‘His stories were good because he imagined them intensely, so intensely that he came to believe them.’
It feels like decades ago that I finished this, although it was just in March, I think, at the beginning of lock-down. Its one of those books that has kept popping up on my radar and I was really keen to use some of my extra reading time to read something less contemporary.
This is going to be a real snippet of a review, as I have such a back-log and I’m super keen to share everything else that I’ve been reading over the last few months. And to be completely transparent, the only notes I wrote for this were ‘tense’. That’s it.
That’s not to say it wasn’t good; it was well written, brilliantly paced and incredibly tense. But I spent much of the book thinking about the film, which is a real shame. This is one I really wish I had read first.
I have just discovered that this is the first in a series, which surprised me as it felt like a very complete piece. Reading through the Goodreads reviews to prompt my memory, I agree with many that Highsmith certainly takes you on a vivid and compelling journey through 1950’s Italy, and tests your moral compass as you find yourself willing Ripley to pull the wool over everyone’s eyes, but I wouldn’t say that its best thing I’ve read recently.
As I so often say, it can be as much about timing as it is about the actual book, and maybe this just wasn’t quite the escapism I needed. Also, the film is so well-known and has a style all of its own that eclipsed the writing for me a little. But as a psychological thriller it hits the mark.
Has anyone read any vintage classics that they would recommend? Please don’t mention Catcher in the Rye as I also tried that and found it very tedious!
This book is the first of a trilogy by up and coming author, Matthew Ward. The story encompasses two Kingdoms; the Tressian Republic and the Hadardi Empire, and follows a cast of heroes and heroines as they try and defend their home nations.
Why do I like this book? Firstly, it is a chunk of a book. I love a good story that I can invest time into. Time to get to know my favourite character (I actually still haven’t figured out who that is), to watch them grow, and sometimes to surprise me. I like to watch the story unfold, through twists and turns, unable to put the book down when really I should be asleep. Shorter stories just don’t do that for me.
Obviously, it’s not the size of the book that matters if it is not a good story. Legacy of Ash has everything you can wish for from a fantasy novel; heroes & heroines, magic, intrigue, destiny, a pantheon of bickering Gods and Goddesses and dare I say it for fear of sounding like a preaching feminist, strong female characters. Hurr-flipping-ray. Not all of the strong female characters are sword-weilding valkyries (though some of them are), some are masters, I mean mistresses, of intrigue, some are homely and some are just dealing with the cards they’re dealt. I’d like to say that Matthew doesn’t make a sing and dance of this, but actually one of the plot arcs is specifically looking at women coming out of the shadow of their men-folk. That’s not my favourite plot-arc, but I am impressed that he did it.
Perhaps what I like most about Matthew’s work is that despite the genre, or perhaps that should be sub-genre, of his different works, there are elements that tie them all together. You can dip into his Coldharbour series, set in modern day London, or into some of his short stories and you can guarantee that there will be names or monsters you recognise that turn up unexpectedly. I am not familiar with any other author crossing worlds and ages like this, tying all the stories together.
I must admit I have a confession. I know the author. However, I genuinely enjoy reading his works and always look forward to reading the next installment.
‘Many will rant and rave against the garment fate has woven for them, but they pick it up and don it all the same, and most wear it to the end of their days. You… you would rather go naked into the storm.’
As my Robin Hobb reviews tend to be overly gushy, I thought I would review them as a trilogy, so any readers out there who aren’t fussed on fantasy can skip over this one! I really enjoyed one reviewers point that it only takes two readings for these books (that are huge by the way) to look battered. Me and the bloke mostly read these on holiday in Portugal so they really suffered from being stuffed in bags, and half buried in sand (and wine). I briefly wondered whether they could have been a quartet instead of a trilogy, but the stories work so well in the current format. So I will accept the size and the wrist-ache that came from reading them one after the other.
There was some googling required after finishing the Farseer series; it seems that some people crack straight on with the Tawny Man Series, which follows on from Farseer. But I was well-convinced that it was worth leaving Fitz behind for a while, to focus on Bingtown and its inhabitants. If anyone else is debating this, it seems a matter of preference. Some people enjoyed taking a break from the intensity of the Farseer storyline, and others were so into it they wanted to jump forward and then come back to Liveships. I’m a purist, so always want to read things in the way that the author intended.
There are wayyyy to many story-lines to begin to even touch on them (think Game of Thrones style, multiple plots that cross-over) but one of the significant plotlines is around the Liveships, a concept that I have never read about in fantasy books before. The Liveships are sentient ships, that are owned by trading families, and infused with the memories of their Captains. Its just fascinating, and develops in fantastic way over the trilogy.
I also loved that this trilogy was fantasy-at-sea. I always loved the sections of the Earthsea Quartet by Ursula Le Guin where Ged, the hero, travels around the islands of the archipelago. So this felt a little like coming home. It makes it quite low-level fantasy, particularly in the first book, but is handled deftly and with respect to an audience that is looking for some magic.
Other themes include morality, seeking refuge, family, class, race, rule, gender roles and expectations, tradition and obligation. But Hobb doesn’t smash you over the head with any of these, and doesn’t present a black and white view of any of them.
As with the Farseer series, this trilogy is heavily character driven, introducing us to some of the most wonderfully complex, frustratingly flawed characters. One reviewer points out Hobbs use of perspective, with the action being seen through one characters eyes at at time, you can find yourself constantly switching allegiance. Its a classic example of there being numerous sides to every story, and is refreshing in this format, allowing the reader to empathise with all of the characters and the decisions that they make. I surprised myself by doing a full 180 degree turn on one character, and I am very stubborn. Althea is a wonderful main character; spirited, flawed, and rallying against a society that would have her playing a role she can’t bear the thought of.
Hobb manages to retain enough mystery to keep you rapt until the last page, with many of the twists and turns coming out of the blue (for me at least). There was one reveal that I genuinely didn’t notice until another Hobbnobb pointed it out to me. Goddamn my skim-reading. To me, it is faultless writing. Unlike the Farseer trilogy where I found the pacing a bit patchy between the first and second books, this trilogy I found to be more consistently paced. I’m just grateful that I was mostly reading them on holiday because I really couldn’t put them down. I also had some very epic serpent-related dreams!
The trilogy ends in a particularly satisfying way, which is no mean feat when you consider the intricate story-lines that have been woven. I found the ending less emotionally exhausting than the end of the Farseer trilogy, but this is perhaps to be expected when you are reading the fates so many characters from their own perspectives, rather than the main character narrative of Fitz.
I really couldn’t recommend these highly enough, even if you’re not a huge fan of the genre. If you’re into escapism and strong narratives, then the Livership Traders trilogy is a great place to start that journey.
You can read my previous reviews of Hobbs work here:
‘We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the “ideas” with which we have learned to freeze the shifting phantasmagoria which is our actual experience.’
I picked up this beast with some trepidation, after it had been mentioned so many times on various podcasts that I couldn’t ignore it any longer. I’m a massive fan of modern American fiction, including Truman Capote, so it made sense that a book that explores his downfall would peak my interest, but I was also worried that it might have been over-hyped. In all honesty, I think I got into writers like Capote and Kerouac because I thought they made me look terribly cool when I was in my early 20’s, but I still do really enjoy the style of the time.
I actually devoured this book and then immediately passed it onto a friend, which is very unusual for me as I’m such a book hoarder. The subject matter itself is fascinating; I found myself googling each individual Swan and gawping at the glamour of them, but its wonderfully composed. Greenberg-Jephcott is a magician at conjuring up these waspy scenes, but also at capturing Capotes voice perfectly.
It would be too easy to paint portraits of these women as awful, self-centred and vain (says the socialist in me) OR as innocent victims to Capotes machinations, but instead, the Swans are far more fascinating to me than the writer himself. Although, his re-telling of his own history is so deftly done.
The chorus of the Swans throughout the narration is so clever, a modernised version of the choruses used in Greek drama (for those of you who had rubbish English teachers like me). I have just read The Penelopiad by Margaret Atwood, which is part of Canongates ‘Myths’ series, and she utilises the same tool.
I have no criticisms of the book at all, and really don’t want to spoil it for anyone. So please read this and tell me what you think! And tell me your favourite Swan. I”m obsessed with Lee Radziwill.
‘What they were about to see was not something you hurry towards’.
This book is another beaut of a find from a charity shop book collecting mission, which has become a regular part of weekends for me and an obsession that I’m sure will one day kill me. I also do buy new, but there is a certain satisfaction that comes from finding a gem second hand. Last weekend, I found a John Irving that I had never heard of, in the same style of book covers that I have been collecting, lurking in the second hand book shop in the arcade in Cardiff. Reader, it is a compulsion.
I have never really read anything about Israel before, in particular how the second World War effected events, so this was refreshing and informative. The experience of reading this has really confirmed to me how much I enjoy reading fictionalised history.
I’ve been a fan of magical realism since falling in love with Louis de Bernieres and Gabriel Garcia Marquez, but this time it was really interesting to read magical realism where the evocative background is Israel, rather than the South America or Europe. There is historical realism there, certainly, but it isn’t held to ransom by it. It provides some context rather than driving the narrative. And it did make me more aware of how Israel was formed and the effect that the second World War had on it and its people.
It is truly, bloody lovely. Even with my fairly rubbish imagination, I could see the homes in the kibbutz and had really vivid images in my mind of the characters.
Although the main bulk of the story is about the eponymous Markovich, and that story is beguiling, it is the journey of Zeev Feinberg that really drew me in, and has stuck with me since. How the other characters respond to Zeev and his impulses are fascinating. The various other characters are just fantastic, in particular, the Deputy Commander of the Irgun. Little moments like how many children get named after him, are just wonderful.
The last third of the book, where the narrative focused on the children, felt a little less well-developed, event though I enjoyed the more exciting parts of that narrative. The build-up was perhaps just a little too long. But the ending was beautiful wrought. I quite often HATE endings if I have loved the book, I never find them satisfying, but this ending felt right and did justice to the rest of the book.
Reviewers on Goodreads have RAVED about her next two novels, some saying that this one is weaker in comparison so I will definitely be keeping an eye out for them.
‘Sometimes a man doesn’t know how badly he’s hurt until someone else probes the wound.’
I’m basically just going to rhapsodise about this so please bear with me.
I have been recommending this trilogy to ANYone who will listen. It really is just perfectly constructed fantasy. I’m going to throw it out there, and I’m ready to bear the wrath, but I prefer it to the Game of Thrones books. Here’s why (and then I promise, I’ll actually talk about this particular book!):
– The violence isn’t gratuitous
– ALL of the characters are nuanced and are capable of growth
– The magic is hard-won and not taken lightly
A huge amount happens in this final book of the trilogy. Its not so much a culmination of action, as the previous 2 books had plenty of that, but it does take us through what feels like the final part of this particular journey for Fitz. These books are huge. Finger-achingly and crampingly huge. But its all so necessary for the feeling that you get at the end. The big sigh. Questions are answered, some further questions are raised, but overall the narrative is extremely satisfying.
As a central character, Fitz is more than worthy, offering us fist-bump opportunities as well as moments where we want to give him a good shake. The new characters that are introduced are fantastic (Starling and Kettle in particular) and the more familiar characters just grow and develop in sometimes quite unexpected ways. I won’t go too much further into the characters or plot, as if you haven’t already been sold by my review of #2, then this barely-a-review isn’t going to change your mind. And I’d rather that anyone who is interested, doesn’t have anything spoiled by me. Make sense?
Its a testament to Hobb’s exceptional writing that upon finishing the Farseer Trilogy, the lad-at-home and I have sought out and started the next trilogy (The Liveship Traders) and have the following trilogy lined up (The Tawny Man Trilogy) so if I can keep up this sham of a review-site, you’re going to get a lot of Robin Hobb content. We also very nearly started a conversation with an unsuspecting woman on a beach in Portugal who was peacefully reading Robin Hobb unaware that we were excitedly whispering about confronting a fellow Hobb-nob and making her our friend. Reader, we did not ruin that poor persons day, don’t worry.
I have been reading A LOT recently so the ol’ review back-log is significant at the moment. But the nights are drawing in, the leaves are falling and my favourite time of year commences so I WILL be getting my reviews in order.
Whats everyone reading at the moment? Does anyone read seasonally?? Im intruiged.
‘The truth sometimes reminds me of city buried in sand. As time passes, the same piles up even thicker, and occasionally it’s blown away and what’s below is revealed.’
Sometimes, I really wish that I had read Murakami’s work in the order they were written, as I think I’d find it so fascinating. But alas, I read Norweigan Wood as a teenager and came to his others as I found them in libraries, charity shops or second-hand book shops. This is the most similar to Norwegian Wood that I have read so far. It lacks the totally nutty magic of Hard-Boiled Egg and Kafka on the Shore. But it’s still a very charming read.
I was convinced that I had found this book slow, but according to my notes, I was absolutely gripped by it! In this way, I think its an easier read than his more fantastical books, but it didn’t haunt me for weeks afterwards in the way The Wind-Up Bird Chronicle did.
like a meditation on the internal workings of someone’s mind. How easily it can
be misled. A gentle story, really about one man, Tsukuru Tazaki, as he tries to
reconcile his past with his present. I liked the slowness of it, which I think is
reflected its singular focus. I enjoyed
how every moment was described in great detail, like his time at the lake. Murakami’s work is very evocative, but it was surprisingly enjoyable
to feel this in stillness rather than action.
It offers a really interesting reflection
on loneliness and isolation, comparing emptiness
or unease in our own skin to physical or emotional colourlessness. Of feeling
like you are the one that lacks personality when surrounded by bolder, more
colourful people. And how reality can be very different to your own perception.
The language is more accessible than some of his other novels, but the lack of drama might put some readers off. I found his lyrical descriptions of music, particularly noticeable in this book, really beautiful and moving.
The characters, similar to in Norwegian Wood, are a little bit bleak, a little bit morose. But realistic, reflecting a different side to humanity. And as always, Murakami can create a fully-formed and 3D character in a few words. But he always allows you a deep-dive into his main characters sub-conscious.
There’s other Murakami books I might recommend first, depending on your interests, but if anyone is reading them in order, I’d love to hear about it!
”Silence becomes a woman’. Every women I’ve ever known was brought up on that saying.’
I’ve been aware of Pat Barker’s writing for years, having read her work in college (Regeneration I think) when studying First World War literature. But to be honest, I haven’t picked up anything of her since then. Until one of our Book Club members mentioned that she had, like Madeline Miller, been re-writing the Greek classics from a female perspective.
I brought this beautiful copy at Hay Festival where she was a speaker this year. I would have loved to have heard her speak and its given me the drive to take some time next year so get over to Hay more.
In all honesty, I read this a while a go now (I’m playing catch up on reviews) but the word one that sticks out still when I think of it is ‘brutal’. There’s much more blood, violence and brutality than Circe but then it follows the those affected by the Trojan War, rather than the squabbling of the Gods. There were moments that were hard to read.
It has made me consider trigger warnings. On Goodreads, many people asked about the incident of sexual assault in Circe, but other than questioning whether Silence of the Girls is appropriate for younger readers, there was a lot less discussion about trigger warnings, despite the fact that this novel contains many more incidents. I’d be really interested in discussing whether trigger warnings are necessary/important on novels further.
The title is powerful. Their silence is their strength. These women who are pawns, slaves and playthings in a war that saw them lose their brothers, sons, husbands and fathers. Barker flips the narrative, contrasting these steely women with passionate warriors that weep and throw their toys out of the pram at the drop of a hat.
Parker effectively uses italics to show the inner voice, from both sides. She manages to show so much nuance in the characters. Especially when Briseis is being struggled over by men on different sides of this tireless war.
The use of British vernacular did grate on me occasionally. But not enough to stop me from ploughing on. This book is definitely compelling. I wouldn’t say I enjoyed it, it was too violent for me to me to find enjoyment in it, but I couldn’t put it down. The writing is brilliant and all I expected from Barker.
I would whole-heartedly recommend it if you’ve been suckered into this sort of novel like I have. I assume that anyone picking up a novel based on Greek myths would expect a level of violence and would know what they’re getting themselves into. Why is it that reading about violence bothers me more at some times that others? Anyone else find this?
“He showed me his scars, and in return he let me pretend that I had none.”
< There are so, so many beautiful passages in this book that I could have used, have a look here for some examples> Strap yourselves in, this is going to be one of those gushingly positive posts, where I offer very little literary criticism.
I have been eyeing up Circe in book shops ever since it was published in 2018, but a 5 hour wait at Edinburgh airport broke my resolve to get through my to-buy list in order. Circe is Madeline Millers second novel, following her debut novel, The Song of Achilles, which won the Orange Prize for Fiction back in 2012.
This book is so stunningly written that it will make me incoherent. Not only is the narrative fascinating, tracing Circe’s journey from childhood to adulthood (can a demi-god be a child??) intersecting with characters from well-known Greek myths, but it is also stunningly poetic.
“But gods are born of ichor and nectar, their excellences already bursting from their fingertips. So they find their fame by proving what they can mar: destroying cities, starting wars, breeding plagues and monsters. All that smoke and savor rising so delicately from our altars. It leaves only ash behind.”
Case in point. Oh how its flows.
The way that Miller introduces these ancient stories is really remarkable. And surprisingly modern-feeling. The mythical characters were bought to life in a way that they never really had been for me before (save for a GCSE Drama class exploring Orpheus and Disney’s Hercules) All were 3D and complicated, and the Gods in particular were nuanced whilst, I believe, staying true to their origin stories.
I fell in love with Circe’s internal transformation, her strength and her flaws, in the way I would with a dear friend. She is complex, burdened with struggling to find her place in the world. No wonder so many of us related to her so deeply (it has a 4.3 rating on Goodreads at time of writing). This is without a doubt, one of my top reads of 2019 so far.
Thanks to some further-reading recommendations from Offbeat Book Club pals, I have become obsessed with these feminist re-tellings of stories that we have heard our entire lives. So further Reviews to follow. And please keep up your recommendations. Already on the list or already read: Silence of the Girls by Pat Barker and A Thousand Ships by Natalie Haynes. Obviously I will also HAVE to read A Song for Achilles by Madeline Miller.
Anyone else fallen in love with this? And dare I ask, did anyone hate it?
‘Mademoiselle, I speak as a friend. Bury your dead! … Give up the past! Turn to the future! What is done is done. Bitterness will not undo it.’
I am mightily ashamed to say that this is my very first Agatha Christie novel. I couldn’t begin to give you a reason for it, I like a good murder mystery Agatha and I share a birth-place, so I have been surrounded by her presence my entire life. Big thanks to Amy G for encouraging me to have a go and for kindly lending me this copy from her precious (and impressive) collection.
Accepting that you have to look past language that wouldn’t be appropriate if it was written today, Death on the Nile is a good ol’ romp. I loved it. It is a comfortable read. The characters are mainly ghastly (thank you Agatha, for making me want to talk like a 1920’s It girl) but are very fun in their despicable-ness. I enjoy the clashes between the different classes (which are pretty polarising) and the way that Poirot breezes past them all to wrap it all up beautifully.
This book forced me to avoid skim-reading, although not entirely. I still had to go back and re-read bits, and also read an online synopsis to write this review as I read this a while back now and have read another Poirot novel since!
With 66 novels and 14 short stories under her belt and well as two characters that are house-hold names, Poirot and Mrs Marple, Christie truly is the Mother of Murder Mystery. Her impact on story-telling, and more specifically on female writers cannot be denied. I’m aware that the majority of readers of this blog will be more than familiar with these works and I’m stating the very obvious, but just on the smallest of off-chances that someone out there hasn’t read any before, then I highly recommend dipping into a Poirot. And Death on the Nile is an excellent place to start. Bon voyage!