Murder Most Foul
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Friday, July 13, 2018
Book Review - Rebecca Rosenberg's The Secret Life of Mrs. London
The Secret Life of Mrs. London by Rebecca Rosenberg
ARC Provided by the Publisher
Published by: Lake Union Publishing
Publication Date: January 30th, 2018
Format: Paperback, 348 Pages
Rating: ★★★★
To Buy
Charmain London loves her husband Jack, the famous author, but sometimes their marriage feels like a boxing match both literally and figuratively. He longs to be surrounded by his comrades and friends while he holds court at his agrarian utopia, Beauty Ranch, while Charmain, his Mate-Woman, longs to be alone with him. She longs to share the same bed, feel his arms around her, but instead he uses his mate as he sees fit, even if it's fodder for his new book, The Little Lady of the Big House. He seems to be pushing her into the arms of their friend Lawrence all for his narrative needs. But when Charmain finally succumbs their world comes crashing down. Because that's the night that she not only betrayed her husband, but the night Wolf House, Jack's dream home, the monument to his success, what they had scrimped and saved and slaved for for years burned to the ground. Did Jack set the fire himself realizing what he drove his wife to? Or did Lawrence set the fire because he knew Charmain would never be his for more than a few moments? All this and more hangs over the couple when someone new enters their life. One night they go to see Houdini perform in San Francisco and Charmain is brought on stage to assist Houdini and his with Bess with their "Metamorphosis" act. Afterwards the two couples go out for dinner and Charmain and Bessie form a friendship over the struggles of loving men who are larger than life. Their friendship just begun must soon be tried as Jack's ill health returns and Charmain decides to take him to Hawaii, where they were happiest. Hopefully the magic will return to their marriage. Only she can't help thinking of another magic man... Houdini has worked his way into her heart and he will be there for her when she needs him most. But is it right to fall for her friend's husband? And who is she without Jack?
There are certain shared experiences that everyone connects to. A historical event you remember, a book you read, a movie you saw. These events make up our collective unconscious. Let's take The Call of the Wild. Every schoolkid growing up in America has in all likelihood read Jack London's The Call of the Wild or White Fang. In fact they're probably the only books your teachers made you read that you rather enjoyed. For me it was The Call of the Wild in seventh grade and I can still remember Buck's journey as being an escape from the drudgery and crippling amount of schoolwork. We all have Jack London's second wife and subject of this book, Charmain London, to thank for championing him after his death and making sure he became a part of our collective unconscious. Though for most of us it's been years, perhaps decades since we read these books and therefore the power of Jack London's writing is forgotten amongst his narrative. Recently I was rewatching Northern Exposure and I was reliving my main obsession with the show, which was my love of the ex-con DJ Chris Stevens, when I had the delightful surprise of Chris reading from The Call of the Wild. During the season three episode, "The Three Amigos," the words of Jack London served as a counterpoint to Maurice and Holling journeying out into the wilderness to bury their friend. But what struck me was the lyricism and power of London's writing. Sometimes just reading a book doesn't give you the full experience, you have to hear it aloud to fully appreciate it.
This new appreciation of London's writing was one of the reasons I was drawn to The Secret Life of Mrs. London and signed up for this blog tour. Rebecca Rosenberg's book deepened my admiration of London as she has begun each chapter in the first two parts with a quote from London's writing, whether novel or letter. It's a bold choice for a first time author. Because no matter what, the reader is going to compare her writing to London's, whether that was the intent or not. Whether her writing holds up... that's another question. Rosenberg tells her story plainly and interestingly, but she never reaches the lyricism of London. Yet this works in her favor. London's writing, while beautiful, can be a bit inaccessible. Sometimes it's so dense that it takes several readings to understand what he's getting at. Whereas Rosenberg's writing is accessible. She never hides her story behind verbose verbiage. This helps to mirror and bring home to the reader the loving yet somewhat antagonistic relationship between Charmain and Jack. Charmain is so relatable and Jack is a bit enigmatic, his motives even questioned by his wife, so that as a reader you can't help but root for Charmain. She is our heroine. Whatever happens, wherever she goes, whatever decisions she makes, both sound and slightly insane, by using London's own words against him we modern readers will always side with Charmain. She is our avatar to this world of literary wonders and she's able to make it real in a way London's writing doesn't for today's audience. No matter how much he was trying to capture the real on the page.
While reading The Secret Life of Mrs. London one can't help but think of 2016's much talked about and lauded book about Beryl Markham by Paula McLain, Circling the Sun. These are both women who were true originals, they were free spirits that didn't quite feel of their time. Adventurers that broke with conventions. What I find interesting is that many great writers live within these bubbles that are out of sync with their times and embrace free love. While Kenya was the haven for this kind of bed-hopping behavior, any community of artists would come under this kind of scrutiny and notoriety. They were known for standing out from the crowd and throwing convention to the wind. Rosenberg does a good job though in grounding Charmain within this lifestyle. This solid footing makes Charmain far more sympathetic and her actions understandable, not a betrayal to her husband. Being raised by her Aunt Netta she was exposed to a lifestyle that was fluid when it came to love, as Netta had two men in her life. Therefore when Charmain became London's lover and subsequently his second wife she understood that he was liable to wander. Being a very sexual being herself she understood this, but her dalliance that commences the book almost seems indulged in because it's what Jack wanted. He was playing a game with his wife for his own literary means. Yet she heavily feels her betrayal and when he betrays her in return it's just pain heaped on pain. They are by no means a functional couple, but they have a symbiotic relationship. They need each other, but at the same time they need more.
What Charmain ends up needing is Houdini, her Magic Man. What is so interesting about The Secret Life of Mrs. London is that it shows how truly messy love is. Jack is everything to Charmain, her home was where he was, and yet, despite him saying that she was his everything in return, it was clear through his infidelities that she wasn't. You can spout free love, but the truth of it was, Charmain wanted to remain loyal to her husband but her heart and her needs took her elsewhere. I don't know if the same could be said of her husband. Because she was willing to give him all the he got elsewhere, yet he never compromised and gave her what she needed. I couldn't help thinking about Hamilton while reading this book. Their wives, despite not having perfect husbands, are the ones who carried on their legacies, told their stories. Would London and Hamilton be this well remembered to this day if not for their beleaguered spouses? To an extent even Bessie Houdini carried on her husband's torch, holding a seance for him yearly after his death, just as he requested. All this is so interesting to me in that it's all about these women whose lives were in the shadows, yet were remarkable in their own right. History is putting them rightly back in their places and examining what their impact was. Charmain was Jack's editor and typist for years, her thoughts, her ideas, spun into his stories, and yet she is only remembered as Mrs. London. Living her life through these great men while never really living a life of her own. The end of the book gives you hope, but at the same time, she still, to this day, is only known as Mrs. London. Hopefully this book will help redress this wrong.
But now I must nitpick... Writing historical fiction that actually includes real historical figures as your leads is tricky. You are fictionalizing their life, to an extent. You have to get in their head and tell the story you want to tell but within the framework of their life, and I'm not convinced that Rebecca Rosenberg fully succeeds. The biggest problem I have is moving the burning down of Wolf House, Jack London's dream domicile, two years into the future so that it happens at the same time as the 1915 Panama-Pacific International Exposition. You can not do that! These are very specific set events! It's like saying, hey can we just move the start of World War I so that it fits my narrative better? Your narrative has to fit events not the other way around. Rosenberg admits that she condensed the timeline to be two instead of five years, but from my point of view she really didn't need to do this. The narrative could have easily spanned more time. The only reason I can see that this was done was in order for Charmain to think she was pregnant, father unknown, when she met the Houdinis. Which was, in my mind, unnecessary. But I'm sure Rosenberg would justify this with comparing the once fertile Charmain with the childlike Bessie... But back to my main point, Rosenberg has lots of weird time anomalies, some of which, such as the burning down of Wolf House I previously mentioned, I'm pretty sure she's aware of, as well as certain Houdini stunts that were shifted, while others are "words from the future." Yes, she uses words that are anachronistic to the time. Guess what? Pheromones didn't exist as a word until 1959, four years after Charmain died. A good editor should have flagged this... but editors, and good ones, are a dying breed. So authors, if you don't want your audience being temporarily taken out of the narrative, double and triple check everything.
Friday, April 27, 2018
Book Review - Heather Rose Jones's Mother of Souls
Mother of Souls (Alpennia Book 3) by Heather Rose Jones
Published by: Bella Books
Publication Date: November 29th, 2016
Format: Kindle, 240 Pages
Rating: ★★★★
To Buy
Luzie Valorin grew up in a family of musicians. When she married she thought she had put that life behind her but the untimely death of her husband forced Luzie to make some difficult choices. She could have run off to the bosom of her family in the countryside but instead she turned her home into a boarding house for theatrical souls. Though opening her house to strangers didn't make ends meet as she had hoped and she supplements her income by teaching piano lessons and doing copy work for her father's old friend, the great classical composer Fizeir. All this just to honor the memory of her dead husband and send their two boys to his old school. The only joy in her life is in composing. She writes little musical pieces to help her students. Whether it's for more confidence or to showcase their current abilities, it brings her joy. She even got up the courage to show Fizeir her work, but he broke her a little when he said he didn't think much of it. But he is willfully "blind" to Luzie's talents as she will painfully learn. She doesn't have just talent, she has the ability to create magic from her compositions. And to think, Luzie would have never known if Serafina hadn't come into her life. If a room in her house hadn't become available and Serafina wasn't in need of a roof over her head. Serafina changed everything.
Serafina Talarico is the daughter of Ethiopian exiles who settled in Rome. Her life was happy until the death of her mother. So many things changed, but what forced her into the arms of Paolo was her interfering sister-in-law who wasn't just domineering, but didn't want any Ethiopian taint in her life. Paolo seemed the perfect choice of husband, he was going to teach Serafina about the mysteries she could see but couldn't perform. Soon his displeasure with his wife's inabilities leads him to spend much time abroad while Serafina takes comfort in the arms of his cousin. Though everything changes for Serafina when she stumbles on the notes of Margerit Sovitre and sees a kindred soul. Throwing caution to the wind she journeys to Alpennia and joins Margerit's inner circle hoping to achieve a mystery that will capture the happiness she experienced in her mother's presence as a child. But she knows Margerit's hospitality can only last so long with Serafina's continued frustration at being unable to perform the simplest of miracles. Therefore she takes a room at Luzie Valorin's boarding house and is shocked to find that the composer is unaware the she is creating magic with her compositions. Serafina encourages Luzie's composing and leaps at the opportunity to help shape an opera whose magic might effect more then these two lonely hearts who've found each other.
Mother of Souls is the first book in Heather Rose Jones's Alpennian series that I feel achieved it's full potential. With each book building off the previous volume everything started to click into place over time and here with the larger cast of characters there was a better balance than just the two previous couples featured. The narrative no longer felt constricted by only four viewpoints and there was a wonderful blending of talents and interests, from music to printing, mysteries to sorcery, religion to godlessness, Alpennia to the rest of the world, here we have a Bloomsbury set for Alpennia. We have artists and free thinkers, a family, a tribe is being created. All these women who felt like they fit into society like a square peg in a round hole come together in salons and aren't crushed under foot by the patriarchy. Seeing as this series is Ruritanian lesbian romance a lot of inference can be made about educated women and their sapphic ways and at times it strains credulity and feels a little stereotypical especially given the previous two installments, but to these niggling criticisms I say that one, it's romance, and two there's Luzie. I should say Luzie and Serafina because I really like how their relationship forms and eventually ends. They are a different kind of heroine. Both have been married, both have been thrust into a new world that they aren't sure will accept them, but both have amazing resilience, and both end up in a place you wouldn't expect them to. That I think was the best part of Mother of Souls, the unexpected.
Yet among all these characters there is a strong theme of female empowerment running rife. This book is a rallying cry, as is the opera Luzie writes about the female philosopher Tanfrit who is only remembered through her connection to the male philosopher Gaudericus! Women have been told to be quiet for far too long! Men are always keeping us down and taking credit for what we do and when that can't work just erasing us from history. I literally can not think of a woman who won't identify with Luzie's relationship with the composer Fizeir. Here is a man that needs her and his need leads him to purposefully insult her work which he obviously thinks is worthy because he passes it off as his own all while she hero worships him. Who hasn't been taken advantage of by a man in power in one way or another? To be told you are "less than" just so that they can keep you in line and keep themselves on the top of the heap. At times I was just filled with rage for Luzie and her situation. She has real talent and has been kept down by the male status quo. While things are still far from equal I really don't know what I would have done if I had been raised in a time when women and their education were frowned upon. To not be allowed to read and learn? I shudder at the thought. Which is why Margerit's founding of the female academy named after Tanfrit is such a wonderful counterpoint to Luzie's journey. Here is a place where women and education is prized and that makes me immensely happy.
What also makes me immensely happy is the expanding of what is considered "magic" in the Alpennian world. The first book Daughter of Mystery dealt with thaumaturgy and The Mystic Marriage dealt with alchemy. These are both "sciences" that were practiced in medieval times. Yet the thaumaturgy we see here is very specifically on the religious mysteries end of the spectrum and the need for devotion to God. Which is why the introduction of alchemy in the second book was cunning in that it can be learned by non-believers and was paving the way to a new magical system. We were slowly moving away from God and looking for a "word other than miracles." In fact it's very clear with all that is happening that "[t]here was more magic in the world than could be encompassed in Margerit's theology." I nearly cried for joy that Margerit was dinged a little. I am such a strong non-believer that I rebelled at a world where only the prayers of certain people were answered and this was what "magic" was. I am not joking that I DID cheer when Margerit's partner Barbara said "[s]ometimes I think we need a different word than 'miracle.'" Sing it sister! Non-religious magic is here to stay! And how is it here to stay? In Luzi'e music. Yes, you could argue that originally music was a strong part of religious devotion, but I'm not going there because I finally have magic unencumbered by the church! Music, to me, has always been magical. Theater even more so. Therefore combining the two is a rare form of magic. Just look how much Hamilton changed our world and it's easy to see that in this world, as in ours, music and performance can change anything.
Though I wouldn't be me if I didn't have something that annoyed me to no end. So Antuniet Chazillen, one of our two heroines from The Mystic Marriage is now a royally appointed alchemist and one of our Alpennian Bloomsbury set. She actually has REAL power. Power that I feel could be used dubiously, but that's an issue I had with the previous volume, not this one. Antuniet also is obsessed with her family's legacy and therefore despite having the Vicomtesse de Cherdillac as her life partner she is determined to have a child. She plans to go about this in the regular fashion, think of it as a 1800s sperm bank because she's so not the type to marry some man just to have a child, leaving Jeanne in the process. But she's so obsessed with her reputation, and here I scratch my head because come on, she lives with a woman and is doing magic, that she decides to fool everyone as to how she became with child. She decides to claim that she created a homunculus because it's the second great act of alchemy and she is THAT GOOD! Excuse me!?! WTF!?! This is so counter intuitive. Antuinet is actually an alchemist and she is resorting to the tricks of charlatans? My mind boggles. I have a real problem with people who have abilities, doesn't matter what kind, artistic, whatever, who resort to "alternative methods" to achieve what they want. Because it isn't fair! It's like plagiarism, you are getting credit for something you didn't do. Nope, nope, nope. Plus, just as an aside, wouldn't people see the baby and be like, nope, not what a homunculus is supposed to look like? No? Just me. As always. But then again... "When a mystery works with nature and not against it, it's hard to distinguish truth from fraud."
Friday, May 5, 2017
Movie Review - Sense and Sensibility
Sense and Sensibility
Based on the book by Jane Austen
Release Date: December 13th, 1995
Starring: Tom Wilkinson, James Fleet, Harriet Walter, Kate Winslet, Emma Thompson, Emilie François, Gemma Jones, Hugh Grant, Robert Hardy, Elizabeth Spriggs, Alan Rickman, Greg Wise, Imelda Staunton, Hugh Laurie, Imogen Stubbs, Allan Mitchell, Richard Lumsden, Lone Vidahl, and Oliver Ford Davies
Rating: ★★★★
To Buy
John Dashwood is implored by his father while dying to care for his stepmother and three stepsisters due to inheritance law precluding them from his estate. John is quickly talked out of this necessary kindness by his unscrupulous wife Fanny who quickly descends on the mourning Dashwood women to take claim of her new home and count the silver. Elinor is trying to be practical while her younger sister Marianne is beside herself with grief while their youngest sister Margaret has opted to just hide. Their mother would quickly remove them from this toxic environment if it wasn't for the arrival of Fanny's brother Edward who helps with Margaret and forms an instant attachment to Elinor. Fanny abhors this connection and makes it clear to Mrs. Dashwood that her whole family has specific plans for dear Edward and that an unadvantageous match would lead to his being cut out of any of his prospects. Mrs. Dashwood hastily accepts the kind offer of her cousin, Sir John Middleton, to come and live at a cottage on his estate in Devonshire. There the four women are soon surrounded by a society that is very interested in them, especially a Colonel Brandon who only has eyes for Marianne. Sir John's mother-in-law makes it her sacred duty to tease the young girls and to find them advantageous matches. But both Elinor's and Marianne's hearts are irrevocably gone long before Mrs. Jennings has any say. Elinor still pines for Edward and Marianne, Marianne has met the man of her dreams in Willoughby, a romantic and lover of Shakespearean sonnets like herself. But the course of true love never runs smooth. Willoughby leaves Devonshire for London and Edward is secretly engaged to a young cousin of Mrs. Jennings, Lucy, whom his family will surely object to more than Elinor. Everything comes to a head on a trip to London. Will their hearts ever be mended or are they forever to be bruised and battered and broken?
My mom likes to say that when we went to see Sense and Sensibility in the movie theater there wasn't a dry eye in the house. While I do remember moderate sniffles, it can't compare to the copious crowd weeping of Hamilton which I recently experienced and freely admit I was a large contributor of. Of all Emma Thompson's films for some reason Sense and Sensibility is the one I return to the least, well aside from Love Actually, but we shall not go into my hatred of that film here despite how many cast similarities there are. I've never really wondered about this until I rewatched Sense and Sensibility after rereading the book and I think I've put my finger on it. While there's an intimacy to the books of Austen they are no means small, they encompass the whole of human emotion and what it is to be a woman. Yet with the way this adaptation was filmed the story feels small, almost trifling. The time constrictions coupled with what this necessitates makes the story of Elinor and Marianne somehow less. What struck me is having not seen it in a few years it's weird because despite the cast it feels like a low budget costume drama not a film up for copious academy awards. But then again on the heels of this production the Pride and Prejudice miniseries staring Colin Firth issued in a new era for the costume drama. They have exploded on television in the last twenty plus years and with advancements in cinematography and locations and costumes, this just feels limited and at times claustrophobic. There are too many close-ups and no sweeping vistas that people, like me, who regularly watch shows like Poldark expect. Instead we're just stuck with a lot of sheep.
When I was rereading the book, as I mentioned in that review, I was struck by how Colonel Brandon, while considered old, is actually younger than me. So when approaching the film again after so many years I couldn't help but think, was Emma Thompson perhaps too old to play the role of Elinor being in fact the "old" age of Colonel Brandon in real life? Did she in fact need a flannel waistcoat herself? Or flannel underthings? But the truth is I should never doubt Emma Thompson. NEVER. Having wrote the screenplay she knew exactly what to bring and when and you never once think of her age, which astounded me as she was working against my prejudice. In fact with her performance there are just rankings of what was best. What I most loved wasn't so much in her reserve and in being stalwart, what was amazing is at which points she decided to break that reserve and tap into her reservoir of emotion. Because in the book there are key scenes where Elinor loses her calm and has to regain it, times when I'm not 100% sure work for her character, therefore the changes that Thompson instigated in this instance were perfect. Elinor breaks only twice, once when she's at Marianne's sickbed and once again when she realizes that Edward is free to declare his feelings for her. Two perfect moments, because these are the two people in the world she can't life without. And as for when Edward declares himself? Just watch how Thompson turns her hysterics into tears of joy and you will be in no doubt as to why she was nominated as "Best Actress" in 1996 for this movie. Though I would request she NEVER wears that checked dress again, it looks like the bedsheets from Steve Harrington's bed on Stranger Things.
Though there are still weird omissions and rejiggering that Thompson did in her adaptation that I'm not quite sure of. Yes, there's changes necessitated by time and the narrative being streamlined to fit into a little over two hours of screen time. So therefore I can forgive Lady Middleton being sent swiftly to her grave and Lucy using the kindness of Mrs. Jennings to expedite her own journey to London, though it's entirely straining credulity to believe that Elinor and Lucy would discuss Edward on that carriage ride! Mrs. Jennings has a nose for gossip! Edward not visiting Barton until the end makes a little less since, but still works, but then there's the changes that didn't leave me scratching my head by yelling on the TV that the change made NO SENSE! My biggest problem was of Lucy not having a sister. This is a BIG hurdle. Why? Because Lucy is cunning. The ONLY reason in the book that her secret engagement to Edward is revealed is because her sister, thinking that she's fully one over the whole Ferrars family, blurts out at breakfast that Lucy and Edward are engaged. Both the film's version and the book's version have an equally dramatic reaction on Fanny's part. But there is no way that Lucy would have voluntarily told Fanny, no matter the encouragement, if Lucy wasn't 100% sure of everything. This utterly changes Lucy's character and you can't quite rectify who she is in the movie with the remnants of that cunning bitch from the book. Why would she manipulate Elinor so? Why would she swap Edward for Robert? She's made too nice. The only way she works as a character is by having her sister as the other half, much like Elinor needs Marianne!
Yet I can not be so cruel as to say that all the changes were negative. The way they were able to subtly show the Dashwood's penury through them not being able to purchase new clothes for mourning or always lamenting the lack of sugar and beef perfectly sums up their plight to a modern audience, even if the savvy reader will notice that Thompson actually halved their income. But where Thompson's adaptation soars is in actually giving Margaret purpose. Margaret as the youngest Dashwood is used to affect three times in the novel, once to blurt out to Mrs. Jennings about Elinor's love of Edward, once to seek help when Marianne falls and Willoughby rescues her, and finally to see Willoughby ask for a lock of Marianne's hair. Other than these scenes she is a nonentity, she doesn't matter, and in fact once her elder sisters traipse off to London she is maybe mentioned once or twice more. Whereas Thompson makes her a fully fledged character who loves the idea of travel and pours over an atlas for hours. She is an independent young woman of spirit who wants to be a pirate. She encompasses the future of what women can be within this limited time period. In fact the expansion of Margaret's character has so inspired fans that other writers, like Beth Deitchman in her lovely Regency Magic book Margaret Dashwood and the Enchanted Atlas, has taken Thompson's infusion of Margaret with an actual personality as a jumping off point for her reinterpretation of Austen's world. What's more is that Margaret's character helps to build up the character of Edward, who, let's face it, is a little lacking as Austen wrote him. With Edward taking an interest in Margaret we can see why Elinor falls for him with all his good and laudable qualities.
But the majority of Edward's faults are fixed in the casting of Hugh Grant. In fact, the combined casting of Hugh Grant and Alan Rickman make up for any defects these characters had as they were originally written. Because really, we've forgiven Hugh Grant for far more than lack of character over the years with him just breaking out that trademark sheepish grin while that floppy lock of hair falls over his eyes. The lack of depth, the engagement to Lucy, the reticence, are all washed away because seriously people, that grin, that stammer, it's like this character was written for Hugh to bring to life because he and the character become one. And as for all those fans out there who repeatedly say that yes the Colonel is a good man but how could Marianne ever love again after Willoughby? Firstly, Willoughby is scum, he didn't even take Marianne secretly home in this version! But more that that, who wouldn't melt to have Alan Rickman look at them like that? When he first sees Marianne playing the piano, thankfully sweetly if artlessly actually sung by Kate Winslet, you are just WAITING for the two of them to get together. But the nail in the coffin of Rickman's casting? His melodious voice. Seriously, I don't think there is anyone who has that kind of liquid voice that can be seductive but also menacing when need be. How I wish Thompson had included the duel just to hear him call Willoughby out! But the reason I bring up his voice is that Marianne is very much into the spirit, the animation one brings when reading aloud, and Edward is found very lacking. How could Rickman EVER be found lacking on this score? It was a foregone conclusion, not just that he'd win the girl, but that Thompson would throw in a scene of him reading to his beloved Marianne. So while there are some things I scratch my head about I should just sit back and listen to Alan Rickman's voice.
