story and the very heart of it.While Magnus and Biija are restricted by their religious and social expectations, Lovisa has the freedom of the person in despair, the one who is denied by everyone and has the open mind to accept and infiltrate whatever she considers useful. Lovisa is one of us, we witness a significant part of the story through her eyes. Biija has the wisdom of her people, the ability to ‘‘see'' and ‘‘read'' the nature and its signals without the smoked mirrors of society. In the character of Biija, we witness the fight between the Old Religion, the Pagan Ways of the region, and the attempt of the priests to smother everything they cannot understand, everything they fear and name it as ‘‘evil''. Their relationship with the teachings of Jesus is non-existent. As usual. ''At the Resurrection, Jesus will return to wake the Faithful. What will he do if He finds them incomplete?''Patriarchy and Religion are the two main themes in the story. Ekbäck has them working in parallel ways, driving the plot forward. Lovisa, a victim of patriarchal oppression in its most vicious form, finds a new affinity to nature and a new understanding of the people around her through Biija who represents the Old Ways. There is a comparison between the women's position in the Pagan past and the rules and orders of the ordained priests against them. No need to say which one is the losing side...Aside from these themes, Cecilia Ekbäck stresses the importance of Nature, how the people of the past retained a special kind of wisdom due to their sacred proximity to their environment, their respect for every living thing, for the trees, the mountains, the soil...This is done in a language of impeccable beauty, with short sentences that make the narration move faster. Short,meaningful paragraphs is a characteristic feature of Nordic Literature, giving this special ‘‘something'' to the novels.If you have read [b:Wolf Winter 21413846 Wolf Winter Cecilia Ekbäck https://images.gr-assets.com/books/1419320744s/21413846.jpg 40714611], you will equally enjoy [b:In the Month of the Midnight Sun 25766707 In the Month of the Midnight Sun Cecilia Ekbäck https://images.gr-assets.com/books/1466034423s/25766707.jpg 45613626]. Ekbäck takes a mystery and turns it into a novel that is part-Noir, part-Historical Fiction, part-Magical Realism. The story takes place in 1856, in Lapland, but the questions it poses are- and will always be- crucial and relevant to any time and any place. You need to read this one and experience the beauty that is Nordic Literature at its finest...
This is a well-written and interesting account regarding literary curiosities that shaped, in one way or another, the world of today's reading.Each chapter opens with a synopsis of the historical and literary events that defined each era, followed by a short description of the most well-known works, a few more obscure ones, and the impact they have on the contemporary readers. Its focus is, largely, the English speaking world, and contains only a few passages dedicated to the literary history of the rest of Europe. There are no references to the other continents.Apart from this, there are two major omissions, in my opinion. During the Rennaisance era, one of the most influential texts was Niccolo Macchiavelli's [b:Il Principe 20411297 Il Principe Niccolò Machiavelli https://images.gr-assets.com/books/1388600986s/20411297.jpg 1335445]. There is absolutely no reference to it in Oliver Tearle's book. A second mistake has to do with the origin of the word panurgic. This word may have become popular through François Rabelais'[b:Gargantua and Pantagruel 18266 Gargantua and Pantagruel François Rabelais https://images.gr-assets.com/books/1336964698s/18266.jpg 2663468], but it wasn't invented by him. How could it? This word derives from the Greek word πανούργος, panourgos, meaning someone who has the ability to know how to act swiftly and effectively in the face of adversity, someone who even knows how to set traps for others, a good politician in today's terms. These two problems were signs of a problematic research on the author's part and they bothered me quite a bit.Still, I loved the underlying humorous tone of the writing and of course, the reference to Blackadder's ‘‘aardvark'' problem, when discussing Samuel Johnson's Dictionary. Who can forget that marvellous episode?The Secret Library is a well-rounded, easy-to-read book for those who want to introduce themselves to the ‘‘Books about Books'' genre. To those of us who have an extensive experience with essays and numerous kinds of texts about this particular subject, it can become a bit boring at times, it doesn't offer anything new.
''But words are water in Amsterdam, they flood your ears and set the rot''
When you visit the Rijksmuseum, one of the exhibits that is certain to attract your attention, is the beautiful dollhouse of Petronella Oortman, a creation of exquisite beauty. When I visited Amsterdam a few years ago, the book hadn't been published yet. Now, Jessie Burton's novel has come to add another thread in the glorious veil of mystery that surrounds this marvellous city.
We find ourselves during the 17th century in Amsterdam, a capital where Art and Commerce are flourishing. Our eyes and ears are filled with lively sounds and sights and our nose catches weird smells coming from the market. Our walk stops in front of a house, where a girl of eighteen is waiting for the door to open. She is all alone, nervous and discouraged, holding the cage of a parrot, her last connection to her childhood. Once she enters the house, she will become its mistress, for she is the new bride of Johannes Brandt. And the door opens, and a woman is about to introduce Nella-the young woman- to her new life. The welcome she receives is slightly less hostile than the manner in which Heathcliff welcomed Lockwood...
Nella has been brought up with the notion that she has one purpose in life, to become a wife and use her body as the ‘‘key'' in order to be in good terms with her husband. But Johannes is too distant, poor Nella can't obey her ‘‘calling'' even if she wanted to...
''How can this house of secrets ever been called a home?''
Secrets everywhere...In the hearts of the family, in the household, in the city...Cricks and cracks and the feeling of being watched. It is too early for us to get answers and we're thrown into the mystery from the very start. Although we have 3rd person narration, we witness the story exclusively through Nella's eyes, a device which makes every twist of the story even more tense. The plot is loaded with themes. Jessie Burton has woven a web of commerce, travel, discovery. The notion of sin, the hypocrisy that inflicts the lives of the characters, the consequences of blind passion, vices and their price, the acceptance of being different- or the lack of it.
The greatest strength of The Miniaturist- in a story that is devoid of any weakness- is the complexity of the characters. Every single character is three-dimensional. They start from a certain position and end up in a completely different standing, having gone through a complex process of self-awareness.Nella is innocent, but not naive. She is clever and willing to adopt to her new environment. She is kind, strong and determined. Her words are poignant when she says ''I am searching for the light, Marin. In the middle of all this murk.''
Marin is a lot more than she shows. A wonderful, intriguing character, clever, independent, fiercely loyal to her personal principles. Cornelia is the clever, loyal maid of the house. She is layered and complex. Johannes is a kind, intelligent man with a talent for commerce, but he falls victim to his desires. He has much to hide, while Nella sees through his secrets and develops a special kind of relationship with him.The antagonists of the Brandt household are archetypes for the hypocrisy of the era. Willing to project their prejudices and narrow-mindness to those who have climbed higher based on their own abilities.
The language has a unique kind of beauty. There are similes, metaphors, the narration is as layered as the characters. You have to read carefully to unlock the text, each dialogue reveils little and holds so much more. It is built piece by piece, composed and arranged in the same way Nella's dollhouse is arranged. You feel there is a storm about to begin, even though all you may witness is two women making delicious pastries in the kitchen.
''It is a prison. And its bars are made of murderous hypocrisy.''
The city is beautiful, lively, but the winter cold is matched by the cold in the hearts of its residents. they are hiding their intentions, like the dark waters of the river.The dollhouse is a prison and a way of escape. Each new piece is like a new step that Nella takes towards the fulfillment of her expectations, the struggle to find a way through her new life. And as the curtains of the dollhouse are drawn each time she wants to hide a new figurine from view, so does her household hold its own secrets. The atmosphere becomes claustrophobic, suffocating.
''And what about the miniaturist'', you may ask? Well, there lies the power of the book, in my opinion. It wouldn't be the same without this mystery, this magical feeling...Many have stated it is a gimmick, a trick. I think this view is simplistic, shallow. We don't have to answer all our questions once we finish a story. Many questions in our lives are left unanswered forever. Why do we seek this from a book?
You have to be patient. If you're looking for an action-driven read, you'll be disappointed. It is a slow burn, as our own lives are a slow burn towards- towards what? Who knows? If you seek a book of haunting beauty, with outstanding characters, written in beautiful language that makes you feel as if you're standing next to the Amstel river, in the poetically beautiful city of Amsterdam, or if you just want an excellent example of Historical Fiction, you need to read The Miniaturist as soon as possible.
Do I think it worths the hype? Hype is too flat a word, vile almost. It deserves the status of a modern classic, the status of being taught in universities around the world, the status which will give our children the opportunity to write their own reviews about it.
''The silence has been peculiar that year-expectant, yet at the same time like the aftermath of a storm''.
Once in a while, there are books that leave you powerless. Books that rise beyond any attempt of reviewing, that intimidate you and make you feel that whatever words you may use, they are bound to be mundane, detrimental, inadequate. Sofi Oksnanen's Purge is such a book.
I have it as my personal principle to make no judgement regarding historical events. Human History is made of endless conflicts, wars and oppression. It has always been thus, it will never change. All hope and eulogies that man remembers the sins of the past to avoid repeating them are extinguished. Therefore, this is my inadequate attempt to write a review focusing on language, feelings and characters. To make a judgement regarding whose fault is what is not my place.
There is an outstanding opening sequence where we witness the battle between Aliide and a fly. Flies are constantly present in the book. What do they stand for? Perhaps, the dirt that fills Allide and Zara's lives. Perhaps they are a symbolism for the dream that is impossible to fulfill or the horror that is impossible to kill.Perhaps, the constant buzzing in an echo of the constant buzzing in Aliide's heart, her unreceprocated feelings for Hans. Flies, onions and soil are vivid images in the book. This is a novel that doesn't rely heavily on dialogue, but on images and musings of the troubled souls of the two women that are the focus of the story.
The headings before each chapter give an almost fairy-tale quality in the narration.But it is a dark, twisted, hellish tale. The language is raw, ferocious like the heart of Aliide, but beautiful in its bleakness. There are many raw descriptions of violent sexual nature,and this is exactly why Purge has such an impact on the reader. They are not there to shock for the sake of it, nor for the sake of sexposition. Their purpose is to make us understand the humiliation of gilrs like Zara, the falsehood of great dreams that are born under the despair of oppression.
It is hard to focus on any other character than Aliide. She is the heart of the story, our eyes to everything that unfolds. I cannot place her as a good or a bad character, she is a human being, full of coflicts and fears, and hopes that are always thwarted. Her love is an obsession that causes pain. Personally, I don't believe that Hans deserved her adoration. I don't see him as someone worthy of the sacrifice, he is not likeable at all. His diary reveils his ingratitude towards Aliide's efforts. Ingel is a character devoid of soul,she is the princess that does everything right and is always loved unconditionally. Still, I wonder whether we are meant to see her that way, since our only source is Aliide, a quite unreliable narrator.
Zara is the representation of the present, while Aliide is the past. However, Oksanen shows that nothing has changed. The oppression, persecution and exploitation of the women remain the same throught the decades. It doesn't matter what the political situation is, it doesn't matter what your nationality is, you are in danger beause you are a woman, because others see you as weak, vulnerable and vile.
It is impossible to choose the most powerful scenes. I believe that we have a novel where every chapter matters, every moment is a small storm leading to the catharsis of the end, the moment when freedom becomes tangible, however briefly or tragically.
This is one of the rare cases where I watched the film adaptation before I read the book, so I knew what to expect. Despite this, I was shocked, there were moments when I quickly skipped over to the next page. Purge is a novel that everyone should read. It contains every horror that mankind has created, war , violence, exploitation, hatred, despair. It also contains love. Love as a source of hope, love as a desructive force. Only I refrain from passing a quick judgement for Aliide. Who knows what one would do in her place...
''The crows were screaming like lunatics in the yard.''
It is a special experience when you stand upon the Ha'Penny Bridge in Dublin. The waters of the Liffey River have the power to calm your soul, especially during the dusk. That beautiful moment when the sky turns purple, the lights of the streets, the shops, the houses start flickering, and the fellowship tries to decide which pub will accomodate us for the evening. I found myself there a few years ago, standing upon the bridge, breathing the history, this Dublin atmosphere that is very special to me for several reasons. However, even as an objective overlooker, you cannot help but get carried away by Dublin and by the Dubliners' personality and hospitality. This collection of folk tales is equally unique.
Brendan Nolan has created something special. No, it is not the ONLY collection of folk tales for this outstanding city, but it is written in such a way that wins you over immediately. There are stories about weird-looking women and famous bandits. About the ruscals that used to retrieve dead bodies from cemeteries and wondrous relics. There are supernatural stories of ghostly bishops, haunted fields, spirits that demand from the living to keep their promise. There are banshees (naturally!) and black animals of woe. The national figure of Molly Malone will pay us a visit. Even the late Pope John Paul II finds his way in these pages, in a hilarious anecdote. And all these stories are told in such an immediate way that you feel as if you're sitting in a cozy-lit pub, listening to a gifted Irish story-teller. In this collection, we don't have old fables exclusively, but also anecdotal stories from the 40s and the 70s.
So, an excellent read and a great continuation to the series of Folk Tales from Britain and Ireland. Here's to you, Dublin. Thank you for the memories. I can't wait to see you again soon...
The Book of Books about one of the most shocking crimes ever committed. Written in simple, clear, almost surgical language, it demands the reader's full attention and leads us right into the hell of one of the most evil minds to have walked this Earth, the mind of Charles Manson.
Although everyone knows the particulars of the massacres committed by the Family, the lack of remorse, the sheer power of all the brain-washing done to the Girls of Manson's sect never fails to shock me and amaze me. How easy it is for a human being to turn into a beast under the influence of drugs, sex and the vague promise of a self-proclaimed ‘‘Messiah''.
It is not an easy read. Far from it. It requires the right mentality, it requires us to stay calm and try to let ourselves unaffected as the Helter Skelter unfolds in front of our eyes...
The premise of the book is very interesting. Carolyn Larrington draws comparisons between actual historical events that took place during the Middle Ages and the events that have sealed the course of
A Song Of Ice And Fire series. In addition, an attempt is made to establish the basis on which certain characters were created by George R.R.Martin. This is all well and good, there's a whole lot of information and many parts of the text make you look upon certain incidents under a different light.
My main problem with this book was the writing. It felt dry, uninspired, and a bit pretentious. There were many syntactical errors in quite a few sentences, the transition between themes, places and characters was unpolished, and the constant reference in quotes taken by the show and the books resulted in a rather disjointed,almost dull, narration. Many of the writer's assumptions sounded quite unfounded. In truth, it felt as if I was listening to a history lecture given by an uninspiring teacher. The theme was engaging, but the execution seemed to me below average. Not to mention her predictions about the conclusion of the series that came across as a fangirl's fan fiction...Another thing that didn't feel quite right to me was the fact that this is a book mainly about the TV series, while the books themselves have been given a secondary part. Well, the books were there many years before the TV series were created, so a little bit of respect to the original source wouldn't hurt...
I have a few other books by Carolyn Larrington on my TBR list, and I really hope they are better. It seems to me that this book was written because the series are en vogue. I didn't hate it, but I didn't really like it. I was introduced to a few historical events I wasn't aware of, but if I compare it to Beyond the Wall or other books about A Song Of Ice And Fire series, it cannot rise above the 2 star rating.
''It feels as if I'm falling into a deep black hole again. And outside, the rain keeps falling over Stockholm. Even the sky is crying.''
I've been eagerly waiting to read this debut novel by Camilla Grebe, and I can say that, as an avid reader of Nordic thrillers, I was not disappointed.
There are many distinct characteristics of the genre in this book. The different POVs, the bleak atmosphere, the dark, psychotic plot, all those elements that have brought the Scandi-Nordic thriller at the top of the literary world. Here, we have three narrators, Peter, Emma and Hanne. Peter is the police officer that takes over the case of a particularly gruesome murder, Hanne is a woman that aids the police with the profile of the murderer and the particulars of the crime (think ‘‘Criminal Minds'') and Emma is a young woman with a troubled past and even worse present.
It is extremely difficult to write a review without spoilers, so I will not delve further into the plot. I will tell you, however, that the main emotion that this book gave me was anger. So much anger...Anger because Emma had to put up with so much shit from the very early stages of her life. Anger because there are- and will always be- bastards that take advantage of those who are carried away by their emotions, in spite of all the little voices that act as a warning.
Another thing that I really liked was the realistic plot. While in the majority of, say Lackberg's novels for example, the story is a bit too neat and the events a little too convenient, here the pieces of the puzzle fall into place in a better pace, in my opinion. I loved the fact that Grebe turns the beautiful city of Stockholm into a major character, bringing forth the dark, urban side of it. This adds dimension to the story, and enriches the atmosphere. The rainy autumn afternoons are certain to win you over.
The three characters that allow us into their lives and thoughts are interesting and well-written. Peter is interesting in the sense that he doesn't represent the typical, problematic police officer who's always fighting his demons.He seemed absolutely fine to me. Emma is the heart of the story,and Hanne is the figure of the tranquil power. Jesper is better left without comments and Emma's mother wins the trophy for best mum in Scandinavia...Except NOT! What I have to admit, though, is that I had no interest in the romance between Peter and Hanne. It was cliché and boring.
The Ice Beneath Her by Camilla Grebe is one more example of the mystery genre done right, and another addition to the never-ending list of fascinating Scandinavian thrillers. Keep them coming, Northern lands!
This was one of the rare cases where I let myself judge a book by its cover. The moment I saw that black and red picture- red as the blood in which we all come into the world, the blood which symbolises life and death- I knew I had to make it mine. A black clootie tree is standing ominously. A scarecrow, a seal peering through the water, a cross, a mirror, a violin, a cage, a black cat, a beautiful long-haired woman with black birds making circles above her head. These images are not accidental, they are elements of the four stories that comprise this marvellous, shockingly good collection by Jean Rafferty.
The stories are woven around two central themes, motherhood and womanhood. The way each woman views the process of being a mother, what it means to be a woman and trust and love yourself before you trust a man in your life, the struggle to fulfill expectations, her own and the others'. Is every woman programmed to become a mother? What about those of us who love children but wish to have none of our own? Why is it still considered unnatural in certain instances by narrow-minded people? Why should I, as a human being, as a woman, have to put up with the ‘‘kind advice'' of relatives to whom I owe no explanation as to why I have no inclination to get married or have a child? “I have 64 wonderful children, thank you, I don't want one waiting for me at home”. This is my usual way to shut their mouth and their poisoning opinions away.
All four stories take place in Scotland, the land of mystical haunting beauty and folklore. They are contemporary with a brief snipet of the era of Mary Stuart. All four heroines share the name Mary in different versions. Mary... a simple, beautiful name and yet so unlike any other. For those like me who believe, it carries a special meaning, profound and soothing. It is the name most mothers call in their hour of need and hope.
''It was dark down there, murky, with the salt sea stippling their skin and the hissing sound of heir flippers swishing through the water''
''Wishing Night'': Rafferty makes frequent use of folktales from her beautiful homeland. Here, we have the myth of the Selkie, and a heart-wrenching story that strongly reminded me of the marvellous 2014 animated film ‘‘Song of the Sea'' (‘‘Amhrán na Mara''). Our heroine's name is Mhairi. Also, I couldn't help thinking that another source of inspiration for the tale was the song ‘‘The Siren'' by Nightwish. ''A lady with a violin playing to the seals...'' The question that lies at the heart of the story is whether sacrifing a world, a way of life is the price to pay in order to create a family?Should we leave everything behind?
''What is the point of all the bleeding, the discomfort and mood swings if you don't have a child?''
''A Faerie Child'': Is a woman unwhole if she doesn't have a child? Our heroine seems to think it so. Mara is a young woman that faces many difficulties on her way to become a mother. It has turnt into an obsession, and as her patience grows thin, she starts placing her hopes in the clootie tree. For those unfamiliar with the practice, the clootie tree (or the clootie wells and springs) is a place of pilgrimage in Scotland and in Ireland. A custom that has its roots in the pagan age of the Celts. Strips of cloth and rugs are left on the branches as part of a healing ritual or an invocation for the coming of a child. I was very surprised to see the number of offerings on a clootie tree when I was in Scotland, actually. Rosaries, crosses, icons are given as gifts. It is a unique spectacle, beautiful in its tragedy.
''For years Mercedes was never sure whether Callas was the priestess or the goddess''
''The Diva'': Ah, Maria Callas, another great of the Marys...I always feel a surge of Greek pride when I come across her name. Allow me a small confession. This story was very special to me. You see, I grew up with another beautiful Mary in my house, my Italian grandmother. She was beautiful, like a Madonna, with blonde hair and big green eyes, and brought up her grandchild with arias. Caruso, Callas and Pavarotti were my first introduction to the world of music and culture.
Here, Mercedes is the Diva of the title, strolling around with the gowns of Tosca, Lucia, Turandot, Norma, breathing the tragedy of the greatest operas into the tragedies of everyday life. Rafferty is in top form in this story. She gives us some of the finest descriptions of sexuality, using poetic, elegant language, even when she talks about the rawest of emotions. As a sidenote, Rafferty provides the most beautiful, unique analysis of the famous aria Casta Diva from Bellini's Norma?(P.S. If you don't know this divine aria, what are you doing with your lives?)
''Do the cries of the tortured echo down the centuries? Can the dead speak?''
The Four Marys: Marina is in the midst of a PhD project about the ballad of the Four Marys, made famous by the fragile, shuttering voice of Joan Baez. According to tradition, the song has its roots in the 16th century, inspired by the Marys who were the maids of honour to Mary Stuart, the tragic Queen of Scots. The narration in the story is divided between the present and the turbulent times of Mary's reign. Marina and Mary, a maid of honour, are trying to cope with motherhood in a severe way, with being pregnant by a man who is not their husband. We see that for all our progress and emancipation speeches, we go on falling into the same traps and are condemned by society's double standards.
Jean Rafferty has created a unique collection that should be read by all, women and men. It is beautiful, raw, honest, distrurbing and haunting. A dark fairy tale of real life, a way of reflecting every woman's hopes, dreams, fears and struggles to gain the ground that belongs to her, to live a life dictated by her own terms. A book that is a hymn to the mothers and grandmothers that set bringing up strong daughters and granddaughters as their high purpose, that communicate the need to trust and love yourself above any man, above society's norms, above other people's ‘‘kind advice'' and patronization.
You will allow me to dedicate this review to my grandmother, my own beloved Mary, who taught me never to back down, never let anyone manipulate me and direct my life. Who taught me to keep my faith alive and my stubborness level up. So, Nena, this goes up to you, wherever you are now...
''Owls know when death is coming.''
Yes, beautiful sentence. It hooked my attention from the start. However, it is said that first impressions are usually deceiving, and in the case of ''The Plague Charmer'' I was deceived and disappointed.
It is hard to write a review about a book that made you feel nothing. All the premises were there, after all. A mystery set in England during the era of the Great Pestilence, a strong heroine, a witch, a clever dwarf (Tyrion seems to have inspired one or two writers...) That is why the disappointment was even greater.
There are four main points of view. Of course, every recent book of the genre has the ambition to follow on the steps of A Song of Ice and Fire, but let us face it, it will fail miserably. Anyway, here we have Sara, Will, Luke and Lady Christina. There is a common denominator that links the paths of these people, something which is revealed soon in the story. The central theme is prejudice. The well-known medieval prejudice of holy relics, the charlatanes that claimed to know how to drive the sickness away....
There are many elements of magical realism. Too many, in fact, that make me think we are rather on Fantasy ground here. It is quite far-fetched, it doesn't make the story better and I ended up not taking it seriously at all. It is a pity, really, because the beginning of the story leads the reader right into the action, and it's very engaging. However, the narrative stales after about the 50% mark. It seems we are stuck in the same place forever, watching the same debates, and the ending is predictable and anti-climactic.
The characters are nothing to write home about. Matilda and Eda win a rightful place in the squad of the most annoying characters, Luke and Christina have their own clichéd subplots, Will is the stereotype of the clever, mistreated dwarf, and Janiveer is a character that had some potential, but the mysticism associated with her was quickly turned into the Evil Witch. The character of Sara, though, was the reason I kept on reading. She is a well-written, strong heroine with strong principles and a fierce love for her sons.
The language and the dialogue were uneven. There were some examples of beautiful prose, but there was also much repetition, and many internal monologues that slowed the story down and not in a positive way. Too much length with no significance.
I feel this is a cold review, cold like the feeling I had when I finished the novel. It didn't stay with me,it left me distant and indifferent as to the fate of most of the characters, and this is never a good sign, right? So, if we look at it as an example of medieval fantasy, it may be interesting to some. However, seen under the light of the historical fiction genre, it falls short. I have read The Falcons of Fire and Ice by Karen Maitland and I had the same problems, though the Icelandic setting was a great advantage. Perhaps, this author isn't for me.
''The director thought he could improve on a time-tested classic but only succeeded in making a total mess of it.''
Call me superficial, but how could I not like a book after that quote?
I love reading books about Books and this one is a delightful, light read. The writer chooses some of the best examples of Literature and writes a brief summary for each one of them, using sarcasm and wit. It doesn't try to be funny, it IS funny and this where its success lies, in my opinion. She treats the books and their authors with respect, without being rude.
I needed a funny, lighter read, amidst all the literary doom and gloom. I admit I laughed out loud quite a few times, it was very entertaining to read these summaries, as a bibliophile, and think on some of the issues that Witte brings up. Also, she has written one of the best ‘‘Acknowledgments'' sector I have ever read.
''Why is it that the saddest endings always seem the truest? In the stories I told myself I was always the heroine - always reaching for my happy ending.''
This is a delightful, cute, deliciously quirky love story. A story of two young people who are complete opposites. An intelligent and talented writer and an obnoxious, fierce publisher.
It is an engaging light read for a bookish person that doesn't really enjoy romance that much. Jane is a wonderful character, her thoughts and motions mirroring her hometown. Tom is the Riviera bon vivant who, despite his joie de vivre lifestyle, means business when it comes to finding and publishing new writers. The story takes place in Glasgow, one of my favourite cities in Europe. A city that is quirky and hip, and incredibly bleak when it wills so. Another element that gives a special ‘‘something'' to the novel is the presence of none other than Jane Austen. Yes, there are numerous references to her, and Elizabeth Bennet, Anne Elliot and Marianne Dashwood have their own cameos.
I am not sure whether this is an original novel or a novelization of the 2013 British film, starring Karen Gillan as Jane, and the dashing Stanley Weber as Tom. The film is brilliant, by the way, as is the book. Watch the one, read the other. Thank me later.
''One for sorrow, two for joy, three for a girl, four for a boy, five for silver, six for gold, seven for a secret never to be told.''
When I started The Girl On The Train, I had no expectations at all. I had read some reviews, but I've learned my lesson. I try to approach hyped books with indifference, because in 8 cases out of 10, I end up hugely disappointed. It didn't happen with this one.
Let me admit that one of the first things I noticed was the fact that Hawkins makes fun of the ‘‘hands-around- Starbucks'' culture that seems to be the hype of our times. It was a big plus in my book. Superficial? Perhaps, but one needs to be honest.
Now, the characters. Allow me to enter the state of rant here. (Don't worry, it's going to be low on the Richter scale, I promise.) I don't care much whether a book is loaded with unsympathetic
characters or not. Where thrillers are concerned, I don't care whether I connect to them. (I'd be worried if I did). For various reasons. First, I don't want to marry the characters, I want to read about them. Then, I believe that they are much more realistic. The world is full of ‘‘unsympathetic'' people, we're not in Paradise. After all, I remember something that the great Ian McShane has said: ‘‘We don't call them evil characters any longer, thank you, we call them complex individuals.'' So, as long as they're not cut-out villains, I am fine with them. And it is crime fiction we're talking about.
This book is choke-full of people that are anything but sympathetic. And it's okay. However, with one exception, the rest are disturbed, highly problematic individuals. Rachel is the unreliable narrator, and as such, she works wonders, because there were many instances where I simply couldn't believe the slightest thing she said. In my opinion, she is a really memorable character. Her mind is full of jammed memories, questions and thoughts, and she contradicts herself all too often.
And this brings me to the last thing I want to focus on. The writing. I appreciated the fact that Hawkins uses a clear, sharp language each time we enter the thoughts of a POV character. There are no frivolities in those inner monologues, the prose is eerie, almost haunting in parts. BUT. There is a significant BUT. The dialogue isn't on the same level, in my opinion. I wanted it to be equally sharp and minimalistic. Instead, there are many occassions where a character talks to the point of exhaustion, in a language that is uninspired, almost wooden. When someone would hesitate, you'd read examples like these: ''I just...just wanted to help'' or ''I remember something...something that...'', etc. It may work in the context of the oral language, but it becomes really annoying in its written presentation. Especially, when it is repeated again and again.
So, a thriller is a thriller. It it makes me care for the completion of the story, for the fate of the characters, then I consider it succesful. Is The Girl on the Train a masterpiece? Certainly not. Is it interesting? Absolutely. I don't know if the hype is justified, but I know that I had fun reading it.
Ι started writing this review, a day after I started reading Tim Parks book, because there were so many thoughts in my head, so many questions I didn't even know I had.
Why do some of us feel compelled to get through a book we hardly like, while others (like yours trully) give up once they realise that it is a waste of time?Why do we feel members of a greater community once we read a novel which is accompanied by world-wide success? And even feel guilty if we don't like it at all? How does our upbringing, or our family values influence our appreciation of this genre or that? Why do we tend to value foreign literature more than our own country's? Tim Parks tries to answer all these questions and many more.
There were moments when I lifted my eyes from the page to think on the issues examined in his essays. His language is simple, informative but not didactic. I had the feeling that I was participating in a discussion with a very eloquent and very friendly teacher, a colleague. Not to mention his excellent essay about the Nobels which convinced me as to the absurdity of having such a competition, in the first place.
There was, however, something that bothered me. Repetition. There is information that is mentioned so many times that it becomes tedious. E.g. the fact the he lives in Italy or that one book fair in France. Also, I found that the number of authors he focuses on is rather limited. We are forced to think of DeLillo, Roth, Faulkner, Borges, Hardy and Lawrence too many times, as if they are the epitome of Literature alone and nobody else. Well, no, they are not. This problem becomes much more obvious towards the end of the book.
Perhaps, this repetition is the trap that lays there for all teachers. We- and I'm speaking from personal experience, pleading guilty to the crime- tend to repeat things over and over again to help our students understand. Otherwise, you don't teach, you don't inform. You impose, you give a lecture that accomplishes nothing. So, I must conclude by saying that I wish I had a professor like Tim Parks in university.
These are stories taking place in late October and late November. November...a rather mysterious month, in my opinion. It seems to me it can never decide whether it is part of autumn or part of winter. It is complex. Equally complex are the stories of the collection.
These are not just the usual stories with ghosts and hauntings. They veer into psychological horror, with twisted actions taking place amidst the English bleakness of the Harvest Moon. Enjoy...