strange and random happenstance

The Lake House by Kate Morton
Published by: Atria Books
Publication Date: October 20th, 2015
Format: Hardcover, 512 Pages
Rating: ★★★★
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Midsummer has always been celebrated at Loeanneth with a grand gala. The lake house is strewn with lanterns and gondolas float on the river with fireworks dazzling the night sky above the great bonfire. While the Edevane family might enjoy their solitude in Cornwall, they still keep this tradition alive. It is 1933 and this will be the last year the family holds this celebration. Soon the house will be shuttered and it will be a time capsule of that night; the night everything changed. Young Alice Edevane would usually be reveling in these festivities, but this year is different. She no longer has time for Mr. Llewellyn, artist in resident and family friend, or her mother who wants her to help with preparations. She only has time for two things, plotting her first mystery novel and Ben. Ben is the gardener and she fancies herself in love with him. He listens raptly when she tells him about her book and talks to her like an equal. But could her book be what destroyed everything? Because in the wee hours of the night her baby brother Theo was taken from his crib. Seventy years later the case remains unsolved. Alice is now a successful mystery writer but she has never resolved what happened to her baby brother. Enter Sadie Sparrow. She's on leave from the MET with a forced vacation in Cornwall at her grandfather's house. Yet she can't sit still. Sadie stumbles on Loeanneth and the cold case consumes her. Will a fresh set of eyes find the truth of that long ago midsummer night?

There are times in your life when you just need to get away from reality and hide in a book. Sometimes it works and you fall into the story and it consumes you. Other times it backfires on you and all the troubles you were trying to escape are reflected back at you through this medium. Not only is the book too close for comfort, but once you put it down you'll be faced with reality again. Which is the situation I found myself in with Rainbow Rowell's Fangirl, leading to me not being one of the worshipful majority. But that's another story for another time. When I finally picked up The Lake House it was precisely the book I needed at just the right time. It had just enough mystery with just the right level of predictability that I wanted to stay there as long as possible. I usually devour a book in a matter of days, but here I spent a week, taking my time and having a well deserved respite from reality. I languished at Loeanneth. The book became so much a part of me that I dreamt of Cornwall. I remember quite vividly being in the half-dream state where I wasn't quite fully awake but I had already started to leave my dream behind and hearing the garbage trucks making their morning rounds. The beeps were confusing and incongruous to me. There was still a part of me that knew they were garbage trucks, but my thoughts were consumed with the fact they didn't belong. The technology didn't exist yet and they would never spoil the idyll that was the lake house, because that is where I was. I haven't had this kind of dream disassociation since years ago when I thought some crop dusters were Messerschmidt's, again another story for another time.

Kate Morton's books aren't for everyone. In fact they only occasionally work for me. They spend loving detail on atmosphere and if you are more interested in narrative, well you can feel like you are languishing in a story with no forward momentum. The mysteries Morton concocts are very pedestrian. Her own creation, Alice Edevane, would weep for their simplicity. In fact the only thing that didn't ring true to me in The Lake House is that Alice Edevane is this grand dame of mystery writers the likes of P.D. James and Ruth Rendell yet she was never able to solve this mystery in her own life. Yes, you could say it's because she didn't want to know the truth, but that seems cliched. But the truth you need to remember in Morton's book is the mystery is always secondary. Yes, she did a better job this time of spacing out the clues so just when you thought nothing would progress, bam, new evidence showed up on the scene. That doesn't mean I didn't figure it out hundreds of pages earlier, but I liked the pacing. I also liked the characters, I felt like they were more fleshed out in this tale. Morton likes to have the old lady with these wonderful stories and secrets that must be passed on or solved by younger generations. It's her thing, it's her trope. But here Alice was so alive. She was the spark that kept things together. She's a spunky old lady who plays her cards close to her chest, and I just loved that. Instead of a dead aunt, a mother on her deathbed, or an old lady in a nursing home, the elderly lady this time around was active not passive and it made a huge difference.

While having the disappearance of the one Edevane son as the fulcrum this book is really about women. Particularly the bond between mothers and daughters and all the shapes and forms these bonds come in. I liked that we had mothers who knew the best thing for their child was to let them go, while also having mothers so selfish they pushed their daughter away for the sake of their own appearance. It really cast a light on the fact that there's not just one single and simple way that mothers and daughters interact. People are so different and to assume that their relationships are all the same is folly. What is also interesting is to see how the mother daughter relationship is formed by experience and also by society's conventions and how those conventions have changed over time. The relationship between Alice's mother and grandmother, women of the previous century, was more staid and reserved, because of the time and also a tragedy Alice's grandmother endured. Going forward Alice's mother wants to have a better relationship with her own daughters but realizes that her husband stands in the way of her being the "fun" parent and therefore sadly accepts her fate. Then we look to Sadie and how her own mother threw her out because Sadie got pregnant and opted to give the baby up for adoption. Just a few women, and yet their relationships are so complex and we are given insight into each one, we get to understand if not empathize with how they lived and loved.

But if I'm honest what really intrigued me with The Lake House was the real life parallels. Theo's disappearance has parallels to the kidnapping of the Lindbergh baby, which the book doesn't shy away from pointing out. There's something about these unsolved crimes that echo down the generations and draw us in and therefore make for great inclusions in fiction. As for my Lindbergh baby obsession, it's not as bad as my Jack the Ripper obsession, though both make me wish I could time travel just to solve unsolved crime. The thing is Lindbergh went to the same university as me and I can actually see the house where he lived from my office window. As for the kidnapping, I saw a riveting one person play on the convicted kidnapper Bruno Hauptmann that has always stuck with me. Though it wasn't just the Lindbergh allusions that I loved. Mr. Llewellyn and his children's book based on Alice's mother had so much Lewis Carroll in it I could sqwee for joy. Plus Morton played with our preconceptions based on this real life connection. She threw suspicion on Mr. Llewellyn but also called into question his relationship with the family, much as Carroll's was with the Liddells. Oh, and to hark back to those great dames of detection, there's more than a little Anne Perry in Alice Edevane. Of course Anne Perry's childhood crime of murdering her best friend's mother prior to becoming a bestselling crime writer was immortalized in the wonderful film Heavenly Creatures. This crime occurred in New Zealand, a stone throws from Morton's Australia. The idea that Alice might somehow be guilty and therefore an unreliable narrator, I can't tell you how much I loved this. Also the Mitford parallels, with Deborah, Alice, and Clemmie Edevane mirroring Diana, Nancy, and Jessica Mitford respectively was just the cherry on top of the sundae.

The only real problem I had with the entire book was Sadie Sparrow. While you might think it's a hatred of her pigheadedness and her just not really listening to people, it has nothing to do with that, I could overlook that as character flaws. My problem is her name: Sadie Sparrow. I'm sure when everyone first saw the Doctor Who episode "Blink" written by Steven Moffat they all thought that Sally Sparrow was the coolest name ever and were wishing that they had thought of it first. I know I did and I'm a reviewer not a writer! In fact my handle on my knitting site actually is Sally Sparrow, I am unashamed of my geekiness and I fully admit it. It's such a unique and distinctive name that once you hear it you can't ever forget it. Now here we have Sadie Sparrow. She's like a weak imitation, a bad knock off, a wannabe Sally but alwaysbe Sadie. Why would you EVER choose this as your characters name? Why would an editor ever let you do it? Yes the name might seem perfectly acceptable to you, the author, but it's not. This name wasn't your invention. To make matters worse Sally and her friend Kathy joke about being investigators, Sparrow and Nightingale! A bit ITV, but I'd still watch it. And here's "Sadie" being all investigative and then a PI! I'm sorry. This is just unacceptable. You could argue it's coincidence, that Kate Morton has never even seen Doctor Who. Guess what? I don't care. Yes her book has lots of real life connections and allusions, but she makes them her own. If it was a original thought or Sally just became Sadie, it's too close and MUST be changed. This isn't Moffat, it's Morton. And the last thing any writer wants to be is Moffat.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Anne Perry, Blink, Charles Lindbergh, Cornwall, Doctor Who, Downton Denial Denouement, Fangirl, Heavenly Creatures, Jack the Ripper, Kate Morton, Lewis Carroll, Mitfords, P.D. James, Steven Moffat, The Lake House

Summerset Abbey by T.J. Brown
ARC Provided by the Publisher
Published by: Gallery Books
Publication Date: August 6th, 2013
Format: Kindle, 322 Pages
Rating: ★★★
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Rowena and Victoria Buxton are reeling from the death of their beloved father. Yet there are more shocks to come. The two girls were raised in a rather unorthodox manner growing up with their nanny's daughter, Prudence, as their closest friend and confidant. But now their lives are in the hands of their Uncle and things are going to be different; proper. Banished to the countryside so their uncle can secretly sell their London house, Prudence was only allowed to accompany the sisters by posing as their lady's maid. Something Rowena failed to mention to Victoria and Prudence... but then Rowena doesn't do conflict. She'd rather hide her head in the sand than face what her life has become, an endless parade of changing clothes to please her aunt's sense of propriety. Rowena's behavior drives a wedge between the girls and Prudence, more so than Victoria, feels that her life has been irreparably changed. Banished to living a half life among the servants she doesn't fit in either upstairs or down. What's more there are forces at work trying to oust Prudence from the family seat. Because Prudence is the living breathing proof of a long buried secret that could destroy the Buxton family. Rowena and Victoria's lives could be ruined by the person they love most in the world and who they've inadvertently wronged.

Summerset Abbey is an odd little book in that it was obviously written to cash in on the Downton Abbey craze. Some books are more subtle about this cash grab, Summerset Abbey isn't. That actually makes it kind of refreshing. It doesn't have delusions of grandeur, it knows what a knock-off it is and plays it up. Every trope you could ever possibly imagine in an "upstairs/downstairs" world is used. It's not just one trope played up and overused, it's all of them. Illegitimate offspring, tragic child death, Cinderella story, long lost relatives, improper liaisons, suffrage, evil lady's maids, sweet kitchen maids, deep dark family secrets, money problems, looming war, newfangled gadgets from cars to airplanes, omniscient butlers, Bohemian brothers, beautiful ladies against societal norms, the list goes on and on. In a little over three hundred pages Summerset Abbey uses almost every plot point from seven seasons of Upstairs, Downstairs and never lets up. Yet this overabundance pays off. It's like a giddy headlong rush into this Edwardian world where we get every kind of scandal and twist we could possibly imagine or want. It's like Downton Abbey concentrate. Here, have it all AND the kitchen sink! And you as the reader say thank you very much.

The one trope that niggled at me a little from the plethora of tropes on hand was the backlash of the Bohemian lifestyle. When reality comes a-crashing down the sisters just can't cope. I am really of two minds as to this plot contrivance. What I really liked is that Brown actually bothered to establish the credibility of this Bohemian lifestyle they were living. It wasn't just an aside, like it is in most books, it was discussed and built on. The jobs and independence of the girls. The friends of the family that embodied this movement, such as Picasso. The fact that women struggling for suffrage were referred to properly as suffragists NOT suffragettes. Even how their beliefs were reflected in their beloved home's architecture and how the rooms were incorporated into large communal spaces. I loved all this. What I didn't love is the girls being unwilling or unable to comprehend that their father wasn't as farsighted as he should have been. If they truly were the Bohemians and strong independent women their father raised them to be they should have been able to face this new reality and take it head on and make of their lives what they wanted. They should have been strong, independent, "new" women that get things done, not roll over! Yes, technically the book is about them figuring out how to do this in little ways, but overall it just annoyed me that they couldn't at least make a better attempt at living the life they wanted.

This is exacerbated to the nth degree with Prudence. I mean how could she be so ignorant? She knew how lucky she was being raised alongside Rowena and Victoria, yet when reality comes a calling she is unable to face it. She is the daughter of a servant, did she really expect to be treated as one of the family? Yes, her Cinderella story seems unfair, but the way she handles it. Ugh. Cinderella buckled down and accepted her new fate until she found a way out. Prudence whines and moans and actually is a rather belligerent lady's maid. Just, ugh. How!?! How could she not know or expect this? Plus, once she starts learning more about her past and her mother, she should have no doubt that this is the life that should have been hers. She was lucky. She spent her childhood in this little magical bubble that protected and coddled her, but in no way prepared her for reality. In fact, that I think is what annoys me most with the "Bohemian" aspect to this book. The girls were all raised in a word that showed them truth and reality, not that rarefied magical gentrified world that would soon come to an end. Yet somehow they were in an even more magical world that made them less able to handle harsh reality. I guess I just can't come to terms with my heroines being so stupid and not knowing that this is how life works. That this would be their life. It's like they are purposefully deluding themselves.

But there is no one better for delusions than Rowena. Rowena is obviously the Lady Mary of the sisters. She has no focus in life, no goals, and can not confront reality so just sits around doing nothing. The pain she inflicts on Victoria and Prudence by her hording secrets is just viciously cruel. All the more so because she knows how it will hurt them but just ignores it. And her acquiesce to her uncle's plans. Ugh. She could have tried. She could have had Victoria at her side trying to fight this, but no. She just lets it happen. See, the thing with having "bad guys" is that you need to love to hate them. Like Thomas and Lady Mary, you can see other sides to them through the bad behavior, they're not just one dimensional. Rowena is one dimensional. She is all about whatever is best for her. I hated her more than any other character in any book I've read recently. She doesn't just deserve to be smacked, she deserves to be smacked with a lead pipe. By someone who can do serious damage. Rowena in fact keeps grinding the book down every single time she appears on it's pages. What's even worse is that with the pilot she meets and starts up a flirtation with, Jon, she is the only one of the three women who gets moments of happiness. She is a spineless self-centered bitch, she doesn't deserve one second of happiness. I wish she'd get in that plane and it would crash and burn. That is the only fitting end for her.

The tropes and the characters all being so a-typical I found the a-typical mystery a bit ludicrous. Are we really supposed to be surprised by the dark and dangerous secret that Prudence's past hides? Because it was handled so heavy-handedly that at times I was laughing at the book. I kept expecting someone to show up and drone on about there being something nasty in the woodshed. The melodrama was worthy of old silent films with the villain twirling his moustache while the damsel was tied to the train tracks. Here's a radical idea. If there's a big evil secret, don't have everyone know about it and then drop heavy hints left right and center. A mystery should be mysterious. There should be some work on the part of the reader to solve it. The solution to the enigma shouldn't be a foregone conclusion. But this would be expecting more than what this book is. This book is nothing more then a fun and cheesy Downton Abbey pastiche mashing up everything into a read that doesn't strain your braincells but gives you just the right amount of period immersion. To expect more wouldn't be fair to the book. As for the possibility of me continuing on with this series? I don't quite see myself taking that plunge. I just didn't love the characters enough and the thought that Rowena might actually get a HEA makes me physically ill. But I enjoyed it for what it was, at times despite itself.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: ARCs, Bohemian, Cinderella, Downton Abbey, Downton Denial Denouement, Downtonesque, Lady Mary, Picasso, Prudence, Rowen, Suffrage, Summerset Abbey, T.J. Brown, Thomas Barrow, Trope, Upstairs Downstairs, Victoria

Manor of Secrets by Katherine Longshore
ARC Provided by the Publisher
Published by: Point
Publication Date: January 28th, 2014
Format: Hardcover, 320 Pages
Rating: ★★
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The garden party is stifling and Lady Charlotte would give anything to break free of the watchful eye of her mother, Lady Diane. She spies a servant sneaking off into the woods and daringly she follows. Janie is nothing more than a kitchen maid but as Charlotte watches her servant reveling in the shallows of the lake she wishes for such freedom. Charlotte has so many dreams and ambitions that are unacceptable for lady. She wishes for nothing more then to write and marry for love. But fantasizing about the footman is one thing, actually acting on those impulses are another, though kissing a servant might not be as alien to Charlotte's mother as Charlotte thinks. With the arrival of Charlotte's Aunt Beatrice hours before the shooting party The Manor has been turned on it's head. Yet Charlotte can not understand why the return of a relative she never knew of is causing such chaos. She needs information and everyone knows that servants know everything. Turning to Janie Charlotte breaches the rigid divide between upstairs and down. The two forge a tenuous friendship confined by societal expectations, but even trying to work within these strictures they are both jeopardizing more than they know. Can Charlotte find a way to live within her world and find love where she least expects it? Can Janie hold onto her position and her home with Charlotte undermining her? And what does a secret pregnancy from the past hold in store for these two girls divided by more then a baize door?

Manor of Secrets is an odd little book because it comes across that it doesn't quite know what it wants to be when it grows up. Much like the upstairs heroine Charlotte this book is in the midst of an identity crisis. The main issue I take is I don't know who the audience for this book is. It claims to be YA yet it feels Middle Grade. The simplistic writing, the laughable "secret," the overly large font used to bump up the page count, if there was a category somewhere between YA and Middle Grade, it might just fit there, but towards the Middle Grade end of the spectrum. While as a reader categorization doesn't matter to me so much as a good story, I will read anything, but knowing the intended audience sometimes helps you with your expectations. Especially if the story isn't catching you perhaps it's because of the author "writing down" to her audience, which in my mind is never acceptable, but alas, happens quite frequently. While I have bemoaned another "secrets" series I can't help feeling that for how much I disliked that series the characters actually had a little more depth, and that is a sentence I never thought I'd write.

The simplistic writing causes merry havoc with the story, dragging it down to a flat and superficial level. The lack of depth and detail is astounding considering that this book runs to over three hundred pages, see previous mention of font size. The great manor house that everyone lives in is literally called "The Manor." Um, could you think of a more generic and bland name oh author? I mean seriously, you couldn't come up with, oh, I don't know, anything more original than using the word that actually describes what kind of house it is? Heck, your last name "Longshore" could have been a better name than "The Manor." This lack of originality actually shines light onto the stupidity of Charlotte and her inability to see beneath the surface of someone. This "teaching moment" that smacks of moralizing Middle Grade reads isn't hard to understand when you look at the bigger picture. Charlotte lives in a simplistic two-dimensional world, it makes sense that she wouldn't be able to grasp three-dimensionality, it's beyond her ken. She doesn't get that people have depth and that you shouldn't judge a book by it's cover because in her world depth doesn't exist!

Continuing on to the upstairs/downstairs dynamic, the simplicity remains and makes this dynamic off. You have the "good" servants and the "bad" servants and no one can reside in a grey area. I SAY NO ONE! And the upstairs and downstairs people must be completely ignorant of each other because never the twain shall meet! Yet within their realms everything is just peachy and keen because everyone knows their place. Yes, they natter on about this radical concept of "change" but does anyone actually change? Oh no, that would be too radical and too multidimensional! When you look at what is really going on, the love affairs, the relationship dynamics, you should have a drama on the scale of Gosford Park with someone meeting the pointy end of a knife! Instead you get snide comments, from the bad, reassurances, from the good, and everything working out. Seriously? I really kept dwelling on Gosford Park and how the upstairs/downstairs dynamic when concerning a pregnancy shows the class iniquities and the abuse of power but here that isn't even addressed. With the world apparently changing, or so the rumors go, shouldn't this stop the culture of silence that is pervasive in this class system?

But then again, the truth of Charlotte's parentage isn't even viewed in a negative light except by those "bad" people. This is what, 1910 or so, the Titanic is under construction, and yet the heroine is all, "Hey everything is awesome, I have a sister." Once again pointing out how dim her world view is. She would be ostracized from society, she would be ruined, and instead she gets everything she wants! Perhaps living in a two-dimensional world has it's benefits, like being to totally ignore the reality of a situation? Yet there's something distinctly off in my mind about what the friendship between Lanie and Charlotte really says. Yes they are friends, but it only seems to be condoned because it turns out they are half-sisters. Would this class and rank defying friendship been accepted if they were just friends? If they had no blood ties at all? While the book would like you to think so, I don't think that's the actual truth. I think this is the one aspect where the book is right and is hiding a darker secret in plain sight. Their relationship is unconventional, yet somehow allowable because of this familial bond. While the "bad" people might still frown upon it, it is not as shocking as it could be and therefore fine.

In the end what everything boils down to is Beatrice. She is the catalyst for change. She represents the force of the future. Yet it is ironic that a person who went to such lengths to hide their sin would then be the one trying to destroy the system she bowed down to... but perhaps that's why she's doing it? One would hope, but again, two-dimensional shallows are being waded in here so that might be asking too much. Plus it's not like anyone likes her until the last ten pages. Throughout the book there's the theme of the world changing, but it's all talk and no action until the very end when Beatrice is like, I'm a suffragette, let's go be the change we want to see in the world. All while everyone is like, yeah, we're not sure about you and this whole actually standing for something thing. And then there's her household run completely by women. This makes you think two things, one she's removed temptation and therefore can't get pregnant again or two that she's a lesbian now. The whole women's suffrage doesn't even get on the radar until they're half-way out the door and on the way to Italy. Plus, just a question, the whole idea of woman's suffrage is equality. They want to be equal to men so shouldn't her household be staffed by the best no matter their gender? Equality NOT segregation. But that would require the book to actually look into causes and motivations and there is nothing here but surface.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Downton Denial, Downton Denial Denouement, Downtonesque, Gosford Park, Katherine Longshore, Manor of Secrets, Middle Grade, Secrets of the Manor, Shallow, Suffrage, Suffragettes, Titanic, Upstairs Downstairs, YA

The House at Tyneford by Natasha Solomons
Published by: Plume
Publication Date: December 27th, 2011
Format: Paperback, 368 Pages
Rating: ★★★
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Vienna is Elise's home. There all the trappings of the glittering life she leads seem immutable. She will always go to the opera house to hear her mother Anna sing. She will always be jealous of her sister Margot's musical talents that form a special bond between Margot and Anna. She will always take pride in her father Julian, the "strange" writer. Because her life is for always. Until it isn't. Vienna is no longer safe for Jews. Margot's husband has gotten a job in California and they are to leave shortly; Anna and Julian are waiting for visas to go to New York. But Elise poses a problem. The plan is for Anna and Julian to send for her once they get to New York, but they are too scared to leave her behind. Therefore they decide that their best option is for Elise to go into service as a maid in England. There she will be safe until she can join her family in America. She gets a job in Dorset at Tyneford for a Mr. Rivers. The house seems cut off from the rest of the world and so different from the life she left behind.

Elise struggles not just with her tasks but with her English, feeling isolated from all that she held dear. The life she is living isn't what she expected and the other servants don't make her feel welcome. She just doesn't fit. She wasn't raised to be a servant, yet she doesn't quite belong upstairs either. She is living in limbo just hoping to hear from her family. Yet with the arrival of Mr. Rivers's son Kit life becomes easier and more complicated at the same time. Kit helps Elise with her English and his presence makes her work easier to bear. Though it is apparent to everyone that they are falling in love and this upstairs, downstairs romance is problematic to say the least. As the world descends into chaos with the outbreak of World War II the world that they knew will be destroyed. Elise struggles to hold onto this new life she has grown to love all while holding out hope that her family will join her and life can be as it was. Little does Elise know nothing will ever be the same again, even this new life she has come to love.

When writing a book you can't set out to write a classic. Your book attains that status over time, it's not something that you, as the author, have any control over. You just don't and if you can't accept this perhaps you shouldn't be a writer. Moreover, when writing a book it's best to not emulate a classic but to find your own voice. Your book will never be that classic you so want to replicate and I have never believed the old saying that imitation is the sincerest form of flattery. Therefore I had problems connecting with The House at Tyneford. Solomons so wanted her book to be Du Maurier's classic Rebecca that at times you feel as if she is trying to drive the point home with a blunt instrument. The thing about aping Du Maurier is that more than any other author there is no one like her so you should never try. She has an effortless way of describing her surroundings so that the lush and verdant foliage leap off the page. Solomons flowers lay limply in the hot sun. But the number one thing you shouldn't do is call out what you were attempting to do by having your characters go and see the Hitchcock adaptation of Rebecca! Solomons would occasionally find her own footing to fall over the big illuminated arrows showing how she could never be Du Maurier.

The House at Tyneford isn't a book for subtlety. It's not just the Du Maurier debacle, it's that Solomons paints her story with big strokes trying to capture the epicness of her narrative. That her story is a microcosm of what is being played out on the world stage is obvious, she just didn't need to make it so obvious. It was the day to day struggles and the relationships forged between the characters that I was most drawn to, and yet as the narrative progressed this is what she left by the wayside in favor of grand gestures. When all the players leave Tyneford for the last time it's as if Solomons decided to severe all ties with this world and these people we have come to love. We never learn the fate of any of Elise's fellow servants. We don't even get any insight into Elise's life after Tyneford. Because to Solomons this doesn't matter. It would be too finicky and delicate, not bold and brash enough. This is, after all, a book that loves wallow in the Freudian cigar imagery. Yes, sometimes a cigar is just a cigar... but not when Solomons is writing.

But then again, having your entire story be an updating of Cinderella... well, that doesn't take much imagination now does it? Which lead me to start thinking about the Cinderella story. Here it fits more than most, because it isn't a simple rags to riches fable, it's love and comfort to drudgery to rescue. This is exactly the trajectory that Elise's life takes. And while I do love a happily ever after and a restoring of the status quo, when does this trope get played out? When do we say enough with the fairy tales give me something more real. Yes, you could say that this is more real with Elise and her plight, but still, the ending makes it fairy tale airy fairy. The heart of what I'm getting at is is Cinderella played out? I'm sure Kenneth Branagh would probably totally disagree with me because his adaptation last year is the highest grossing film he's ever done. But I really would like something new, some new twist. I would have liked to have heard Solomons voice coming through in this book instead of her trying to emulate other voices.

Despite some of the more cookie cutter aspects of The House at Tyneford, there are interesting concepts that are raised. Most of them aren't necessarily expanded on, but then again, I dwell in books and therefore a passing line can provide hours of thought. I found it interesting when the butler, Mr. Wrexham, said to Elise "you are to be the end of us all." While it's a bit doom and gloom coming from this very upright man I wonder was it so much Elise that he meant or was it what she symbolized. Was Elise a symptom of the end of the country house era or a cause? In other words, with the war creating all these refugees that then sought service in English country houses was it the war that ended this way of life, or was it the people displaced by war who upset the system from the inside? Personally, I think it was the war forever irreparably changing the landscape, but then again, in this instance, being the events at Tyneford, I would say that it was Elise. Yes their life would have change, but not in the same way. Therefore in this place and this time it's Elise.

Now that I've brought up the war in a little more detail I'd like to tackle something that irked me. Throughout the book Solomons does a great job connecting Elise and music, in fact you can't help say her name without thinking of the Beethoven composition. Music to Elise is her family and what they represent. When she leaves Vienna with the viola with Julian's manuscript hidden inside she is given a tangible and musical connection to those she loves. When one thinks of World War II and string instruments one cannot help but think of John Williams's haunting theme for Schindler's List as performed by Itzhak Perlman. At the very end of The House at Tyneford there is a composition written in honor of Elise's family, The Novel in the Viola: Concerto in D Minor for Viola and Orchestra. My problem is here we aren't given the chance to use our imagination. We aren't allowed to picture music and lasting resonance like that written by John Williams. There is an actual score and on Solomons website you can listen to it being preformed. It's not just that it's lackluster, it's that it makes something in the book so finite. Books need to have room for the readers to interpret. To bring their own experiences. To write the music and make it so uninspired takes away from the rest of the story.

The sad fact is I liked this book in spite of itself. Solomons undermines her own writing time and time again and if it wasn't for little things here and there I would write it off as a Du Maurier pastiche. It was the little things that made me like it. My most favorite moment was an aside by Kit when talking about his mother who died when he was four. He said that he no longer remembered her. He knew that he should because he was old enough. He even remembered events that she was a part of only she was no longer there. It was as if she had been cut out of the memories. This touched a nerve with me. There are people I have lost and in particular one wonderful kitty. I worry that I am forgetting, I worry that I am rewriting my own story. He has been gone so long that I can't remember the day to day. The way he felt on my lap. It's like there's this emptiness that he used to fill and he's been so entirely removed that I can't remember him. I can see why Elise writes down her story and places it in the viola. She didn't want to have this happen because she knew that at some point it must. It happened to Kit and she doesn't want it happening to her memories of him. A bittersweet thought. But then this book is filled with the bitter meeting the sweet.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: British Country House, Cigar, Cinderella, Daphne Du Maurier, Downton Denial Denouement, Freud, Hitchcock, John Williams, Kenneth Branagh, Memory, Natasha Solomons, Rebecca, The House at Tyneford, Vienna, Viola, WWII

The Lake House by Kate Morton
Published by: Atria Books
Publication Date: October 20th, 2015
Format: Hardcover, 512 Pages
Rating: ★★★★
To Buy

Midsummer has always been celebrated at Loeanneth with a grand gala. The lake house is strewn with lanterns and gondolas float on the river with fireworks dazzling the night sky above the great bonfire. While the Edevane family might enjoy their solitude in Cornwall, they still keep this tradition alive. It is 1933 and this will be the last year the family holds this celebration. Soon the house will be shuttered and it will be a time capsule of that night; the night everything changed. Young Alice Edevane would usually be reveling in these festivities, but this year is different. She no longer has time for Mr. Llewellyn, artist in resident and family friend, or her mother who wants her to help with preparations. She only has time for two things, plotting her first mystery novel and Ben. Ben is the gardener and she fancies herself in love with him. He listens raptly when she tells him about her book and talks to her like an equal. But could her book be what destroyed everything? Because in the wee hours of the night her baby brother Theo was taken from his crib. Seventy years later the case remains unsolved. Alice is now a successful mystery writer but she has never resolved what happened to her baby brother. Enter Sadie Sparrow. She's on leave from the MET with a forced vacation in Cornwall at her grandfather's house. Yet she can't sit still. Sadie stumbles on Loeanneth and the cold case consumes her. Will a fresh set of eyes find the truth of that long ago midsummer night?

There are times in your life when you just need to get away from reality and hide in a book. Sometimes it works and you fall into the story and it consumes you. Other times it backfires on you and all the troubles you were trying to escape are reflected back at you through this medium. Not only is the book too close for comfort, but once you put it down you'll be faced with reality again. Which is the situation I found myself in with Rainbow Rowell's Fangirl, leading to me not being one of the worshipful majority. But that's another story for another time. When I finally picked up The Lake House it was precisely the book I needed at just the right time. It had just enough mystery with just the right level of predictability that I wanted to stay there as long as possible. I usually devour a book in a matter of days, but here I spent a week, taking my time and having a well deserved respite from reality. I languished at Loeanneth. The book became so much a part of me that I dreamt of Cornwall. I remember quite vividly being in the half-dream state where I wasn't quite fully awake but I had already started to leave my dream behind and hearing the garbage trucks making their morning rounds. The beeps were confusing and incongruous to me. There was still a part of me that knew they were garbage trucks, but my thoughts were consumed with the fact they didn't belong. The technology didn't exist yet and they would never spoil the idyll that was the lake house, because that is where I was. I haven't had this kind of dream disassociation since years ago when I thought some crop dusters were Messerschmidt's, again another story for another time.

Kate Morton's books aren't for everyone. In fact they only occasionally work for me. They spend loving detail on atmosphere and if you are more interested in narrative, well you can feel like you are languishing in a story with no forward momentum. The mysteries Morton concocts are very pedestrian. Her own creation, Alice Edevane, would weep for their simplicity. In fact the only thing that didn't ring true to me in The Lake House is that Alice Edevane is this grand dame of mystery writers the likes of P.D. James and Ruth Rendell yet she was never able to solve this mystery in her own life. Yes, you could say it's because she didn't want to know the truth, but that seems cliched. But the truth you need to remember in Morton's book is the mystery is always secondary. Yes, she did a better job this time of spacing out the clues so just when you thought nothing would progress, bam, new evidence showed up on the scene. That doesn't mean I didn't figure it out hundreds of pages earlier, but I liked the pacing. I also liked the characters, I felt like they were more fleshed out in this tale. Morton likes to have the old lady with these wonderful stories and secrets that must be passed on or solved by younger generations. It's her thing, it's her trope. But here Alice was so alive. She was the spark that kept things together. She's a spunky old lady who plays her cards close to her chest, and I just loved that. Instead of a dead aunt, a mother on her deathbed, or an old lady in a nursing home, the elderly lady this time around was active not passive and it made a huge difference.

While having the disappearance of the one Edevane son as the fulcrum this book is really about women. Particularly the bond between mothers and daughters and all the shapes and forms these bonds come in. I liked that we had mothers who knew the best thing for their child was to let them go, while also having mothers so selfish they pushed their daughter away for the sake of their own appearance. It really cast a light on the fact that there's not just one single and simple way that mothers and daughters interact. People are so different and to assume that their relationships are all the same is folly. What is also interesting is to see how the mother daughter relationship is formed by experience and also by society's conventions and how those conventions have changed over time. The relationship between Alice's mother and grandmother, women of the previous century, was more staid and reserved, because of the time and also a tragedy Alice's grandmother endured. Going forward Alice's mother wants to have a better relationship with her own daughters but realizes that her husband stands in the way of her being the "fun" parent and therefore sadly accepts her fate. Then we look to Sadie and how her own mother threw her out because Sadie got pregnant and opted to give the baby up for adoption. Just a few women, and yet their relationships are so complex and we are given insight into each one, we get to understand if not empathize with how they lived and loved.

But if I'm honest what really intrigued me with The Lake House was the real life parallels. Theo's disappearance has parallels to the kidnapping of the Lindbergh baby, which the book doesn't shy away from pointing out. There's something about these unsolved crimes that echo down the generations and draw us in and therefore make for great inclusions in fiction. As for my Lindbergh baby obsession, it's not as bad as my Jack the Ripper obsession, though both make me wish I could time travel just to solve unsolved crime. The thing is Lindbergh went to the same university as me and I can actually see the house where he lived from my office window. As for the kidnapping, I saw a riveting one person play on the convicted kidnapper Bruno Hauptmann that has always stuck with me. Though it wasn't just the Lindbergh allusions that I loved. Mr. Llewellyn and his children's book based on Alice's mother had so much Lewis Carroll in it I could sqwee for joy. Plus Morton played with our preconceptions based on this real life connection. She threw suspicion on Mr. Llewellyn but also called into question his relationship with the family, much as Carroll's was with the Liddells. Oh, and to hark back to those great dames of detection, there's more than a little Anne Perry in Alice Edevane. Of course Anne Perry's childhood crime of murdering her best friend's mother prior to becoming a bestselling crime writer was immortalized in the wonderful film Heavenly Creatures. This crime occurred in New Zealand, a stone throws from Morton's Australia. The idea that Alice might somehow be guilty and therefore an unreliable narrator, I can't tell you how much I loved this. Also the Mitford parallels, with Deborah, Alice, and Clemmie Edevane mirroring Diana, Nancy, and Jessica Mitford respectively was just the cherry on top of the sundae.

The only real problem I had with the entire book was Sadie Sparrow. While you might think it's a hatred of her pigheadedness and her just not really listening to people, it has nothing to do with that, I could overlook that as character flaws. My problem is her name: Sadie Sparrow. I'm sure when everyone first saw the Doctor Who episode "Blink" written by Steven Moffat they all thought that Sally Sparrow was the coolest name ever and were wishing that they had thought of it first. I know I did and I'm a reviewer not a writer! In fact my handle on my knitting site actually is Sally Sparrow, I am unashamed of my geekiness and I fully admit it. It's such a unique and distinctive name that once you hear it you can't ever forget it. Now here we have Sadie Sparrow. She's like a weak imitation, a bad knock off, a wannabe Sally but alwaysbe Sadie. Why would you EVER choose this as your characters name? Why would an editor ever let you do it? Yes the name might seem perfectly acceptable to you, the author, but it's not. This name wasn't your invention. To make matters worse Sally and her friend Kathy joke about being investigators, Sparrow and Nightingale! A bit ITV, but I'd still watch it. And here's "Sadie" being all investigative and then a PI! I'm sorry. This is just unacceptable. You could argue it's coincidence, that Kate Morton has never even seen Doctor Who. Guess what? I don't care. Yes her book has lots of real life connections and allusions, but she makes them her own. If it was a original thought or Sally just became Sadie, it's too close and MUST be changed. This isn't Moffat, it's Morton. And the last thing any writer wants to be is Moffat.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Anne Perry, Blink, Charles Lindbergh, Cornwall, Doctor Who, Downton Denial Denouement, Fangirl, Heavenly Creatures, Jack the Ripper, Kate Morton, Lewis Carroll, Mitfords, P.D. James, Steven Moffat, The Lake House

Secrets of the Manor: Kate's Story, 1914 by Adele Whitby
Published by: Simon Spotlight
Publication Date: June 24th, 2014
Format: Paperback, 148 Pages
Rating: ★★
To Buy

Kate can not wait for her twelfth birthday. Not only will she finally be receiving the Katherine necklace, the beloved family heirloom passed on to every Katerine in the family when she turns twelve, but her beloved cousin Beth is also coming all the way from England to Vandermeer Manor in Rhode Island. The cousins have never met because of the ocean that divides them, but they are devoted to their correspondence and know they will be kindred spirits and the best of friends. What's more, Beth just received the Elizabeth necklace for her twelfth birthday and for the first time since their great-grandmother's day the two halves of the necklace will be reunited. Though all the party planning in the world can't take into account the assassination of Archdukes! The news of the assassination of Archduke Franz Ferdinand shortly after Beth's arrival in America leads to her parents ordering her home. War is on the horizon and Beth needs to be with her family. It is hard to choose between your heart and your duty, but Beth reluctantly agrees to return home, but not until after she and Kate have a few adventures of their own and reunite the two halves of the locket. 

To say I didn't like the first book in this series would be a gross understatement. Beth's Story so rubbed me the wrong way that besides the spewing of vitriol in my review I might have sold that book faster than any other in recent history. Yet I couldn't part with Kate's Story until I had read it. Yes, I know this might sound absurd, but I had bought this book and gosh darn it it wasn't leaving my shelves until it was read. Thankfully it was a mercifully short book that I knocked out in an hour or two. In fact I might have spent more time writing this review than I did reading the book if you needed a comparison. But in the end I obviously read it and, while I still didn't like Adele Whitby's writing style or story, I didn't hate it with the fury of ten thousand suns like I did the first volume. I think the primary reason for this is that having this book set in America and not in England it is in a society that had more fluid rules and protocol. Beth's Story being in England in 1914 meant that there were society's strictures that were to be obeyed and Adele Whitby flaunted them, if she ever knew them in the first place. While America did also have rules, being such a new country, one which took great joy in shaking off the strictures of England, there was room to play. There weren't any glaring incidents that made me hope that my eyeballs could light the book on fire with the power of my thoughts. In other words, I was able to make it to the end without any real rage forming.

Yet just because there weren't glaring errors, doesn't mean that this book didn't have aspects that annoyed me. They just annoyed me less and therefore I gave the book some leeway. My main gripe is with Kate and her "responsibilities." She is just about to turn twelve and she is already expected, or should I say honored, to attend meetings of The Bridgeport Beautification Society. So a twelve-year-old is to help an organization that is run by new wives and her mother's generation and older? A twelve-year-old! I can understand instituting civic-mindedness in a young girl, but to put her on an equal footing? Seriously!?! I just don't get this whole twelve-year-olds get all the responsibility that is going on in this series. They get expensive jewel encrusted necklaces and all the responsibility that comes with it all seemingly because this is how it happened to their great-grandmothers so obviously we must continue with this tradition. And hang on a minute, in 1848 would twelve-year-olds really be active in the life of their family in the aristocracy? They'd still be in the nursery... this whole thing is just a house of cards waiting for me to blow on it! I get that today in society twelve is kind of the age where things shift, you're on the brink of being a teenager and getting responsibilities, but in previous generations that wasn't the case. This book seems to be trying to shoehorn today's morays on yesterdays! In fact the word teenager didn't even exist until the time of Kate and Beth's daughters! Grumble.

Seems to me more and more that Adele Whitby needs some lessons in history before she's allowed to "teach" it in her books. What annoyed me in this book is that her inclusion of history has now turned into "teaching moments." In the first book the history was cheesy but was just part of the story, we weren't hit over the head with it. Here, here it's a different story. Learn about suffragettes! LEARN I SAY! I'm a person who likes to learn in two ways. The first is when I set out to learn. I take a class, I read the books, I study, I learn in that environment. The second way is passive learning. What you pick up here and there in books. Like Eddie Izzard says, you're flipping through the TV channels, stop for a moment on a show go, hey, I didn't know that, that's interesting, you move on. In other words I will never ever condone knowledge being forced on me. If there's one way to piss me off if I'm meeting you and you have something you want to tell me, if you call it a "teaching moment," know, that in that moment I am doing everything in my power not to punch you in the face. Looking ahead in the series it looks like these "teaching moments" are starting to take over with the potato famine, the great depression, ugh. Stop it now.

But what I think gets under my skin most is just how earnest this series is attempting to be. All about family loyalty and love. The only thing I can think of as being true is the secret that they harbor... because show me an insanely happy family and I'll show you their dirty dark secret. And again, the secret is that the original Katherine and Elizabeth switched places in case you forgot or were hit on the head, because you don't need all six books to figure it out, you need one, if that. No family in the world could be suffused with this much goodness. It's so saccharine and sweet that it makes my teeth ache. Oh, and Kate and Beth finally meeting? Like any cousins have this immediate sisterly bond? Ugh. I'm all for a happy read, but when they meet, oh, and when they join their lockets together? It was like some bizarre Edwardian power rangers. "With the power of our lockets combined we can transmute everyone into happy lovey-dovey zombies!" Because really, what other power could that locket give? Oh, maybe it gives off a brainwashing vibe? Yeah, that could be why everyone doesn't ring true. OK, I'm going with that, they are all under some sort of mind control. That's the only answer.

While these perfect bonds, cousinly and otherwise, are what this book is ostensibly about it really comes down to a lack of dimension. And seriously, I believe in true love, I want a happy ending, most of the time, but it's all in the way it's told that makes the difference. Yes I believe in love at first sight. Did I buy the chauffeur and Beth's maid's instant love? No. Because it was comic book level. It was caricature. Just because you are writing for younger readers doesn't mean that you don't put in the time to tell a good story. Like after two days they'd upset their whole lives to be together? They both knew where the other worked, they could have taken their time instead of doing something reckless. Plus really show the connection, not just hint at them blushing and leave it at that. And that's what it all comes down to. The shallowness of the book makes it predictable and dull. Yes I'm not the age it was written for, but a good story is for all readers, and this isn't a good story. There's a part of me that wants to read the rest of the series just to be vindicated that I saw all the twists and turns like the time I bothered to watch The Village, but really why submit myself to that? I'm not a masochist. Well, OK, sometimes I am with my reading, but I think I can finally walk away from this series and call it a day. If you'd take my advice, don't ever walk towards this series.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Adele Whitby, America, Beth's Story 1914, Downton Denial Denouement, Eddie Izzard, Edwardian, Kate's Story 1914, M. Night Shyamalan, Necklace, Rhode Island, Secrets of the Manor, Teaching Moment, The Village, WWI

A Winter's Tale by Trish Ashley
Published by: Avon
Publication Date: November 17th, 2008
Format: Paperback, 405 Pages
Rating: ★★★
To Buy (different edition than one reviewed)

Sophy Winter spent her formative years living in her family's stately home, Winter's End, until she was one day whisked away by her hippie mother without a backward glance. Her life then took on an itinerant feel, never really settling down until she got married and got pregnant. The pregnancy scared the husband off and she made do as a single mother working in great estates like the one she grew up in. Her daughter is now all grown up and teaching in Japan and Sophy is at loose ends, having lost her job and her home in a matter of minutes. That's when the miracle happens; she inherits Winter's End. A cousin she never knew about, Jack, has come to tell her of her good fortune and to offer to buy the house from her. He explains that Winter's End isn't in the best of shape, her grandfather funneled all the money into the restoration of the gardens at the expense of the house. Therefore Jack's solution would solve Sophy's money problems and sooth the wounds inflicted on Jack when he found out he only inherited the title. It's win win. But when Sophy arrives home she realizes she could never sell Winter's End, even to family. She doesn't care how desperately she needs to find money for it's upkeep or how upset Jack will be or how cantankerous the gardener Seth is, she only knows that she will find a way to do what is in the best interest of the house. Her home.

Several people over the years have recommended A Winter's Tale to me knowing of my love of grand English estates and chick lit. So the book had made it's way onto my shelves and languished, until this past December when it sounded like just the right read for a cold Christmas day. The thing is, there's not much Christmas in it... yes, Christmas is there, but it's almost an afterthought, the book actually getting it's title from Shakespeare not from being all yule. Yet for my love of country estates this was perfect. It's not so much a fairy tale as other books I've read go, though it would be a dream come true to inherit such a house, it's more a realistic fairy tale if that makes sense. We are given insight into the nuts and bolts of the day to day struggles to keep a grand house running. Basically the more down and dirty reality of owning Downton Abbey. Keeping the staff happy, keeping the house repaired, finding money to keep the restoration of the garden underway. Finding a happy balance between wants and needs. Prioritizing that which must get done. And cleaning. Seriously, the amount of cleaning a place like this takes, well, if you hadn't thought about it before in your fantasies about becoming on heiress, you will now. And not that that's a bad thing. In fact reading all about this minutiae, it gives you a stronger connection to this way of life than if you were to the manor born.

The minutiae is where this book lives. In the purchase of special beeswax for banisters and brushes for paintings. There's a languid feel that makes this book the perfect bedtime read. You slip into bed and you sink into the story that lulls you into a safe world of hard work with wonderful rewards. The pacing for most of the book continues on in this vein. Hundreds of pages of day by day tasks to have it abruptly changed. As Christmas nears the pace is picked up, soon we aren't spending languid days seeing the house brought back to life slowly, we're zooming along until it's later the next year at the happily ever after is thrust upon us. This is where the book kind of lost me. It's weird when the pace is abandoned in favor of some new narrative style. The book lost some of it's charm by changing tempo. I didn't feel as connected to these characters I had spent so much time forging a bond with. I felt like the bond was severed and I was left on the outside looking in as everything came together, but without me. Yes, if Trisha Ashley had continued the narrative style throughout A Winter's Tale might have been a doorstop of a book, but as I've said before and I'll say again, I don't care how long or how short a book is, it should be exactly as long as it takes to tell the story and do it justice. This book needs a little of the justice that came Jack's way.

Speaking of Jack. He is the major thorn in my side in this book. He is sleazy and scheming yet everyone thinks he's God's gift and why not let Jack have the house? He couldn't possibly do something underhanded, insert ominous music here. I give credit to Sophy that she stays the course, but there is too much of her waffling. Too many times she questions herself and doesn't stand up to Jack. So while Jack is the villain of the piece, with his dirty deals and his desperate ways, the main problem I have is that he illuminates the flaws of our heroine. Sophy is so strong of will and motivated by hard work I find it hard to believe that she'd buy any line coming out of Jack's mouth, no matter how seductive and silken. I mean, how can she be so naive? She just lost her job and her home because of a scheming relative of her employer and here she is in a similar situation and yet she's all, oh Jack, you're so pretty, you could never love frumpy me with my frizzy hair. Gaw. Just no. I know it's a staple of chick lit to have the to go to be true bad boy and the brooding good boy with the befuddled heroine in the middle not knowing what to do, but seriously? Sophy is so much stronger than the average Bridget Jones that I am baffled that she didn't call shenanigans sooner.

What sets this book apart from the run of the mill chick lit or Downtonesque book is the olde thyme stuff, IE Shakespeare! I admit about a few pages in I should have gotten that the title was from Shakespeare, given all the references in the text, but sometimes I'm not quite on the ball and as I mentioned before I seriously thought this was a Christmas book. This Shakespearean element also elevates the book to a kind of historical fiction chick lit fusion that is fun for fans of both genres. But the downside is that I think you'd have to be somewhat to fairly knowledgeable about Shakespeare and his life to get the personal references peppered throughout the story. The extracts from Alys Blezzard's journal are purposefully very cryptic and written for those with knowledge of the Bard. Therefore this book can be read on two levels, the plain old chick lit HEA, and the fusion level. Personally, if I was only reading it on the chick lit level without my knowledge of Shakespeare, I'm not sure I would have been as drawn into the book. It's the mystery woven throughout about Alys being dark of complexion, that connects with Shakespeare's sonnets to "The Dark Lady." The Shakespeare angle adds so much that without it I just don't know if it would work.

Yet that "Dark Lady" Alys is still a questionable addition to the book in my mind. Not her connection with Shakespeare, nothing like that. It's her "other" qualities. IE, the magic of it all. By bringing in a paranormal aspect I think it might be stretching the narrative's credulity to it's breaking point. The Shakespeare secret, the history of the family and the house, that's all well and good, but the magic? I could see it if there were just ghosts and Alys having been condemned as a witch, because well, any smart woman was a witch back then, but that magic... That tangible real magic that gives Sophy insight and visions. It's just a step too far. It's almost like this book so wanted to be everything that it threw in everything and the kitchen sink and sometimes enough is enough. Sometimes being descended from Shakespeare is a big enough twist. Sometimes getting your HEA is enough. And sometimes just saving your family estate is enough. There doesn't need to be "real" magic too. Because isn't everything else magical enough? Apparently not according to Trisha Ashley. But then again, some people just don't know where to draw the line, like Sophy with her "relationship" with Jack.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Winter's Tales, Bridget Jones, British Country House, Chick Lit, Christmas, Downton Abbey, Downton Denial Denouement, Downtonesque, Gardens, HEA, Magic, Shakespeare, Sonnets, The Dark Lady, Trisha Ashley

And now, the end is near, and so I face the final curtain... Yes the time has come. The ultimate denial is about to set in. Because after that last gathering around the Christmas Tree while Thomas aids Carson (and no, I wouldn't count that as a spoiler she says with shifty eyes), the doors to the Abbey will close forever. Unless they need the money and do a movie, but still, it looks like the end and they're making all that money off the costumes touring, which is fabulous by the way so you should go. Back to previous train of thought, the end was so good that it should be the end. So let's say it is the end, big ominous capital letters and all, The End. Therefore you need something to fill that gaping void more than ever. I am here to fill that void, and no, stop with the naughty thoughts. Stop it. I know how you feel and I have tried to find solace in books to take away the pangs. Therefore, for the last time, unless I'm desperate come next February, which let's face it, I probably will be, I give you the denouement of Downton Denial! A month full of books I've read and some of which you should read if just to capture that elusive magic that Downton Abbey brought into our lives every Sunday night for the last six years. Here's to Downton!

Posted by Miss Eliza at 12:01 AM 0 comments  

Labels: Carson, Christmas, Downton Abbey, Downton Denial, Downton Denial Denouement, Spoilers, Theme Month, Thomas Barrow