strange and random happenstance

Holding is Ireland's answer to a procedural show that is Broadchurch meets Ballykissangel. It's nice and pastoral with crimes that are comfortably in the past even if their shadows are now finally being felt in the present. Everyone is on a spectrum of "hot mess" from secretly binge eating in their car to drunkenly heckling bad karaoke singers to shagging in an abandoned ambulance. Yet somehow everyone is OK with just plodding along. The show is based on Graham Norton's first fiction book and while the show does keep you engaged over it's four episodes you could tell by the very structure that he is a first time author. How you might ask? Well, the ending is just too convenient. When you set up a decades old crime and then in the present have one of the characters dying of Cancer, well, to make the killer the Cancer patient, that's too pat isn't it? Life isn't that simple. Life can't be tied up in a nice little bow that quickly heals the community. Nature being the bringer of justice not to mention the whole "maybe guilt brought on the Cancer" is just lazy. Just because you have quirky characters and a pastoral setting doesn't make this charming. In fact, there's one aspect that skeeved me out so bad that it tainted the entire show. Evelyn Ross is in her thirties and has never gotten over her true loving abandoning her after he beat her to a pulp and she miscarried on the night of his wedding to another woman. Of course his is the body that was discovered. Evelyn, to numb herself, is having an affair with Stephen Chen. Stephen is seventeen and the son of Evelyn's sister's partner. At least they kind of call out the "incest" but they never really call out the whole pedophile aspect of this relationship. So yes, he's technically of the age of consent. But that's a technicality that doesn't get ride of the whole creepiness of it. Plus they are having sex in an abandoned ambulance. How is this sanitary!?! I mean, I just can't on so many levels. And here's the thing, consent is more important than ever and how we talk about power dynamics in a relationship, and if there's anywhere in the world more associated with pedophiles than Ireland, strictly because of the Catholic Church, I don't know where that would be. Therefore to be telling this story in Ireland at this time, I think it needed to be done more sensitively. Just by having the woman being the older of the two doesn't make this OK, just look to Mary Kay Letourneau, may she be singed for an entirety. But what adds insult to injury is when Evelyn apologizes at her sister's wake to Stephen saying that what she did was wrong and him then saying to basically forget about it because he loved every minute of it... Excuse me? He's a child, he might think this way now, but what about when he gets older and realizes that their relationship was actually abuse? It's not cool or sexy or anything to be in this kind of relationship and Holding didn't real emphatically say otherwise. Therefore I can do nothing but look back on this series with a kind of creepy regret. It could have been something, but it was out of touch and unoriginal.        

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Abuse, And the Emmy Goes To, Ballykissangel, Broadchurch, Cancer, Catholic Church, Evelyn Ross, Graham Norton, Holding, Hot Mess, Incest, Ireland, Mary Kay Letourneau, Miscarriage, Murder, Pedophile, Stephen Chen

The Christmas Murder Game by Alexandra Benedict
Published by: Poisoned Pen Press
Publication Date: September 30th, 2021
Format: Kindle, 322 Pages
Rating: ★★
To Buy (different edition than one reviewed)

When Lily Armitage was growing up the whole family would gather at Endgame House for Christmas and the annual Christmas Game. She and her cousins would solve elaborate riddles and clues to find their cache of Christmas presents. But since her mother died on the grounds twenty-one years ago Lily hasn't returned. She was raised by her Aunt Liliana so of course it's because of Liliana that she's returning. Liliana's dying wish was that Lily would return for the final Christmas Game. Over the twelve days of Christmas Lily and her cousins will vie with or against each other to find twelve keys with the prize being the deeds to Endgame House. Lily doesn't want Endgame House, what she wants is answers, and that's the reason she agrees to return. Liliana has promised that the clues will reveal who killed Lily's mother. Wearing her own designer couture that is concealing a secret Lily returns to Yorkshire. There she is reunited with relatives and retainers. Liliana's children, Sara and Gray are there, as are Uncle Edward's, Tom, Rachel, and Ronnie, with Rachel's spouse Holly, and Ronnie's spouse Phillipa. Housekeeper Mrs. Castle is on hand to take care of them and provide the daily clues while Liliana's solicitor and Lily's former crush, Isabelle Sterling, is on hand to dot the i's and cross the t's. While Lily is shocked how happy she is to see all these people the warning from her aunt is clear in her mind, don't trust anyone. Because it's all fun and games until someone loses an eye, or as happens here, Ronnie ends up dead. He might be the first but he won't be the last. Because when the first corpse appears they realize that they are trapped in Endgame House with a killer. The snow is piled high and there's a tree down across the drive. And then the car batteries go missing. Someone wants them to stay and play the game and Lily is ready to play. She came to find out who killed her mother and she is not about to die like she did.

A book claiming to be Clue at Christmas that happens to be loosely a golden age locked room mystery is a must read for me. The problem is that's not what this book is, this book is more Game of Thrones murder mystery though with even more animosity, hate, and incest. I truthfully can say not only did I dislike every single character in this book I hated them. They are all horrible horrible people who I would not like to spend one single second in the presence of. And that's not the main problem of this book! The main problem is there is no motive for the deaths. We are supposed to buy into the fact that obviously anyone would want to inherit a Manor House in Yorkshire. Yet Manor Houses aren't cash cows, this one was run as a business center for years that seemed to just barely be in the black, and everyone has horrible memories of the place, yet they want it? Even if their future plans are solid the horrible memories should make them rethink their plans. But then again, they are all either sociopaths or psychopaths, throw a dart and it's one or the other. So maybe the bad memories don't bother them? Whatever way you look at it the truth is that all these relatives go to Yorkshire to slaughter each other. And Liliana had to know what she was doing. After all her own brother killed her sister! This isn't generational trauma, this is generational homicide. The only answer I have is that they are evil. Evil evil evil. Yes, I love a Christmas murder mystery, I don't want Christmas slaughter. This book has literally one and only one thing going for it, it flips the script on the bury your gays trope. The whole idea that gay characters are expendable or deserve to die is so outdated it's shocking how many people still use it. The Christmas Murder Game was the exact opposite, and for that it should be cheered. Any character who was alive at the start of the book who identifies as queer, gay or bisexual, is alive at the end. And only they are alive at the end. All the straight characters are cleared from the board. So at least that was refreshing. About as refreshing as a snowball in your face, but you take what wins you can sometimes.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Alexandra Benedict, Bury Your Gays, Clue, Endgame House, Game of Thrones, Incest, Inheritance, LGBTQ, Lily Armitage, Locked Room, Manor House, Motive, Murder, Pride, The Christmas Murder Game, Tropes, Yorkshire

The Silent Companions by Laura Purcell
Published by: Penguin Books
Publication Date: March 6th, 2018
Format: Paperback, 404 Pages
Rating: ★★★
To Buy

Elsie is being exiled to her husband's decrepit country estate, The Bridge. She feels like they are burying her along with her husband. A pregnant mermaid drowning in black crepe. That is all she is now, the vessel for her dead husband's heir. Her marriage to Rupert Bainbridge was meant to raise her above her station. No more work at the match factory where she and her brother Jolyon slaved away until Rupert bailed them out of a tight spot. Now she'd have an idyllic life of luxury where she would walk through the streets of Fayford giving her beneficence to her new tenants. Instead on arrival she is greeted by her husband's corpse laid out in the great hall, a paltry indoor staff of three she can't bear facing, and the new knowledge that the villagers view the house as cursed and won't even deign to work there let alone accept anything from her. In fact the only person who has come to view her husband's body is the local preacher, Mr. Underwood. So here Elsie will waste away with only Rupert's cousin Sarah for companionship and the occasional visit from Mr. Underwood. But then there are the noises in the night. A hissing sound the cook writes off as the cat, or perhaps a nasty nest of squirrels. Only when Elise finally enters the locked room from whence the sounds came she finds no squirrels.

There are two eyes looking at her. She thinks it's a painting but it's "as if someone had cut the figure out of a painting and mounted it on a plank of wood." Elsie is intrigued by the figure that oddly looks like her, whereas Sarah is taken by the two slim volumes next to the figure, the diary of her ancestor, Anne Bainbridge, who was the doyenne of The Bridge when King Charles I and his wife visited in 1635. As uncanny happenings increase after the finding of the figure, with rooms changing and shifting, figures multiplying and poses changing and eyes following the two volume diary of Anne Bainbridge might hold the answers. Because it was in 1635 that The Bridge got it's nasty reputation of losing it's heirs, leading it to be left abandoned for years and years on end. Elsie laments that her life is starting to read like a bad penny dreadful. Only is this really happening? Perhaps the answers that Sarah finds about Anne and her husband Josiah, and their daughter Hetta, their miracle child who unnerves the servants and is otherworldly, and the Bainbridge Diamonds, will stop whatever is currently happening at The Bridge. Because it was Anne who brought these "silent companions" into the house. A trompe l'oeil treat bought in Torbury St. Jude that was just the thing to please his majesty. Or perhaps Elise is mad. Left silent in a sanatorium after her experiences at The Bridge.

I have a friend Matt. We've often joked that we should do a podcast because we literally do not agree on anything. Any book I love he hates and vice versa. Therefore it came as a shock to both of us to discover we agreed completely on The Silent Companions. I don't know what stars aligned or what parallel universe we entered, but we came to a consensus; we both thought it should have been more. The silent companions themselves were lacking. I think this has a lot to do with whomever wrote the cover blurb. Shame on you! When Elise opens "a locked door, beyond which is a painted wooden figure - a silent companion - that bears a striking resemblance to Elsie herself" I know every single person reading that thinks wooden weeping angels. There is not a single person who thought that the silent companions were basically set flats. I'm sorry, but set flats aren't scary. No matter how much they "change" or "multiple," cut-outs dragging their wooden selves across now deeply grooved floors doesn't inspire any kind of chills going up and down my spine. In fact I found them bordering on laughable. I don't know if this is because I am inured to cut-outs due to the popularity of having a cut-out of an actor from your favorite TV just chilling about your house or because I worked in theater... but the fact of the matter is, I was underwhelmed. By it all. I was sold by the blurb and the reality came nowhere near that frisson of fear I had the first time I read the synopsis.

Reading this book around the same time I was watching the new Netflix adaptation of The Haunting of Hill House I realized there was one area in which this book succeeds which I think is vital to the success of any true book purporting to be Gothic, and that is Laura Purcell nailed the sense of place. She nailed The Bridge and because of that there is a lot that can be forgiven plot wise. In fact, as I discussed this book with my fellow book club members I posited that I think I could actually draw the blueprints for this house. If there's one thing that I hate it is when I read a book and I can't get a good sense of the surroundings. I need to ground the characters in their setting. This book took it to a new level. Not only did I have the sense of the house, the house became a central character to the book, which I think was necessary for the narrative. That is why I compare it to The Haunting of Hill House. While the buildings have supernatural elements and events, you can still know where everything is and therefore when it changes, even subtly, you know something "other" is going on. Thinking on this further, and tying it into the set-piece like nature of the companions themselves, I wonder if there's a theatrical aspect that this book is embracing. Everything laid out just so so when it goes off the rails, you know where you were supposed to be but aren't any longer.

Enough about what I liked, an aspect of the book that really annoyed me was that Laura Purcell has an elliptical storytelling style. She drops potential plot points and red herrings all along the path and maybe one or two are actually resolved. I know there are people who say, but that makes the book more realistic, not having everything tied up in a neat little bow. To them I say, that's why I read books! Because unlike in real life everything can have a resolution and you won't be grumbling about what exactly happened in the heroine's past. Because really, there is a lot of heavy-handed doom and gloom about what went on in Elsie's life prior to her marriage. Abuse allegations about her parents, the struggling match factory, and her relationship with her brother... and yet not a single one of these is dealt with. We don't even really get any sense as to why Rupert married her. And I think the event that then catalyzes the entire narrative of the story should at least be discussed don't you? What annoyed me most though is that the book drops hint after hint that Elsie's much younger brother, Jolyon Livingstone, was perhaps her son. It would explain the strain in her relationship with her parents, whether Jolyon was the product of incest, again strongly hinted at that would be firmly rooted in the Gothic, or whether they were just forced to raise their grandson as their son, it would explain a lot. But nope. Nothing whatsoever is elucidated and for a minute I thought the book could be completely written off.

But Laura Purcell finally delivered! It's amazing how the final few pages of a book can retroactively fix many of the issues you previously had. And yes, I'm looking at you The Circle. Sure, there are all these threads left dangling, but the most important, the crucial thread was picked up and given a tug. I was wonderfully surprised that one of the many plot points Laura Purcell set up actually paid off with a little twist at the end. And no, I am not going to spoil it for you because you'd be able to pick up the one important thread at the beginning and not follow all the ones that are cut short. Yet I will say that what I liked most about this twist was that it took several of the unnatural occurrences at The Bridge and put it on one character's shoulders. Everything weird and uncanny tied back to one character. What's more, this had the added benefit of tying the two timelines together. Often in books with two timelines so far apart, two hundred years here, authors tend to have the past inform the present but not really carry anything over of importance from the past. Here that's different, and I think that is what raised this book up to being a satisfying read while also firmly classifying it as Gothic. So while this might not have been everything I wanted it to be, it surprised me in the end because the author broke her pre-established patterns and gave us one satisfying answer.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Elliptical, Going Gothic, Gothic, Incest, Laura Purcell, Netflix, Sense of Place, The Circle, The Haunting of Hill House, The Silent Companions, The Weeping Angels, Theatre, Victorian

Voodoo Dreams by Jewell Parker Rhodes
Published by: Amazon Digital Services LLC
Publication Date: 1993
Format: Kindle, 404 Pages
Rating: ★
To Buy

Marie Laveau has spent her life in the swamp. Surrounded by nature and the enfolding arms of her Grandmere. Yet she's always wondered about her Maman, the other Marie. The truth, which her Grandmere hides from her in the comforting lie that her daughter, Marie's Maman, is off in New Orleans and has no interest whatsoever in her daughter, is that Marie's Maman died at the hands of an angry mob while she publicly practiced Voodoo with her partner in crime, John, a Voodoo priest. If only Marie had the ability of foresight she could have lived in ignorant bliss all her life, instead the world she grew up in starts to shrink, her Grandmere's lap is no longer inviting, and the siren call of New Orleans and her Maman is always present. Eventually her Grandmere relents and they pack up their lives and head off to New Orleans. The city presents countless sights and sounds and so many people for a girl raised in the presence of one woman. There are the DeLaviers, wealthy whites, the girl Brigette looking like a princess out of a fairy tale. There is Jacques, a young sailor who falls for Marie. But there is no Maman. Because even now, in the city where she supposedly resides, Marie's Grandmere can not bring herself to tell her granddaughter that her mother is dead. There would be too many questions.

Those questions can be answered only by a select few. Nattie is an old family friend and therefore has many skeletons in her closet. So while Marie at first stays on the straight and narrow, marrying Jacques, taking care of her Grandmere, trying to find work as a hairdresser, soon Nattie helps to lure her away to Voodoo and John. John wasn't just Maman's partner in crime, he was also her lover, and this is the role he wishes Marie to fulfill. She will make him powerful and young again. She will bear him children that will rule over New Orleans. But John is a very bad man. He is only interested in his power, no matter the cost to those around him. Marie is drawn to him. She needs him like she needs air and she will do whatever he wants her to. Locking her up during the day to bring her forth at night as the Voodoo Queen of New Orleans John isn't a true believer, though he takes advantage of the powers of Voodoo. Marie though. Marie scares him a little, because she knows that the power is real. She knows that the spirits talk to her and when John thinks she is performing she is channeling a power greater than any of them. That power scares John and soon it becomes clear; only one of them can survive in New Orleans, and Marie, despite her need for John, is going to make sure she is the victor.

I don't quite know how to describe Voodoo Dreams other than a book I would avoid at all costs. The Emily Windsnap-esque cover design leaves any conception of what you might find between the covers a mere mystery. Needless to say, unlike Emily Windsnap, it is not a middle grade read about mermaids, instead it is about the Voodoo Queen of New Oreleans, Marie Laveau, and is part historical fiction part cathartic sexual predation exorcism for the author, who clearly has many unresolved issues. Having no preconceptions going into this book I was surprised at first by how much Voodoo Dreams reads like so much historical fiction that I love. But any initial regard I had for the book was quickly destroyed by historical inaccuracies, illogical character motivations, just plain creepy and as one of my friends wrote, repellent scenarios, and more than anything, the repetitive writing style. Because I read this book on my Kindle I was curious to see how many times the author used the words "Maman" and "Grandmere." Well, seeing as the book is only 404 pages, coming in at 391 appearances, "Maman" is almost on every page. But the real winner is "Grandmere" coming in at 981 appearances, meaning it's on every page at least twice! Seriously, I never want to read those two words again.

Yet again and again this book would baffle me with what it included and what it omitted. Marie Laveau lived a long and fascinating life. When lifespans were short she lived to be at least seventy-nine years old, and some say, including Ryan Murphy of American Horror Story fame, that perhaps she never died. Perhaps she lived on to die battling the Antichrist or whatever. Therefore it is baffling to me that this book takes place over such a short time frame of Marie's life. We follow Marie's life from 1812 to 1822, with a few little snippets starting each chapter from her deathbed in 1881. So instead of seventy-nine years we get ten. And most of those ten are her just hanging out in the swamp with her Grandmere... Why would you choose such a fascinating and underrepresented subject for your book and then constrict yourself to a narrative of only a few years? What's more, her power, her rise to power are almost background noise to the solipsistic narrative that traps us inside Marie's head and her thoughts of her Maman and Grandmere. What about her spy network of hairdressers? What about the true power of Voodoo versus the trappings of the religion to con the gullible whites? Why isn't there really anything of Marie on these pages? Why instead are we part of this weird disconnect where even Marie is just an observer of her own life?

In fact, why doesn't this book actually explore the tenants of the Voodoo religion more? There is no place anywhere in this book that clearly states what the purpose or practices of Voodoo are. What about the narrative tradition brought down through the generations from Africa and the Caribbean? Because I really don't know anything about Voodoo. I don't believe in any organized religion and I kind of let my blanket disbelief cover all religions. If I don't believe in the one I was raised in, I don't believe in others. Yet Voodoo seems fascinating in that so much of the followers history and culture is tied into it therefore I would be interested to learn more, even though I will still be a non-believer. This book is so long and, let's put it nicely, long-winded, and there should have been some place to put in these details but instead I was just grateful that I read Voodoo Dreams on my Kindle because my Kindle means I have access to Wikipedia, and therefore any term or folktale character I could just look it up and fill in the blanks myself. Here's a sign of a bad book, when the reader is spending more time on Wikipedia trying to learn about basic worldbuilding you should have included in your rambling narrative but didn't seem to find the time.

But the most baffling inclusion in the book is the DeLaviers. The DeLaviers are a family that Marie first encounters when she and her Grandmere arrive in New Orleans. The kindhearted Louis spends his life married to his cousin Brigette while pining for Marie. He is also the one writing in his journal on her deathbed while Marie tells the story of her life. Or in this case the heavily edited cliffs notes version of her life. I would say Bowdlerized, but seeing as I'm about to start talking about incest... that would be a vulgarity Thomas Bowdler would heartily disapprove of. Yes, so onto the incest... Brigette's lover and eventually the father of her child is her brother Antoine. I have no idea if these people really existed or are an entire figment of the author's imagination, but either way, why are they here!?! What purpose do they serve the narrative? Is it to show the decadence and double standard of the wealthy elite in New Orleans? Because I think she could have done so without resorting to incest. Again, this secondary storyline takes up chapters that could have been devoted to actually learning the tenants of Voodoo, or even giving some idea of what the city of New Orleans was like during this time. Instead we are stuck in a suffocating room with a guilt ridden woman pregnant by her brother for no reason I can see.

Though this book does specialize in the creepy sexual encounters that will make you want to take a bath in carbolic soap or perhaps even bleach. I will place a trigger warning here, because dear me, I so wish I had been warned. The first of the really creepy encounters with John, the Voodoo priest who will use Marie to rise to power, is when she is a girl of twelve and he comes out into the swamp and fingers her. OK, so that's, yeah, that's gross and child molestation, but it's passed off as maybe a dream, but it so isn't. Oh, but John's creepiness doesn't end there, oh no. Later when Marie is fully under his control and she never leaves their house in New Orleans she bears him a daughter. A newborn daughter he takes out into their little courtyard behind their house and holds in his arms and then starts fingering her vagina while his enormous erection is described. In detail. Until he cums. I actually felt psychically ill. I in fact am physically ill just writing this. To molest your newborn!?! What the hell!?! Why is this in the book? Yes, we've seen the evil ways of John throughout the book, but this seemed like a step too far on the part of the author. It wasn't narratively needed to drive Marie to kill John, it was extraneous, egregious, and just too much. While there was a part of me that kind of liked the book up until this point, every single shred of any positive emotion went directly into pure hatred. This book is beyond repellent. It is odious and every fiber of my being hates it.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Africa, American Horror Story, Caribbean, Child Molestation, Going Gothic, Grandmere, Incest, Jewell Parker Rhodes, Maman, Marie Laveau, New Orleans, Ryan Murphy, Voodoo, Voodoo Dreams

The Rebecca Notebook and Other Memories by Daphne Du Maurier
Published by: Virago Press
Publication Date: 1981
Format: Paperback, 180 Pages
Rating: ★★
To Buy

From first hearing of the abandoned estate to several failed attempts to finally glimpse the house, Menabilly captured Daphne's imagination. She would eventually sit for hours on the lawn, gazing at the boarded up house imagining what once was and what ghosts might lurk there still. The seeds for Rebecca were thus planted and came to fruition years later while stationed with her husband in Cairo. She mapped out her story, staring an unnamed heroine and her husband Henry and the ghost of his dead wife haunting them still. Du Maurier was inspired by Cornwall and Menabilly, but her inspiration came from her family as well. The lauded author and grandfather she never knew, George Du Maurier, to her father, the famous stage actor, Sir Gerald Du Maurier, to her "uncle" J.M. Barrie. She was surrounded by artistic genius and it almost seemed predestined that she would make a name for herself in her own right. But seeing her name in lights? That was a humbling experience for the author. She longed for the days when authors would disappear behind their work and let it speak for itself. Yet, if called upon to give her opinion, despite her caustic wit tearing other authors to shreds for doing so, she would give it, without censor. Daphne Du Maurier might be remembered most for Rebecca, but that's not all she was.

Years ago, when I rediscovered Daphne Du Maurier by stumbling on a hoard of books at my local used bookstore I took to the Internet to see what other works she had written that were no longer in wide release, especially in the United States. That is when I first heard of The Rebecca Notebook. Not only is Rebecca the seminal work of Du Maurier, but one of my most favorite books ever. Therefore I needed The Rebecca Notebook to get further insight into Du Maurier's masterpiece and was willing to pay the exorbitant shipping from England in order to learn more about one of my favorite books. So was it worth it? Yes and no. There are insights to be learned but with the "other memories" there is a lot of filler, which is saying something as this slim volume is only 180 pages. I felt that seeing as Du Maurier cherry-picked essays from her back catalog she should have stuck with pieces relating to Cornwall and the house that inspired Manderley, as "The House of Secrets" is a wonderful little piece showing the genesis of Rebecca and has the lyricism of her fiction, which is sadly absent in her non-fiction, making it clunky and often painful to read.

As for "The Rebecca Notebook" itself? It's interesting to see how she plotted her writing chapter by chapter, showing what big reveals needed to happen when with snatches of dialogue she had hoped to use. Yet at the same time I feel this only truly interesting to writers or lawyers. Why lawyers? Because Rebecca was at the heart of a plagiarism case and "The Rebecca Notebook" was brought forward as evidence for the defense. This fact makes me leery of the veracity of the notebook. I don't doubt that Du Maurier wrote Rebecca and it was all her own creation, but I do doubt the notebook... it's a bit too convenient to have a chapter by chapter breakdown of the book being questioned. Yes, it could be real, but it could also be fabricated. I know this might seem very cynical of me, but Du Maurier was talented but also, as evidenced in her writing, she was devious. So it's more a compliment then a criticism to say that she fabricated this entire notebook just to win a court case. As for the book that supposedly was similar to Rebecca? Edwina L. MacDonald's Blind Windows? I'd really like to get my hands on a copy to see for myself the similarities but the book is lost to the mists of time.

Yet for how technical "The Rebecca Notebook" is and how depressing Rebecca's original "Epilogue" with the second Mrs. de Winter and Maxim, originally called Henry, were disfigured by a car accident, there was a very interesting reveal. Between these two pieces you see that Du Maurier had originally planned Mrs. Danvers to be insignificant. She is almost irrelevant until they need her to dig out Rebecca's planner and show that Rebecca had an appointment in London on the day she died leading to the reveal that Rebecca was dying and her greatest fear was pain. While this is very important to the resolution of the story not having Mrs. Danvers looming over the second Mrs. de Winter the whole time makes Rebecca an entirely different book! That this mousy second wife would just accidentally choose the same portrait Rebecca did to emulate at the masquerade? That seems unlikely. To have Mrs. Danvers push here to do it? Evil genius! There's a reason Hitchcock took Mrs. Danvers even further to her fiery end, it's because he knew that she is the linchpin that holds Rebecca together. Of course I disagree with what he did, but that doesn't mean he wasn't right in the significance of this one character.

As for the filler that makes up the rest of The Rebecca Notebook? In my mind it's best avoided. It's not just the fact that Du Maurier isn't the best writer when it comes to nonfiction, it's that she sometimes reveals things you really didn't want to know. A theme she keeps returning to is her family, from the more direct tales about her grandfather and father, "The Young George du Maurier" and "The Matinee Idol" respectively, to her ideas on love and the importance of family in "Romantic Love" and even to what it is like to lose love in "Death and Widowhood." While she tries to paint it as a lovely family unit, it's really a fucked up family unit. Seeing as she views Emily Bronte dying months after her brother Branwell from a cold she caught at his funeral romantic and just, because obviously Emily couldn't live without her "genius" brother, an opinion only held by Du Maurier I might add, gives you a hint at where she's going. And yes, she's going straight towards incest. And it's interesting to point out here that the only time she refers to it directly and not obliquely she refers to it as something "denied to us." Like we'd all be clamoring like Lannisters if it wasn't a sin? Eww. Just no.

Even putting aside the whole yeah incest, she has a lot of politically incorrect views. Yes, you could say she's a product of her time, but her stance against religion would have been viewed divisive even in it's day. As for comparing the stigma of widowhood as similar to the oppression suffered by people of color, I'm going to pretend I never read that. It's just SO offensive I can't even and that's why I've now categorized her as one of my favorite authors with reservations. I have many authors on this list, Lewis Carroll is one because he was a pedophile. J.M. Barrie, interestingly enough the adoptive father of Daphne's cousins, is another pedophile. Daphne's cousin Michael Llewelyn Davies, the favorite of Barrie's, committed suicide, which should easily prove the whole pedophile charge to any doubters. But my problem is I had already read and fallen in love with Alice's Adventures in Wonderland, Peter Pan, and Rebecca long before I learned anything of these authors personal lives. And unlike authors like Orson Scott Card and the dog whistles peppered in his writing, these authors work stands apart. You wouldn't know anything about the ick factor of their lives unless you read up on them, or in the case of Du Maurier, read their non-fiction. Sometimes ignorance is bliss. But I prefer in the end to be an informed reader.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Daphne Du Maurier, Du Maurier December, Family, George Du Maurier, Gerald Du Maurier, Incest, J.M. Barrie, Lewis Carroll, Mrs. Danvers, Pedophile, Plagiarism, Rebecca, The Rebecca Notebook and Other Memories

Heart-Shaped Box by Joe Hill
Published by: William Morrow Paperbacks
Publication Date: June 18th, 2013
Format: Paperback, 400 Pages
Rating: ★★★★
To Buy

Judas Coyne acquired quite the reputation as a death-metal rocker. His love of the macabre has resulted in a unique collection of grim occult artifacts. Those from ardent fans and those he has sought out himself. From cooking for cannibals to a used hangman's noose, though perhaps the oddest item in his possession is an honest to goodness snuff film. But he doesn't have a ghost. Jude's assistant Danny discovered the listing on an online auction house. A woman is selling the spirit of her step-father which she is convinced has attached itself to his Sunday suit. This is bona fide proof of the afterlife and Jude wants it, buying it immediately for $1,0000. If only he knew why this suit was for him and what would happen once it arrived at his New York farm in a heart-shaped box. There is no doubt that the suit is haunted and the ghost is a vengeful spirit set on destroying Jude. Because Jude hasn't just spent his life collecting supernatural specimens, he has also collected groupies. Each named after the state they're from he hopes one day to have a complete set. His current squeeze is Georgia. But the ghost? The ghost is there because of Florida. And the ghost won't settle until Jude, Georgia, and anyone close to them is dead. The couple set out on a road trip with Jude's two dogs, Angus and Bon, in tow. They aim to exorcise the poltergeist. But will it kill them first?

Every once in awhile you stumble on a book that you know is flawed, you no it's not perfect, in fact you have many issues with it, but it's still somehow the right book at the right time and you devour it as fast as you can and enjoy the ride. For me that was Heart-Shaped Box. I had just finished reading the abysmal Newt's Emerald and, masochist that I am, had heard that the original e-book version was different than the printed version and as I already had it... I therefore tortured myself by reading the EXACT SAME BOOK. TWICE! Picking up Heart-Shaped Box after this experience was a relief. I should have realized once I started the book that Joe Hill was Stephen King's son, because the book had the same feeling, that quality of fast food, you know you shouldn't, but you crave it and enjoy it the whole time and then wonder at the end if perhaps it was worth it. For me it was. This book tapped into a more modern Gothic sensibility than Shirley Jackson. Shirley Jackson's writing is timeless, whereas this felt more of the moment, of the now. I don't think it will stand up over time but it does capture the time in which it was written, the feel of the American Gothic of that precise moment. Of music and road trips and hauntings from memories and past sins and actual real ghosts. Oh, I was SO ready for this book.

Because while this is a ghost story at the same time it's not really a ghost story. Like his own father, Hill explores the idea of what exactly ghosts truly are. Because while Jude is literally being haunted by the ghost of Craddock he is also haunted by his past, mainly his own father. Yes, Hill went there, much like his father did with Jack Torrance's daddy issues, but with the added irony that King is his own father... oh, can we say meta? Which is why Jude isn't able to defeat the actual ghost without confronting his own ghosts, by going home again. In a messy final act Jude is able to defeat Craddock by confronting the life he ran away from. Because memories, past experiences, emotions, they imprint on us and the world around us, they leave a residue. I always think of the Torchwood episode "Ghost Machine" where the team encounters "ghosts" which turn out to be fragments of emotion and memory imprinted on time. As Captain Jack says: "Human emotion is energy. You can't always see it, or hear it, but you can feel it. Ever had deja vu? Felt someone walk over your grave? Ever felt someone behind you in an empty room? Well, there was. There always is." That episode was able to shift my perception of the paranormal so that I was able to appreciate what Hill himself is doing in his approach to the concept of ghosts.

Yet for what the book got right it is flawed. In several regards, but to me and most members of my book club the biggest flaw was in the treatment of animals. If you are at all squeamish about animal abuse... this book has a lot of troubling incidents not for the faint of heart. I mean, yes, you should know what you're getting into, this is Gothic Horror, but still, animal cruelty is a whole separate kettle of fish. I seriously think I could handle the most graphic of depravities humans can inflict on each other but if a puppy or kitty dies, I can't deal. So know this going in, Angus and Bon are going to die. Horribly. Both from gunshot wounds protecting Jude as his familiars. Yet their deaths could have been noble if Jude had deserved their sacrifice. Because throughout the book, even before his trouble with Craddock, he treats these lovely dogs like shit. THAT is unacceptable. These dogs love him blindly and as is obviously apparent, he was unworthy not just of their love but any love. This story, to an extent, has a redemptive side, but I think there is no redemption for someone who mistreats animals. More than that, both dogs didn't have to die. Angus survived the initial fight that killed Bon and IF he had been taken to a vet and not thrown in the back seat of Jude's car, there was a chance. But he's just left there in pain to bleed to death. That's unacceptable.

But then again Jude and Georgia do some of the stupidest things imaginable. They never do what's logical. Then again, does anyone in horror do anything logical? There's a reason the Scream movies, poking fun at the stupidity of the horror genre, were so popular. Why would they take Angus to the vet when they don't even go to the hospital for Georgia's finger. This is perhaps the most vomit inducing aspect of the entire book. Georgia pricks her finger on a pin attached to Craddock's haunted suit. It quickly goes septic. The details are kind of lavished on this disgusting injury. Instead of going to the hospital she spends much time ignoring it or sucking on it like a little child with a wound. I'm not even going to address the issues that insight brings to light, but just harp on about the fact she never went to a hospital. I mean, she was convinced it was supernatural so that obviously it would only get worse until they defeated Craddock. How does she know this? Yes, she's kind of zoning out occasionally and watching snuff films in a trance, but I personally would demand an examination by a medical professional prior to blaming it on spirits. Who knows what could have been put on that pin as a secondary offensive attack? Plus. Just too much eww for me.

The nail in the coffin though, as it were, is that in the end this book is predictable. Because the trope that is the card played too often is sexual abuse, this time used with a side of incest. Obviously Florida had to have had a horrible upbringing to have her kill herself and to have Craddock have a need to exact revenge, but is sexual abuse the only trauma available? It certainly seems that way from all the books and TV shows and movies that go to that explanation. What I wouldn't give for say a serial killer or a cult, anything that doesn't go straight to the creepy sex place. But I think the reason why it always comes back to sexual abuse is because this is the worst it could be. Everyone can imagine the horror. Everyone can imagine the shame however unwarranted. Everyone can imagine it and wish it away. In fact, I wonder, how many people, when asked what their worst nightmare was wouldn't say sexual abuse? Hill though has a need to compound the creep factor by having Florida's sister complicit in the abuse and even offering up her own daughter to Craddock. This takes it to a level of creepy that I just don't want to go to. But more than that, I felt that because of who Jude is, because of the damaged women he drew to himself, it was just too expected. So while this book is a journey I enjoyed, it wasn't one that was always scenic and unexpected. Like a commute, there are some days it feels nice, familiar, but in no way was it unique.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: American Gothic, Animal Cruelty, Captain Jack, Going Gothic, Haunting, Heart-Shaped Box, Incest, Jack Torrence, Joe Hill, Judas Coyne, Newt's Emerald, Sexual Abuse, Shirley Jackson, Torchwood

Murder is Easy
Based on the book by Agatha Christie
Starring: Steve Pemberton, Shirley Henderson, Sylvia Syms, Benedict Cumberbatch, Lyndsey Marshal, James Lance, Tim Brooke-Taylor, Camilla Arfwedson, Hugo Speer, Anna Chancellor, David Haig, Margo Stilley, Jemma Redgrave, Russell Tovey, Stephen Churchett, Steven Hartley, and Julian Lightwing
Release Date: July 12th, 2009
Rating: ★★
To Buy

Miss Marple is on a train when she meets a very distracted female passenger on her way to London, a Miss Lavinia Pinkerton. Miss Pinkerton is distressed about the possibility that Scotland Yard closes for lunch because she has to talk to them because she believes there has been two murders in her town. Miss Marple isn't sure what to make of her, but Miss Pinkerton's parting words that murder is easy if no one thinks it's murder makes Jane pick up Miss Pinkerton's discarded newspaper, The Wychwood Gazette, to read about the tragic death of the Vicar due to bees. A few days later when she reads of the death of Miss Pinkerton on an escalator in the London Underground Jane packs her bags for Wychwood and is determined to get to the bottom of Miss Pinkerton's suspicions. Arriving for Miss Pinkerton's funeral claiming to be an old friend Jane is soon taken into the community's confidences about the upcoming election concerning Major Horton, James Abbot, and Dr. Thomas, the other recent accidents, the secret trysts, and the nosey yet attractive American who is visiting. Though one of the town's residents sees through Miss Marple's act. Luke Fitwilliam is ex police and is back in Wychwood to clear out his mother's estate and can tell when someone is lying. Miss Marple comes clean, dropping her doddering old lady act and the two of them set out to solve these crimes, another of which has just been committed as Dr. Humbleby drops dead of acute septicemia. Can they catch the killer before even more "accidents" happen?

By the time Julia McKenzie quietly sidled in as Miss Marple taking over from fan favorite, and apparent belligerent drunk Geraldine McEwan, there were only four remaining books and two short stories containing Miss Marple left to adapt. Well, when a series runs to twenty-three ninety minute movies and is drawing on a base of only twelve books staring a character, liberties will be increasingly taken. While this started with McEwan, having Marple show up in four stories she had no right to be in, McEwan somehow pulled it off, nosing her way in. Whereas McKenzie was more passive, just a figure in the background as the series took more and more liberties with the mysteries, heavily expanding and changing them, much to the audience's displeasure. While I'm a fan of McKenzie, she is an incredibly talented actress, she just didn't have the oomph to force her way into these new narratives. I felt like this was the slow death of Marple... it didn't surprise me in the least when the BBC took over the Christie franchise and quickly put Marple out of it's misery. It was a pale imitation of what it once was, whereas Poirot had only gotten better over the years and ended on a high note. Therefore it should come as no surprise that I had actually, until rewatching Murder is Easy, entirely forgotten this episode. The fact that Benedict Cumberbatch was in an episode of Marple was pretty much a surprise to me. But in no way an unpleasant one.

Personally I never got the Christie purists who complained about the changes. Until now. Changing one or two things isn't a crime, but here? They took a solid mystery and tried to make it more modern and more Christie simultaneously by adding in incestuous rape and then having all the suspects rounded up for the big reveal. The mystery worked fine as originally written and would have featured FAR more Benedict Cumberbatch if his character hadn't been relegated to Miss Marple's sidekick. But even if Benedict hadn't been playing the role of Luke Fitzwilliam if you think my favoritism is swaying my opinion, if it had been anyone else, the changes just don't work. There is barely a shadow of the original story. Murder is Easy was written to be about a rather witchy town with lots of people who are at odds, all of them a bit of an outsider, instead we have a happy little village where on the surface everyone is getting along. Yes, they still have dark secrets, but they were bland. It was all who was sleeping with who and not who was doing Satanic rites up on the hillside. And the problem I have is that there are so many actors whom I legitimately love in this, but throwing a whole bunch of celebrities onto the screen isn't going to solve a production that had the temerity to think they knew better than Christie. This adaptation just doesn't work. All the changes throw the dynamics of the narrative off so that you can't actually enjoy watching it.

Each and every change to a character has a ripple effect until at the end the calm stream becomes a massive waterfall. I just want to shake the writers and scream WHY in their faces as long as my breath will hold. They could have just slipped Jane into the story, not changed EVERYTHING. As a starting point let's take Luke Fitzwilliam. Luke is supposed to be the stranger, the interloper that Jane becomes. By having him be a local KNOWN to be ex police, well the who idea of subterfuge and a secret investigation is out the window. The narrative instantly because about Miss Marple being cleverer than the cops with her sitting smugly behind doors from where she's secretly running the interrogations. I mean, it's just a boring police procedural at this point, NOT a classic of crime. Bridget Conway, the love interest, becomes not a local engaged to the big MP, but an American looking for her real parents? Um, why!?! In fact there's only TWO DEATHS, out of the seven in the book that happen the same way. What, those seven different accidents weren't good enough for you ITV people? Apparently death by bees is far sexier... and I'm not even going to talk about the stupid hat dye.

But what makes this adaptation utterly unbelievable is the change of the timeline. In the book aside from the final three deaths they are spread out over a longer period of time, about a year or so. Having the characters be killed by "accident" over the course of a year, well, that makes it more plausible that no one would have cried foul. But to have all these people "accidentally" die over the course of a few days!?! Well, even the ever delightfully bumbling Russell Tovey as PC Terence Reed should have cottoned onto them all being camouflaged murders even without Miss Marple appearing on the scene. I mean, seriously, that many bodies so quickly? And they didn't think, hang on a minute, do we maybe have a serial killer!?! By this point I was actually hoping they'd all die for their stupidity except for Jemma Redgrave who was oddly endearing as the Doctor's manic widow. And the fact that besides just a regular PC there was Luke Fitzwilliam on the scene, a true officer of the law, how stupid are these townspeople? The only real joy I got from this episode was watching Russell Tovey and Benedict Cumberbatch work together. After watching them recently on Sherlock, it's fascinating to see how in just four years they had grown as actors.

In the end though I just want to know, why the change of motive? In the book Honoria Waynflete is a bitter woman pissed at being jilted and seeing her family lose their fortune, but underneath it all she was just insane. She killed just to kill, which is the most terrifying of criminals. Here she was raped by her brother and had the baby and put it up for adoption. When the baby, all growed up, shows up in Wychwood, well, ANYONE who might have known her horrid secret must be killed. It all kind of eliminates the evil... because the killer was a victim who was only trying to cover up a horrible secret she's kept hidden for years. She is sympathetic, to an extent. But you can at least understand the motive... It just makes the story less than. A classic full of sinister townsfolk or a tragedy that has repercussions for years to come... I wanted a mystery, a proper tale of criminals and instead I got this. It just didn't feel worthy of Christie. It comes from modern sensibilities that want to understand and feel pity for the killer. There can't just be evil, that is now reserved for the realms of horror. A mystery has to be complex and understanding and despite being the bestseller of all time ITV felt that they knew better. Personally this was the end of Marple for me, and if I could give one final piece of advice, if would be to Luke Fitzwillim; don't get involved with the girl. She's the product of incestuous rape and her mother was a serial killer. Crazy runs in her family so now you go and run for the hills.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Adaptation, Agatha Christie, Alterations, Benedict Cumberbatch, Benediction, Geraldine McEwan, Incest, ITV, Julie McKenzie, Marple, Miss Marple, Murder, Murder is Easy, Poirot, Rape, Russell Tovey, Sherlock

The Shadow of the Wind by Carlos Ruin Zafon
Published by: Penguin
Publication Date: 2001
Format: Paperback, 487 Pages
Rating: ★★
To Buy (different edition than one reviewed)

There is a secret organization that lovingly cares for and protects rare and old books. The Cemetery of Forgotten Books has a tradition, that when you are first brought to the labyrinthine structure you must pick one book among the thousand of thousands and protect it for life. When young Daniel Sempere is taken there by his father he picks up a book by Julián Carax called The Shadow of the Wind. Daniel devours the book from cover to cover and has a fire burning inside him to know more about Julián Carax. But there are no other books by Julián Carax anymore. A man who has taken his moniker from the devil in Carax's book, Laín Coubert, has slowly been finding every copy of all Carax's titles and burning them. Daniel, along with his sidekick Fermín, start to unravel the mysterious life of Julián Carax and why anyone would want to remove his literary oeuvre from history. It is a journey that is dangerous and dark, with a twisted secret at the center of it.

Ever since I first watched The Neverending Story I thought how wonderful it would be to find a book that was truly magical. To wander into a shop filled with shelves and shelves of stories and have one call out to me and ask me to be the bearer of it's secrets. I think this is a dream that all bibliophiles hold deep in their hearts, that there is a story out there just for them and it will change the course of their lives. It seemed to me that Daniel Sempere, much like Bastian before him, had inadvertently stumbled into this dream. Devouring this book over the course of a few short days I realized that not every dream is satisfactory, and in the hands of the wrong author, can be dull, predictable, and at times insipid. And I would like it noted I devoured this book because I had a book club meeting fast approaching and it had nothing to do with the book itself. And to all those people who lauded this book I seriously want to ask you why!?!

Firstly, let's talk about incest. This has become, in recent years, the most overused trope I can possibly think of. I mean they even used it on a CW show! If a trope has trickled all the way down to be acceptable by the brainless teenagers who actually watch this station then it's time to get a new trope. From Flowers in the Attic to A Game of Thrones, seriously, is this supposed to shock us anymore? Sure, once it was a great taboo, and in actuality, it still is, but fictionally? Nope. To have the big reveal of what destroyed Julian Carax's life was his love of Penélope Aldaya, whom he didn't know was his sister, was laughable. All this build up, all these leads that Daniel Sempere searched and hunted through all the streets of Barcelona to come to this? Oh please. It's not like they knew they were siblings. Sigh, what some people find as a shocking reveal can be shockingly flat.

The predictability of The Shadow of the Wind might just be the biggest flaw. I saw the incest coming a mile off, just one scene with Penélope's father and Julian's mother and that was that. Of course it takes the characters hundreds of pages to get to this reveal which leads to my other main gripe, the lack of forward momentum. You'd think that a man hunting you down through the streets to destroy a book you are bound to protect all while trying to find out his reasoning would be a headlong rush with adrenaline pounding in your veins. You'd be wrong. It plods and limps through the streets of Barcelona occasionally even going back on its self to retell things that were boring the first time. Oh, and the stupidity of the characters! Just wow. The height of this is when Nuria Monfort tells her side of the story, which was basically her retelling the whole book from her point of view! Almost a hundred pages of her being repetitive. Also, what really annoyed me, she supposedly wrote this all out by hand when what was her job? A secretary who could type really fast! And what did Daniel mention seeing in her apartment the first time he was there? A typewriter! Oh, for fucks sack. They all deserved to die.

But let's move to the bigger picture now. At the time directly preceding the actions of Daniel Sempere the Spanish Civil War happened. Yeah, the war mentioned so subtly you could miss it wasn't World War II, because Spain remained neutral during that specific war. And despite what Wikipedia might try to convince you, the war is just the subtlest of afterthoughts and is in no way as important as it should have been to the narrative. I'm not sure if this omission to not discuss the Spanish Civil War was accidental or on purpose. The book was written by a Spanish author so maybe he just assumed that this backdrop was common knowledge. Well, it isn't. A good editor when bringing this book to market in the US should have asked for something more to be slipped in, but then again, I don't really think it was well translated and well, in the end, I really didn't care.

What was interesting though was the discussion this book brought about in my book club as to what defines a book as Gothic. Luckily The Guardian has recently come out with a nice infographic to help you decide, Gothic or Not it. The villain could have been scarier, but the fact that he destroyed things by fire, that could be considered Gothic. The hero had a family AND a sidekick, this is definitely NOT Gothic. Was there spooky locations that might just be haunted... not really. It takes place in slightly olden days in a foreign country, so it's got that. There's snow and some rain and fog, but overall the weather isn't as oppressive as it should be. Overall, it didn't feel Gothic. Because to me, Gothic is a feeling more then anything else. A spookiness you feel in your bones that makes you keep reading late into the night out of sheer terror for what will happen to the hero or heroine next as they are cut off from the world and facing the horrors on their own. In other words, if you actually want Gothic go read Rebecca or The Monk and stay clear of The Shadow of the Wind.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Game of Thrones, Barcelona, Carlos Ruin Zafon, Flowers in the Attic, Gothic, Incest, Julián Carax, Rebecca, Spain, The Guardian, The Monk, The Neverending Story, The Shadow of the Wind

Myself When Young by Daphne Du Maurier
Published by: Virago Press
Publication Date: 1977
Format: Paperback, 176 Pages
Rating: ★★
To Buy

Daphne Du Maurier had a somewhat typical childhood with a-typical interludes. She was taught at home with her two sisters, was finished in Paris, and spent her spare time outdoors with her dogs or indoors reading. A-typically she was the daughter of a famous actor and was surrounded by playwrights and authors and other actors growing up. Therefore a flair for the dramatic was in her blood, and while she made up stories and kept a journal, it wasn't until she was a little older that she contemplated being a writer. She wanted a way to make a living that WAS NOT acting. Retiring and loving solitude over parties, when she finally started to venture to Cornwall her path in life was clear. Her path was to live in Cornwall and write... she just had to make that happen.

I don't want to make a sweeping generalization here, but it seems to me that all female British authors of a certain generation have 97% the same stories of their upbringing in print. This past year I read a lot about the Mitfords and their upbringing. A LOT. Daphne Du Maurier's upbringing could slot right in there easy as can be. I've never really thought overly much on the class system of England, but it can not be denied that people went in sets and you'd see the same group over and over again at parties and shoots. This leads to a sameness of experience in those certain classes. A certain Britishness that carries on as they finish their children in Paris, take jaunts for health treatments, Switzerland or Italy, visit Germany and hopefully not befriend too many people who will become or are Nazis, and then a nice family vacation spot to get away from it all and live the outdoor life.

The more you read these biographies, the more you gloss over. Ah yes, they are now in Paris and sneaking out, the right of passage of  British schoolgirls abroad, which movie will they see? Who will they kiss? Oh naughty they kissed a relative in secret. Now they are outdoorsy, to the hunt! I'm of two minds here. I find it reassuring that there was such a set way of life. So if I was dropped in a time machine during this epoch I'd be all set. At the same time how boring would life be? I mean reading Myself When Young felt like I was reading something I'd already read a long time ago and couldn't quite remember all the details because I'd heard it too many times and had started to consciously block it. What would you talk about with people who all had the exact same life experiences as you? The things that make life interesting are our differences not our similarities. Yes, our similarities might be what bring us together, but they aren't what keep us together. And they aren't what kept me reading this book.

Where Du Maurier differs from her peers is totally in creep value. While she doesn't mention her father much in this book, most likely because she exhausted the topic in his biography she wrote of him, little hints give you the willies. He's overprotective, overemotional, and why is she comparing how he kisses to another kiss she gets? You can see why the incest rumors started. Yet her father is nowhere near as creepy as her cousin Geoffrey. Geoffrey is responsible for her "sexual awakening" at fourteen, when he was in his thirties! Nothing "happens" till they are both older, but eww. Gag me with a spoon. You shouldn't be getting up to hanky panky with people related to you by blood. Especially people who are basically pedophiles, look to her cousins and J.M. Barrie for more proof! Though all this just seems to be water off a ducks back to Daphne as she says her family has a Borgia vibe. Ok, why not just start killing each other then. Please, it would be a relief to what you are getting up to.

But maybe all this human interaction didn't matter to Daphne and that's why it is water off her back. She never got on very well with others and is more at home in nature and with animals, so people can just bog off. Or the cynic could say her experiences with her family drove her from seeking solace with humans and she found comfort in nature. Either way you look at it it's her connection to nature, and to Cornwall in particular, that makes her work resonate. She understood the world around her and this translated into her writing. When you read her work, you are walking towards Menabilly, down that long and twisty three mile drive. You hear the crash of the surf and the cry of the gulls and the screams of the men as the ship goes down. The world around you is so present in her writing that you can't help but feel like you are there with her by your side.

And it's her writing that is when her life really begins. For pages and pages it's the same old story, but once she writes, and I mean really writes, sequestering herself away that, well, in one regard the book fails and in another the book succeeds. It fails because it's a headlong rush to the end and her marriage and the end of this book, but in another regard it's success because everything else falls away and it's just her words on the page that matter now. The stories bursting to come out that have become classics that I, among many other, have adored throughout the years. Who cares if this book is cut short, it was so that the other books could come into the word. She really had a calling to write, but until she found that connection to nature she was bottled up. She was more concerned with curfews and jaunts to Paris then finally setting about making a career for herself. Yet she did make it a career. She stopped faffing about and an author was there all along.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: British, Cornwall, Daphne Du Maurier, Du Maurier December, France, Gerald Du Maurier, Germany, Incest, J.M. Barrie, Menabilly, Mitfords, Myself When Young, Nazis, Paris, The Borgias

The Scapegoat by Daphne Du Maurier
Published by: Virago Press
Publication Date: 1957
Format: Paperback, 384 Pages
Rating: ★★★★★
To Buy (different edition than one reviewed)

John has spent yet another holiday in France walking the history that is his passion and his reason for living. As he gets ready to return to England to teach yet another term at school he looks at all the people and wonders how apart he is from them and if his life of no connections is really a failed life. In the crowd he sees one face he didn't expect to see. His own. The two men, John and Jean, strike up a conversation based on their eerie similarities. They are true doppelgangers. The night is spent drinking and talking and come morning Jean is gone with John's identity, leaving the lonely Englishman an encumbered life filled with family and a failing business. Without really knowing what drives him to it John takes on Jean's life. The bachelor now has a pregnant wife, a daughter, a mother, mistresses, and a complicated life. But soon John doesn't want to leave this new life and if Jean were to decide to return, what would happen?

Daphne Du Maurier has always employed doubling and duality in her writing, but never so obviously as in The Scapegoat. Here she openly embraces the trope of people who have switched places. Though in lighter fare it is done willingly or comedically, as in The Prince and the Pauper, The Parent Trap, and Moon Over Parador. Here it is a situation thrust on John, combining the switching with a case of mistaken identity. Though in any other case mistaken identity would be easier to prove if you weren't the doppelganger of the man they think you are. By combining these two plot devices into one Du Maurier is able to delve into the darker aspects of who we are and what would happen if we tried to escape our life by taking up the mantle of someone else's. 

By having the opportunity of becoming someone else, someone known, what would you do? Seeing as Jean is the one who thrust this situation on John, it's pretty clear that he does this just to amuse himself, a humorous what if. But John, John is more complicated. By going along with Jean he is made complicit in this scheme he doesn't want. Yet being put in a situation where the repercussions fall on another's head means that for the first time in his life John is free of responsibility and guilt and is allowed to make mistakes and be taciturn or angry or whomever he chooses to think Jean is.

John's first embracing of the situation is the fact that he can't be held accountable. Du Maurier here is bringing up the darker nature of humans. What would we do if we could get away with it? For some people it would be anything and everything, theft to murder. Putting someone in this situation is testing their mettle. Given a free pass what would you do? It shows the goodness of John that after the initially heady response of being able to say what he really feels that he tries to better the lives of Jean's family. His deepest desires aren't dark and perverted, his deepest desires are to have connections, to have people to care for and love. At the start of his journey he can't come to terms with his driftless life. He wonders what does he do with failure. After spending time in the shoes of Jean he wonders what do you do with love.

John's question has changed, but the search for an answer is still there. That is what it is to be human. To always be questioning and searching. While John spends his time as Jean picturing him as this evil man who viewed the demands of family as the demands of his "captors" life is never this black and white. People aren't just good or evil, they are filled with grey areas. We have spent so much time with John that we see the world through his eyes now but it isn't till the end, that slight shift in perspective that makes us realize, John's point of view isn't the only one. Life is complicated and messy and we are left with questions, but it is never just black and white.

Speaking of someone living in the grey areas, Du Maurier spent most of her life, and a significant amount of her writing, not just dealing with these weighty issues of the nature of man but as an extended therapy session for herself. She viewed herself as two energies, male and female, which understandably makes her obsession with duality make sense. But there is another force that ruled her life and her work, and that is her father, the actor Sir Gerald Du Maurier. The relationship between Jean and his daughter Marie-Noel is a loving, yet odd and at times downright disturbing relationship. The scene where Marie-Noel asks her father to whip her... I defy you to find a more disturbing image then a grown man being asked by a small ten year old to be whipped for her imagined sins.

The question one is left with is how much did Daphne put of herself in her books? Her father was a dynamic and possessive man. They had a love hate relationship and he often wished that Daphne had been a boy, perhaps starting her duality issues. Incest was often hinted at. It is even believed that perhaps they shared a lover, Gertrude Lawrence. Whatever is and isn't true, one thing is certain, the creepy dynamic that they had is shared with Jean and Marie-Noel, further fanning the flames of what was real in Du Maurier's world and what was play acting.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Daphne Du Maurier, Doppleganger, Du Maurier December, France, Gerald Du Maurier, Incest, Moon Over Parador, The Parent Trap, The Prince and the Pauper, The Scapegoat

City of Ashes (The Mortal Instruments Book 2) by Cassandra Clare
Published by: Margaret K. McElderry
Publication Date: March 25th, 2008
Format: Hardcover, 464 Pages
Rating: ★
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Clary's mom is still in a coma. But her mother isn't her only family anymore. Clary not only has an evil father planning world domination under the guise of the greater good, but a brother in Jace, whom she was starting to fall for, luckily they found out about their shared genes in time, no matter how much they wish it wasn't true. Jace and Clary being the offspring of Valentine has caused quite a stir among the Shadowhunters. Because Clary is new to this "other" world she is basically ignored by the Clave, but Jace... Jace isn't getting off that easy. Until Jace can prove his past ignorance of his lineage and that all his motives where for the good of the Clave he is to be locked up by the Silent Brothers.

While he is detained awaiting his "trial" by the sacred Soul-Sword that will know if he is telling the truth, his father Valentine arrives at the Silent City and massacres the Brothers and steals the sword, the second of the Mortal Instruments. Even if Jace wasn't under suspicion because of his father and being at the scene of another crime, he'd want to get to the bottom of this because it's in his blood as a Shadowhunter to protect the world from the downworlders. Downworlders who are flocking to Valentine as he uses the sword to call them to his side. Can Jace, Clary, and the younger Shadowhunters work secretly for the good of all without being accused of ulterior motives?

I'm sure you've all experienced this phenomena. You're reading a book, it's good bordering on great and because of some reason you set it down. It could be work, it could be prior commitments, it could even be another book you've been dying to read and it has finally come out and you can't wait another minute to start it. But you set down your book and when you pick it back up the magic is gone. There's a part of you that's thinking, it's not the book, it's me, the common refrain of all breakups. You try to make it work, but no matter how hard you try you can't reconnect.

The book is now a chore to read and you're just pushing through, trying to finish, all the while wondering what happened. This happened with me and City of Ashes. In the beginning I was flying through it, surprised by how much I was enjoying it after the first book was, well, wasn't up to my high expectations. I was even able to forgive Clare's habit of unbelievable predictability. She's so heavy handed with the foreshadowing that it's laughable. She telegraphs every punch so that there is no surprise when the blow falls. But I was ok with all this and then I wasn't.

I am not sure if it was the superiority of writing and worldbuilding of the book I forsook City of Ashes for or just that City of Ashes had reached it's apex and was quickly declining, but we irrevocably had a falling out. Yes, it was my mistake to set down this book, because who knows if I would have grown to dislike it as much as I did. I have an inkling that I would, and that inkling is Jace. I hate Jace with the fury of ten thousand suns. He is an unlikable arrogant ass. What's the refrain all good writers should abide by, show don't tell. Having all the characters say that Jace isn't really all that bad doesn't counteract the douchebaggery he's perpetrating on every single page. He's not a misunderstood misanthrope, he's a dick. An unrepentant ass isn't ever going to be a good hero or even an antihero, they're just going to be always an ass. And in this case an ass surrounded by a whole lot of flat two dimensional characters.

But what I despise about Jace is that he's basically the love interest. I was relieved when at the end of the first book that it turned out Jace and Clary are siblings because then Clare could drop this stupid budding love affair. Of course, I can see that they are somehow going to miraculously not be related just so they can get it on, and that is where the book tipped for me, when Jace was brought back as the taboo love of Clary. By having Jace, all be it temporarily, not the love interest I became interested in the book. Clare quickly cured me of all I liked, hence I think our breakup was inevitable.

So about this love. Let's say that Jace and Clary are related and there's no deus ex machina waiting in the wings to make their love acceptable, then we're in familiar literary trope territory, incest! Man, authors love incest, consensual, non consensual, startling revelation, secretive, scandalous, fabulously camp, it's out there from Flowers in the Attic to Game of Thrones to Veronica Mars to Arrested Development. And, it's just overdone already people. Using it as a shocking plot device over and over makes it lose it's shock value.

I could spend hours sitting here just listing all the books I've read or shows I've watched where this was supposed to be a big icky reveal and instead had me rolling my eyes going, oh please, not again. Donna Tartt, Diane Setterfield, Charlaine Harris, George R R Martin have all pulled this and have desensitized me to this trope once and for all. THE ONLY way this trope would have helped this book would have been to permanently part Jace and Clary on the romantic level, but that's not happening, so just, cut it out, ok, it's bad that I just got Dave Coulier from Full House in my head just then... but that's the level this trope has reached... bad and tacky 80s comedian level.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Arrested Development, Cassandra Clare, Charlaine Harris, City of Ashes, Diane Setterfield, Donna Tartt, Flowers in the Attic, Full House, Games of Thrones, GRRM, Incest, Jace, Mortal Instruments, Veronica Mars