strange and random happenstance

Do you ever randomly get an intense need for Wilkie Collins in your life? I assume it's just not me, but then again, it might just be me. Thankfully for me, and hopefully for you as well, there's a plethora of adaptations to fill the void when you just don't have the time to read or reread one of his books. The thing that I love about Wilkie Collins adaptations is that they have this very solid core structure and then the actors have fun imbuing the characters with traits that might not even seem logical but are at the very least original. Just look to Charles Dance and Ian Richardson's different takes on Mr. Fairlie in their respective adaptations of The Woman in White. Both are so delicate yet over the top. They are both brilliant in their own special way. Though in recent years Sarah Hadland as Miss Clack in the 2016 version of The Moonstone might win as my favorite. This version of The Moonstone from 1972 has a charm all it's own. It sticks pretty faithfully to the book and has the distinct honor of having two of the heartthrobs from the day, Robin Ellis and Martin Jarvis, vying for the hand of fair lady. Robin Ellis brings his trademark taciturnity while Martin Jarvis gets to die for annoying me so greatly in The Forsyte Saga. Yes, I keep track of actors who annoy me and take great joy in watching them come to bad ends in other shows. Though there's nothing as satisfying as them dying IN the production they are annoying me in. Yes, I'm looking at you Sam Neill in Reilly, Ace of Spies. Also, if you're a longtime reader of my blog I'm sorry for how much I mention my hatred of that show. I just really hate it. Moving on, this adaptation of The Moonstone very much feels like a seventies adaptation. Which isn't a bad thing. There's something about the sets that date it and give it such a nostalgic feel that I can't help but love each and every second of it. Plus, can I say, that the way they painted the door made SO MUCH more sense than the 1996 version. Why are they painting the outside of the door in the 1996 version where she can't admire it when she's in her room? But that is a mystery not for me but for Sergeant Cuff! And this, I can definitively say, is the best Cuff of the lot. I adore John Welsh. He is a consummate professional and has somehow always looked in his late seventies despite dying at only seventy in 1985. He's been in so many series I honestly couldn't name where I first saw him. And he's literally been a part of Masterpiece since the beginning, playing John Forsyte in The Forsyte Sage with the previously unlamented Martin Jarvis. The Moonstone, along with Country Matters, The Edwardians, The Unpleasantness at the Bellona Club, The Duchess of Duke Street, and To Serve Them All My Days are the Masterpiece shows he featured in only during the first decade of the show! But I personally always refer to him as Merriman, the venerable elderly head waiter of the Bentinck Hotel, from The Duchess of Duke Street. Whenever he shows up on a show it's like seeing an old friend. So even in my bleakest hours lately watching The Citadel, at least when Merriman showed up I knew, for the moment, things were looking up. He just brings such gravity and intelligence to the role of Cuff that I fully believed in the role. Sometimes the casting makes the copper to retired rose horticulturist a tad unbelievable. Here, here I buy it. I buy it all.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Charles Dance, Fifty-Five Years a Masterpiece, Ian Richardson, John Welsh, Martin Jarvis, Merriman, Robin Ellis, Sergeant Cuff, The Duchess of Duke Street, The Forsyte Saga, The Moonstone, The Woman in White, Wilkie Collins

Fingersmith by Sarah Waters
Published by: Riverhead
Publication Date: October 1st, 2002
Format: Paperback, 548 Pages
Rating: ★★★
To Buy (different edition than one reviewed)

Sue Trinder has grown up in Lant Street. She has never left this slummy Borough of London and has never wanted to. She has lived her entire life in the care of Mrs. Sucksby, who makes her living farming babies. But Sue was the only baby that ever mattered to Mrs. Sucksby. They live with Mr. Ibbs, who makes his living in the roundabout manner of taking in dubious goods through the back door and sending it out the front in a slightly different "legitimate" form. The rest of the household is made up of Mr. Ibbs's invalid sister and John Vroom, a man with a love for dog skins, and his simple girl Dainty. This is Sue's world and they are as dear to her as family. One day an acquaintance, known to all as Gentleman, arrives with a plan to make all their fortunes using Sue. Mrs. Sucksby has always told Sue that she would be the making of them all and now Sue has her chance. Gentleman has been posing as an artist, a Mr. Rivers, for a Mr. Lilly, who lives out west in the Thames Valley. Mr. Lilly has a niece, Maud. Maud is where their fortune will be found. Gentleman has been seducing this isolated girl in hopes of getting at her fortune through marrying her but has hit a brick wall; Maud's maid. Maud's maid was their chaperon and has taken ill and now Maud isn't allowed in the presence of Gentleman. Gentleman has decided to fix that. By installing not only a new chaperon, but one that will help him pursue his interests with Maud. With Sue on the inside it is a win win situation. They will compromise Maud, throw her in an insane asylum, and split her vast fortune and live like toffs. What could possibly go wrong? In a world where there are plots within plots, games within games, and you don't know who's playing who, there are a lot of ways this could play out...and perhaps it won't be to everyone's liking.

Fingersmith is an amazing book if you were to redact the final two-thirds of the book. There's only so many times you can see the same events through the eyes of different characters before you start to tune out. But this is a very Victorian trope, like Wilkie Collins's The Woman in White, it overstays it's welcome by several sections. Yet while The Woman in White might have overstayed it's welcome it was always moving forward not dwelling on the same events over and over again. Though this book can't be discounted just for falling prey to the tropes Waters is emulating. She does an amazing job of capturing the seamy side of Victorian London. Sometimes you're reading about other times and think, now that would be a nice place to visit. Not here, not this world. And I think that's what makes the world of the book so real. You feel as if this is probably the most accurate depiction you've ever read of this time period. It's filthy and dirty, it's creaking corset stays on a large woman who never washes herself and the secrets she hides within her bodice. Maud's penchant for gloves, though not of her own doing, at least is some kind of barrier to the grotesques that are discussed. But even they are tainted. The only bright spot is the friendship and love that develops between Sue and Maud. Fingersmith is perhaps most famous because it continues in Waters tradition of depicting lesbianism in different eras. Sapphic love has been around as long as there have been humans, yet it wouldn't have been openly discussed in Victorian times, despite it existing. Here Waters is breaking down another door, going all out with what would be a taboo subject and making it believable and compelling. For all the repetition and all the tropes she falls victim to in her writing of this story there is the other side of the coin. All that she does right. A more accurate depiction of the times, relationships that are real, making us readers see that this world of times gone by was just as real as the "now." Because more than anything, that is what this book does, make Victorian England real.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Confidence Trick, England, Fingersmith, Gentleman, Historical Fiction, Lesbian, Maud Lilly, Mrs. Sucksby, POV, Pride, Sarah Waters, Sue Trinder, The Woman in White, Tropes, Victorian London, Wilkie Collins

I stumbled upon C.C. Aune quite literally at a Wizard World Convention in December of 2018. I had been going to Wizard World Conventions since I first heard about them in 2004 though they had been around my entire life. I could interact with all my favorite geeky celebs! Alan Tudyk, Felicia Day, David Tennant, so many stars! In fact I was star stalking at the Madison convention in 2018. I was stalking Quentin Coldwater, real name Jason Ralph, from The Magicians. But it was a twist of fate that I was there at all. As anyone who has attended a convention knows they are wicked pricey. I was only able to attend because I got a free one day pass. And while yes, getting to meet and talk to Jason Ralph, who is far shorter than I imagined, was fun, the highlight was actually picking up C.C. Aune's The Ill-Kept Oath. The best kept secret about the Wizard World conventions that I hope continue in their new iteration as Fan Expo, is the Artists Alley. Here you get authors, makers, illustrators, any and all people who create selling their wares. You can pick up amazing things for reasonable prices and actually contribute to an artist's livelihood instead of just helping Funko head towards world domination. I have met many amazing people through the years in Artists Alley, one highlight being meeting Peter S. Beagle, another watching one of my friends have a fun time running their own booth. Oddly I think that might have been the same year down in Chicago. Well there I was strolling through Artists Alley and I see this book, this book that looks magical. And I start to talk to the author and I blurt out "YOUR BOOK IS REGENCY MAGIC!?!" She says yes, and the next moment I'm asking her to sign a copy to me, who cares if I can't buy anything else I HAD to buy this. Being at the event, finding this book, it all felt magical. And then I read it and instantly started hounding, very politely, on Facebook for the sequel. And all that has led to this, she was willing to answer a few questions. So I hope you all make C.C. Aune, author of The Ill-Kept Oath, welcome. And also BUY HER BOOK!

Question: When did you first discover Jane Austen?

Answer: Hmm. Shockingly late, considering my work.

I have always been obsessed with historical fiction, nonfiction, and biographies. Also, I'm an Anglophile (not a rabid royal worshiper type, just a history buff), especially because I also do genealogy, and most of my family history is English. The family lines go way back, most of them to the 1400s, and some even further. I've been to Britain several times, once just to do research.

So when the concept for Oath fell into my lap (around 2001), I was predisposed to want to write something super detail-oriented. (That's a whole other topic for discussion.) I was utterly uninformed about regency literature. A writing friend told me about Georgette Heyer. Jane Austen came along sometime after that. (Not to mention Fanny Burney and other authors of that era.) I had missed seeing the famous BBC 1995 P and P, so I had to rent it in bits at the video store!

In short, I'm not exactly sure when I first read P and P, but my Borders Books copy says 2004, so it looks like I must've been writing my series for 2-3 years before I ever read Jane's work! Really shocking! I believe I was channeling Heyer, Dorothy Dunnett (her Lymond series), and Diana Gabaldon as I first embarked on my own writing. And then Jane Austen came along to add the refinement.

I remember quite clearly thinking that I wanted to use the device of writing letters and the delay in communication in 1820 to create the suspense, the drama, and the miscues of the story. I was sitting on my computer thinking how the average reader of 2001 might no longer appreciate how deeply "snail mail" affected lives 200 years earlier. My original drafts were actually epistolary, just Josephine and Prudence writing letters to each other in first person. Sadly, the premise became forced by the second and third books when they can no longer communicate by mail, so I rewrote it using third person structure. I should add that Wilkie Collins' The Woman in White was my real foundation in terms of the first person, epistolary, and document-driven structure.

Question: What do you think Jane Austen would think of her impact with so many literary offshoots, from parody to pastiche?

Answer: For the most part, I think Jane would be delighted. For one thing, she could not have imagined a world where women could write with their own name openly credited, and on any subject of their choosing. I suspect she would've verbally pooh poohed the idea that she led the way, yet would secretly have felt proud of the knowledge that she had.

And what validation! Not only was she a pioneer in a new genre and as a female making her career as an author, but her work has remained relevant in a world where many of the key plot points no longer affect most modern women. Why is this? Because her characters' feelings and behaviors are still universal. Because her humor and dry observations of humanity are still universal.

When it comes to the knockoffs, which range from serious to silly, Jane might rightly feel flattered in all cases, though I'm certain her sensibilities would be shocked by many versions. Could she even wrap her head around any book with adult themes that employed her characters? Surely that would give her the vapors! She might not mind the murder mystery and vampire tale homages, though they'd probably puzzle her to no end. Her purpose was completely different from theirs, which use her beloved characters as pre-fleshed-out props for stories that discard her social commentary. But I like to think that she'd be pleased with the agency given to females in these homages. That has always been my objective, to offer women in Jane's time period the opportunity to have more power in their lives, and to look at how that society, men in particular, would react when women try to assert those strengths. Hint: there are always plenty of obstacles, even when a gentlewoman possesses unique powers.

Question: Where do you get your inspiration from?

Answer: The initial concept itself came from a brief writing project with another writer, who ended up bowing out. I came to it with no knowledge of the historical period, the language and writing style, nor the literature, and no particular affinity for magical fantasy. My learning curve was huge. I had been reading Wilkie Collins and liked the idea of unfolding a story about women through letters, testimony, and legal documents. I had just devoured all four (at that time) Diana Gabaldon Outlander books and loved her attention to historical detail. I started reading Georgette Heyer, which is where I began to pick up the manner of speech of that time (yes I now realize she is not regarded as the finest scholar, among other things.) Oh, and Dorothy Dunnett's truly phenomenal Lymond Chronicles.

At some point, likely after the series was well under way, Jane Austen finally came into my life. All the popular Austen knockoffs like PP and Zombies, Death Comes to Pemberley, and Jonathan Strange and Mr Norrell were published well after my project had gotten under way. I had probably written four or five novels worth of text before they hit the bookstores, so none of those works are influences on my writing.

Question: What makes the early 19th century mesh so well with magic?

Answer: One main theme of my series is that perhaps magic has actually become obsolete. It is the Age of Enlightenment and also the Industrial Age. The Regency sits right on the cusp between the old world and the new world, politically, scientifically, mechanically, and socially. I address the idea that rational people do not and cannot believe in magic. It's considered irrelevant, a relic of the feudal past, when kings and lords had less physical power to maintain their dominions. So when the book opens, magic has been banned for about 15-16 years. Very few people remain alive who've inherited magic, many of them orphaned young adults, but some of the original ones want very much to restore their so-called birthright.

I like to emphasize the "scientific realism" aspect of magic, so I talk about genetic inheritance (yes, the period is 40 years before Mendel, but hey), and in the second book I address layers of consciousness, the "ether" that surrounds us, through which magic moves, and what it feels like to create magic.

I like to think of magic as a thing that must be studied, learned, and honed, and that some people might actually be much better at it than others. This early 19th century time period feels perfect for this clash of rational thought and scholarliness with irrational, inexplicable forces.

Question: The world building and system of magic varies greatly in the Regency fantasy genre, how did you go about creating yours?

Answer: As I said in the previous answer, I started with the idea that this was a world that was transitioning into a more rational, scientific view of inexplicable phenomonena. Magic needs to be experiential and also challenging to its user, not just a "Bewitched" nose wiggle. Also, magic is rare in humans, so a nonbelieving witness will not even stop to consider that they've seen magic as opposed to some odd, inexplicable event.

Certainly, some magical skills do come naturally, and can even be deployed without much aforethought. It will become clearer in the second book that there are two types of Talisman Keepers, Mages and Protectors. Protectors like William MacNeal and Josephine have intuitive defensive physical skills that they are driven to hone without knowing why. They will always be better at fighting, shooting, and leadership than the average person. MacNeal has another enhancement: he has visions that warn him of impending disasters. Mages like Prudence can do minor magical tasks, even unconsciously. But their strength lies in studying the art of magic, knowing specific spells and charms, and knowing which ones to choose and how to deploy them properly (in book 2, Prudence frequently deploys magic incorrectly). Both groups receive additional boosts from their Talismans. The Talismans do not themselves impart powers, they magnify them. Josephine and Prudence don't quite grasp this detail in book one, but by the opening sequence of book 2 it is clear to them.

There is an additional layer to the magic in my world: it is tied to ancient Celtic roots and the language of magic is Gaelic. There is yet more to it, but not everything is revealed, even in the second book. But you will get a further look into the magical system, its history, and the intentions of the antagonist rebel faction.

Question: If you had to choose between writing only period literature or only fantasy literature, which would win?

Answer: That's tough to answer, particularly since I'm researching a new historical fiction series that's period literature but has absolutely no magic. The period aspect to literature is my main jam. The fantasy aspect to my first series came about by chance, though I have really enjoyed creating this intricate alternate universe. I have enough material to explore the Talisman Keepers for a long time yet to come, and would likely be able to create a prequel series using the same world and rules. So, the answer is, I quite love my cast and will not be retiring them any time soon. But I also have non-fantasy ideas to explore.

Question: Be honest, have you ever dressed up in Regency clothes just to pretend for a moment you are in the past?

Answer: Indeed! I was somewhat in costume when you and I met at the Con in Madison in 2018. I had a silly hat that sort of approximated a bonnet, a velvet coat that is cut much like a pelisse, and some granny boots. In 2021, I acquired a handmade period bonnet from a real hatmaker and wore it to a local book fair last year (a super dorky picture is in my posts*). The book fair is coming up again later this month, and I've been contemplating buying a cheap costume dress to go all in.

In the back of my mind, I would love to get the full kit for appearances. And then there's the annual Austen event in Bath....attending that would be a hoot! I'm one of those people who's both an introvert and an extrovert. I rather like the attention I get from cosplaying, moreso than the effort of selling my books in person. I think: aw, just buy my book and let my writing speak for itself! Don't make me talk about it. I'm a writer, hahaha.

*Which I have reposted here! Evil laugh evil laugh!

Biography:
C.C. Aune's ramblings have led her through 49 states - nine of which she has called home - plus a fair number of countries. She has been a journalist and a contributor for the companion book to PBS's 2000 series In Search of Our Ancestors. Currently, she directs the blog One Year of Letters, which explores the internal landscape of writers. The Ill-Kept Oath is her debut novel.

C.C.'s Social Media:
Website
Facebook
Twitter
Goodreads

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Artists Alley, C.C. Aune, Cosplay, Diana Gabaldon, Dorothy Dunnett, Georgette Heyer, Jane Austen, Jason Ralph, Regency Magic, Talisman Keepers, The Magicians, The Woman in White, Wilkie Collins, Wizard World

Dangerous to Know by Tasha Alexander
Published by: Minotaur Books
Publication Date: October 26th, 2010
Format: Hardcover, 306 Pages
Rating: ★★★★★
To Buy

Emily is still reeling from her miscarriage in Constantinople. A happy honeymoon filled with intrigue and connubial bliss destroyed by one bullet. She must take solace in the fact that she saved a young girl's life and caught a killer and not dwell on the fact that she and Colin might never be able to have children now. Ensconced in Normandy, Emily's recuperation would be far more successful if it wasn't under the gimlet eye of her mother-in-law. The feeling of being a constant disappointment to Colin and his mother pushes Emily continually outside the four walls of the house that feel like they're closing in on her. But soon even the countryside won't offer her respite. On one of her rides she comes upon a young girl brutally murdered. So brutal that when she is finally able to lead the police back to the crime scene there are murmurs that Jack the Ripper might be calling Normandy his new home. Emily gets a little bit of celebrity with the locals for finding the body, but Colin worries if perhaps it's best if Emily's attention was drawn elsewhere. She doesn't need to investigate the most dangerous of crimes and be continually putting herself in danger.

Colin is therefore a little relieved when his mother's neighbors, George and Madeline Markham, have a diversion for Emily to occupy herself with. They are great art collectors and a new Monet painting has just appeared in their fortress like home. Emily's dear friend Cecile, arriving from Paris, recognizes the piece as one just finished and stolen from Giverny. Emily correctly comes to the conclusion that her favorite thief, Sebastian Capet, has returned to spice up her life with Greek quotations left on her pillow each night. But even Sebastian, with his laissez-faire attitude, can not deny that danger lurks near at hand for Emily. The murdered girl looked eerily like Emily and once it's discovered she wasn't the Rippers typical victim, being from a well-to-do family who had placed her in an asylum, Colin is all for Emily heading straight back to England and waiting for him there. Yet Emily can not do that. Yes, she wants to obey Colin, but never before has that meant leaving his side. But could retreating be in her best interest? She just doesn't know! She can no longer trust her mental faculties after she sees the ghostly apparition of a young child. Is this her grief over her own loss or is she on the path to the asylum like the Ripper's victim?

At the end of each adventure with Lady Emily I think to myself, the next volume couldn't possibly be better, and yet each and every time Tasha proves me wrong. This volume instantly became my favorite, but who knows what will happen when I read the next book? But I don't know how it could surpass the Gothic goodness of Dangerous to Know! This book almost felt like I was reading one of Emily's favorite authors! But could Mary Elizabeth Braddon come up with such a tale that Jack the Ripper, the Norman Heathcliff, and the ghostly apparition of a child people the pages!?! If she did I'm sure she wouldn't be able to capture the meta humor that Emily arches her eyebrows at with her love/hate relationship with Normandy's version of Wuthering Heights. But what called to me most was the Jack the Ripper angle. Long before the term Murderino came into existence I was one. I would watch all the Unsolved Mysteries I could, especially if they were historical. Therefore it shouldn't be surprising that I'm a bit of a Ripperologist. I have watched or read every movie, book, comic, TV series I can on Jack the Ripper. Therefore this inclusion in Emily's investigation made by blood sing! Oh, to combine my favorite heroine with what I find the most intriguing unsolved murders of the 1800s? How did Tasha know that this would be my wish for a perfect book!?!

Though I think the inclusion of Jack the Ripper in a story wherein Emily is dealing with the loss of her child would be significant only to a Ripperologist. What could I mean you ask? Well, let me break it down. Let's look to the canonical five. The first victim, Mary Ann Nichols suffered abdominal incisions, which were seen again in the second victim Annie Chapman. But all this was leading up to what would be done to the fifth and final victim, Mary Jane Kelly. All her internal organs from her abdomen, in particular her reproductive organs, were removed, and her breasts were cut off. While there are theories, much like with the Black Dahlia, that these wounds could have been used to cover up a botched abortion, one thing is clear, Jack the Ripper was targeting women who made their money from sex and then killed them in such a way as to destroy what made them female, the ability to reproduce, only fully succeeding with Mary Jane Kelly. And as for the theories of Mary Jane Kelly's daughter... well, all this shows that by including Jack the Ripper in Dangerous to Know Tasha was adding another level of gut punch to Emily. Not only would she be traumatized by finding the poor girl in the field mutilated to such a degree, but to then have the reminder that her miscarriage basically scooped out her insides and made them as empty as Mary Jane Kelly's... chilling.

Tasha then compounds this loss with the ghostly child who leaves behind blue ribbons. So many ghost stories of the Victorian era or written about the Victorian era deal with children and mothers who have lost their children. Wilkie Collins's The Woman in White, which Emily was sure to have read, Susan Hill's The Woman in Black, a more modern classic, and even a book that Tasha recommended to me, Angelica by Arthur Phillips, these are three books just off the top of my head that I thought of while reading Dangerous to Know. I am sure there are plethora more, even Henry James's The Turn of the Screw for example. But what Tasha does is she is smart enough to create her own mythology, first the story of the young girl who fell off a cliff, then the local gossip surrounding a young child that was killed at George and Madeline Markham's house that Madeline has conflated with her own pregnancy losses. Then there's the poor victim and what she endured... but where Tasha excels is that she draws a parallel between these stories and the loss endured by Victorian women. I believe it is Cecile who comments that she doesn't think she can think of a single one of their friends who hasn't suffered a similar loss to Emily's. Childbirth and childhood were dangerous undertakings during this time and the ghost stories are almost a way to normalize the fear these women constantly felt, even if it has the effect of unsettling them at the time.

For all that I loved there's one thing that made me go WTF!?! And that was Colin's behavior. Emily married Colin because he accepted who she was and wanted to be by his side, investigating and solving crimes, and now he's trying to wrap her up in cotton wool and let nothing bad ever happen to her again. YOU KNEW WHO SHE WAS WHEN YOU MARRIED HER YOU DUMBASS! She wouldn't have married him if she knew he was going to pull a 180 and decide to become the typical Victorian husband. She had that once and while at the time what Philip offered was what she thought she wanted, she has grown since then and become this awesome hoyden. Sure, she was badly injured and their unborn child was lost, but Dear God Colin, she doesn't need you pulling this shit when she's trying to piece her life back together. And yes, I know this is a plot device, one to destabilize Emily even more as well as show what marriages were really like during the Victorian era, but that doesn't mean it stopped my blood from boiling. Though it does actually all tie back into the killer, whose motives I did not see coming, and the idea of what we are willing to do for love. Would we break the will of our loved one if we think it's in their best interest? Would we imprison them for their safety? Would we kill for them?

Yet one thing is certain, I don't think Colin's mother would approve of his coddling of Emily. Madame Hargreaves is who I think Emily will evolve into. Yes, it's trite to say that boys marry women who remind them of their mothers, but going beyond that, Colin believes in the rights and equality of women, so it would make sense that he would find a woman he viewed as his equal to marry. At first I, like Emily, was wary of her mother-in-law, but I grew to really appreciate her, so much so that she better be returning in a later book! I love the little insights into the mind of Mrs. Hargreaves with her journal entries, a device Tasha has used from the first book in this series starting with Philip's journal and later being letters from Emily's various friends, that give us insight that Emily herself doesn't have that acts as a catalyst to the plot. What tickles me is that Mrs. Hargreaves is so hard on Emily, she just doesn't see what Colin does. But we, as readers, see that all her criticisms are because Emily has turned inward and is recovering and that the "real" Emily would perfectly match her mother-in-laws' expectations. By the end of the book they have come to an understanding, but I can't wait to meet them again now that they are on equal footing. The government of England better send out a warning, because these women want the right to vote! Long live strong women!

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Angelica, Dangerous to Know, France, Going Gothic, Gothic, Heathcliff, Jack the Ripper, Mary Elizabeth Braddon, Pregnancy, Tasha Alexander, The Woman in White, Unsolved Mysteries, Victorian, Wuthering Heights

That Silent Night by Tasha Alexander
Published by: Minotaur Books
Publication Date: October 20th, 2015
Format: Kindle, 63 Pages
Rating: ★★★★★
To Buy

Colin and Emily have fled to town to run a few last minute Christmas errands and to avoid their neighbors. It's not that they haven't enjoyed the festivities at Montague Manor, though Colin did refer to them as The Festival of Horror, there just comes a time when enough is enough. For Colin that point was reached at the proposed daylong charades tournament that would include the entire population of a neighboring village. Therefore they are ensconced in their Park Lane house while the snow blankets the city ignorant to the fact that a different set of neighbors is about to cause them a bit of a bother. While Colin finishes some work for the Palace Emily finishes a chapter in the newest Elizabeth Mary Braddon book and looks out the library window to see the most astonishing sight. A woman has appeared out of nowhere and all the warmth of Emily's cozy library has vanished. The woman's clothes are out of date but more disturbingly she had no coat. On such a cold night Emily knew she must help and rushed out into the swirling snow to find no trace of the woman. Not even a footprint. Colin claims that this is what happens from reading sensationalist literature but Emily is convinced otherwise. The next morning their new neighbors, the newly wed Leightons, ask if they can borrow some coal as the delivery vehicles can not come through. Emily and Colin gladly offer up the coal as well as an invitation to dinner. Mrs. Leighton shares a strong resemblance to the lady Emily saw in the street, but tries to brush it off. But when she finds out the young newlyweds have returned from Switzerland where Penelope was taking a cure for her nerves... could it be the young bride is connected to the disturbing sight that Emily saw? And can Emily help her before Penelope is beyond hope and committed?

As I sat down to read That Silent Night there was a bite in the air and the first hint of snow was forecast. In other words, I had circumstances align perfectly to read this tale. Unlike Tasha's previous holiday offering, Star of the East, which went for the more Agatha Christie tradition of all the suspects snowbound in a manor house, here she went for the more ghostly Christmas narrative. Because while Dickens popularized and in some ways standardized this tradition of ghostly tales told around the fire with A Christmas Carol, he didn't start this tradition which goes all the way back to Shakespeare. Just think of some of the most famous ghost stories of all from The Turn of the Screw to The Woman in Black. These stories are framed by people sitting around a fire and trying to scare each other with tales of the otherworldly and supernatural while Christmas Day draws ever nearer. In fact an article that resurfaced this past weekend from last year, "A Plea to Resurrect the Christmas Tradition of Telling Ghostly Tales," is something I couldn't agree with more after reading That Silent Night. Tasha taps into this tradition and delivers what I easily believe to be a true holiday classic deserving to be read on Christmas Eve that while a part of the overall series can easily be read by anyone unfamiliar with the exploits of Emily and her husband Colin. Over the course of her two Christmas novellas Tasha has written almost pastiches of Wilkie Collins's work, moving from The Moonstone to The Woman in White. But it's the atmosphere of Collins's The Woman in White that makes it a perfect augmentation to this tale. There's more ambiguity, more mystery, and definitely a supernatural bent. That in fact is why I love this tale so much. Tasha doesn't discount the supernatural. She leaves us with ambiguity.

Yet with all the Wilkie of this story in the end it comes down to the Dickens of it all. Not just because Colin is bemoaning Dickens and the pestilential carolers but because That Silent Night couples the ghostly Christmas tale with a social conscience. Dickens strongly believed in showing us the worst of humanity not just to make us feel better but in order to educate us so that we can help others. Christmas might be a time for spooky stories but it is also a time for giving. And not just giving thanks. Emily's social conscience has evolved over the course of the series with many worthy causes being taken up, from suffrage to the plight of the factory worker to female education reform to name a few. Here we see a world of suffering most strongly connected to Dickens, that of orphanages. Through the course of Emily and Colin's investigations into Penelope's past and the ghostly form appearing in Park Lane they end up at an orphanage that Emily says is bleaker than even Dickens could write. The reality of what an orphanage is like, especially during the Victorian era, is terrifying. While the man in charge of running the establishment admits it lacks a certain warmth and holiday cheer he says the sad truth, that at least it's better for the kids than being out on the streets. But it also shows how easy it was for someone to fall through the cracks. In the 1800s, in fact any time before people's identities were so closely monitored and enforced through identification cards and passports and online profiles, you could literally just disappear. You could be lost to this other world of poverty and despair. But in true Dickensian spirit, while we might wallow in misery for a short time, in the end we get our happily ever after. It wouldn't be Christmas if the cockles of our hearts weren't warmed in the end.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Christmas Carol, Alexander Autumn, Charles Dickens, Christmas, Ghost Stories, Social Conscience, Star of the East, Tasha Alexander, The Moonstone, The Silent Night, The Woman in White, Wilkie Collins

That Silent Night by Tasha Alexander
Published by: Minotaur Books
Publication Date: October 20th, 2015
Format: Kindle, 63 Pages
Rating: ★★★★★
To Buy

Colin and Emily have fled to town to run a few last minute Christmas errands and to avoid their neighbors. It's not that they haven't enjoyed the festivities at Montague Manor, though Colin did refer to them as The Festival of Horror, there just comes a time when enough is enough. For Colin that point was reached at the proposed daylong charades tournament that would include the entire population of a neighboring village. Therefore they are ensconced in their Park Lane house while the snow blankets the city ignorant to the fact that a different set of neighbors is about to cause them a bit of a bother. While Colin finishes some work for the Palace Emily finishes a chapter in the newest Elizabeth Mary Braddon book and looks out the library window to see the most astonishing sight. A woman has appeared out of nowhere and all the warmth of Emily's cozy library has vanished. The woman's clothes are out of date but more disturbingly she had no coat. On such a cold night Emily knew she must help and rushed out into the swirling snow to find no trace of the woman. Not even a footprint. Colin claims that this is what happens from reading sensationalist literature but Emily is convinced otherwise. The next morning their new neighbors, the newly wed Leightons, ask if they can borrow some coal as the delivery vehicles can not come through. Emily and Colin gladly offer up the coal as well as an invitation to dinner. Mrs. Leighton shares a strong resemblance to the lady Emily saw in the street, but tries to brush it off. But when she finds out the young newlyweds have returned from Switzerland where Penelope was taking a cure for her nerves... could it be the young bride is connected to the disturbing sight that Emily saw? And can Emily help her before Penelope is beyond hope and committed?

As I sat down to read That Silent Night there was a bite in the air and the first hint of snow was forecast. In other words, I had circumstances align perfectly to read this tale. Unlike Tasha's previous holiday offering, Star of the East, which went for the more Agatha Christie tradition of all the suspects snowbound in a manor house, here she went for the more ghostly Christmas narrative. Because while Dickens popularized and in some ways standardized this tradition of ghostly tales told around the fire with A Christmas Carol, he didn't start this tradition which goes all the way back to Shakespeare. Just think of some of the most famous ghost stories of all from The Turn of the Screw to The Woman in Black. These stories are framed by people sitting around a fire and trying to scare each other with tales of the otherworldly and supernatural while Christmas Day draws ever nearer. In fact an article that resurfaced this past weekend from last year, "A Plea to Resurrect the Christmas Tradition of Telling Ghostly Tales," is something I couldn't agree with more after reading That Silent Night. Tasha taps into this tradition and delivers what I easily believe to be a true holiday classic deserving to be read on Christmas Eve that while a part of the overall series can easily be read by anyone unfamiliar with the exploits of Emily and her husband Colin. Over the course of her two Christmas novellas Tasha has written almost pastiches of Wilkie Collins's work, moving from The Moonstone to The Woman in White. But it's the atmosphere of Collins's The Woman in White that makes it a perfect augmentation to this tale. There's more ambiguity, more mystery, and definitely a supernatural bent. That in fact is why I love this tale so much. Tasha doesn't discount the supernatural. She leaves us with ambiguity.

Yet with all the Wilkie of this story in the end it comes down to the Dickens of it all. Not just because Colin is bemoaning Dickens and the pestilential carolers but because That Silent Night couples the ghostly Christmas tale with a social conscience. Dickens strongly believed in showing us the worst of humanity not just to make us feel better but in order to educate us so that we can help others. Christmas might be a time for spooky stories but it is also a time for giving. And not just giving thanks. Emily's social conscience has evolved over the course of the series with many worthy causes being taken up, from suffrage to the plight of the factory worker to female education reform to name a few. Here we see a world of suffering most strongly connected to Dickens, that of orphanages. Through the course of Emily and Colin's investigations into Penelope's past and the ghostly form appearing in Park Lane they end up at an orphanage that Emily says is bleaker than even Dickens could write. The reality of what an orphanage is like, especially during the Victorian era, is terrifying. While the man in charge of running the establishment admits it lacks a certain warmth and holiday cheer he says the sad truth, that at least it's better for the kids than being out on the streets. But it also shows how easy it was for someone to fall through the cracks. In the 1800s, in fact any time before people's identities were so closely monitored and enforced through identification cards and passports and online profiles, you could literally just disappear. You could be lost to this other world of poverty and despair. But in true Dickensian spirit, while we might wallow in misery for a short time, in the end we get our happily ever after. It wouldn't be Christmas if the cockles of our hearts weren't warmed in the end.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: A Christmas Carol, Alexander Autumn, Charles Dickens, Christmas, Ghost Stories, Social Conscience, Star of the East, Tasha Alexander, The Moonstone, The Silent Night, The Woman in White, Wilkie Collins

Dangerous to Know by Tasha Alexander
Published by: Minotaur Books
Publication Date: October 26th, 2010
Format: Hardcover, 306 Pages
Rating: ★★★★★
To Buy

Emily is still reeling from her miscarriage in Constantinople. A happy honeymoon filled with intrigue and connubial bliss destroyed by one bullet. She must take solace in the fact that she saved a young girl's life and caught a killer and not dwell on the fact that she and Colin might never be able to have children now. Ensconced in Normandy, Emily's recuperation would be far more successful if it wasn't under the gimlet eye of her mother-in-law. The feeling of being a constant disappointment to Colin and his mother pushes Emily continually outside the four walls of the house that feel like they're closing in on her. But soon even the countryside won't offer her respite. On one of her rides she comes upon a young girl brutally murdered. So brutal that when she is finally able to lead the police back to the crime scene there are murmurs that Jack the Ripper might be calling Normandy his new home. Emily gets a little bit of celebrity with the locals for finding the body, but Colin worries if perhaps it's best if Emily's attention was drawn elsewhere. She doesn't need to investigate the most dangerous of crimes and be continually putting herself in danger.

Colin is therefore a little relieved when his mother's neighbors, George and Madeline Markham, have a diversion for Emily to occupy herself with. They are great art collectors and a new Monet painting has just appeared in their fortress like house. Emily's dear friend Cecile, arriving from Paris, recognizes the piece as one just finished and stolen from Giverny. Emily correctly comes to the conclusion that her favorite thief, Sebastian Capet, has returned to spice up her life with Greek quotations left on her pillow each night. But even Sebastian, with his laissez-faire attitude, can not deny that danger lurks near at hand for Emily. The murdered girl looked eerily like Emily and once it's discovered she wasn't the Rippers typical victim, being from a well-to-do family who had placed her in an asylum, Colin is all for Emily heading straight back to England and waiting for him there. Yet Emily can not do that. Yes, she wants to obey Colin, but never before has that meant leaving his side. But could retreating be in her best interest? She just doesn't know! She can no longer trust her mental faculties after she sees the ghostly apparition of a young child. Is this her grief over her own loss or is she on the path to the asylum like the Ripper's victim?

At the end of each adventure with Lady Emily I think to myself, the next volume couldn't possibly be better, and yet each and every time Tasha proves me wrong. This volume instantly became my favorite, but who knows what will happen when I read the next book? But I don't know how it could surpass the Gothic goodness of Dangerous to Know! This book almost felt like I was reading one of Emily's favorite authors! But could Mary Elizabeth Braddon come up with such a tale that Jack the Ripper, the Norman Heathcliff, and the ghostly apparition of a child people the pages!?! If she did I'm sure she wouldn't be able to capture the meta humor that Emily arches her eyebrows at with her love/hate relationship with Normandy's version of Wuthering Heights. But what called to me most was the Jack the Ripper angle. Long before the term Murderino came into existence I was one. I would watch all the Unsolved Mysteries I could, especially if they were historical. Therefore it shouldn't be surprising that I'm a bit of a Ripperologist. I have watched or read every movie, book, comic, TV series I can on Jack the Ripper. Therefore this inclusion in Emily's investigation made by blood sing! Oh, to combine my favorite heroine with what I find the most intriguing unsolved murders of the 1800s? How did Tasha know that this would be my wish for a perfect book!?!

Though I think the inclusion of Jack the Ripper in a story wherein Emily is dealing with the loss of her child would be significant only to a Ripperologist. What could I mean you ask? Well, let me break it down. Let's look to the canonical five. The first victim, Mary Ann Nichols suffered abdominal incisions, which were seen again in the second victim Annie Chapman. But all this was leading up to what would be done to the fifth and final victim, Mary Jane Kelly. All her internal organs from her abdomen, in particular her reproductive organs, were removed, and her breasts were cut off. While there are theories, much like with the Black Dahlia, that these wounds could have been used to cover up a botched abortion, one thing is clear, Jack the Ripper was targeting women who made their money from sex and then killed them in such a way as to destroy what made them female, the ability to reproduce, only fully succeeding with Mary Jane Kelly. And as for the theories of Mary Jane Kelly's daughter... well, all this shows that by including Jack the Ripper in Dangerous to Know Tasha was adding another level of gut punch to Emily. Not only would she be traumatized by finding the poor girl in the field mutilated to such a degree, but to then have the reminder that her miscarriage basically scooped out her insides and made them as empty as Mary Jane Kelly's... chilling.

Tasha then compounds this loss with the ghostly child who leaves behind blue ribbons. So many ghost stories of the Victorian era or written about the Victorian era deal with children and mothers who have lost their children. Wilkie Collins's The Woman in White, which Emily was sure to have read, Susan Hill's The Woman in Black, a more modern classic, and even a book that Tasha recommended to me, Angelica by Arthur Phillips, these are three books just off the top of my head that I thought of while reading Dangerous to Know. I am sure there are a plethora more, even Henry James's The Turn of the Screw for example. But what Tasha does is she is smart enough to create her own mythology, first the story of the young girl who fell off a cliff, then the local gossip surrounding a young child that was killed at George and Madeline Markham's house that Madeline has conflated with her own pregnancy losses. Then there's the poor victim and what she endured... but where Tasha excels is that she draws a parallel between these stories and the loss endured by Victorian women. I believe it is Cecile who comments that she doesn't think she can think of a single one of their friends who hasn't suffered a similar loss to Emily's. Childbirth and childhood were dangerous undertakings during this time and the ghost stories are almost a way to normalize the fear these women constantly felt, even if it has the effect of unsettling them at the time.

For all that I loved there's one thing that made me go WTF!?! And that was Colin's behavior. Emily married Colin because he accepted who she was and wanted to be by his side, investigating and solving crimes, and now he's trying to wrap her up in cotton wool and let nothing bad ever happen to her again. YOU KNEW WHO SHE WAS WHEN YOU MARRIED HER YOU DUMBASS! She wouldn't have married him if she knew he was going to pull a 180 and decide to become the typical Victorian husband. She had that once and while at the time what Philip offered was what she thought she wanted, she has grown since then and become this awesome hoyden. Sure, she was badly injured and their unborn child was lost, but Dear God Colin, she doesn't need you pulling this shit when she's trying to piece her life back together. And yes, I know this is a plot device, one to destabilize Emily even more as well as show what marriages were really like during the Victorian era, but that doesn't mean it stopped my blood from boiling. Though it does actually all tie back into the killer, whose motives I did not see coming, and the idea of what we are willing to do for love. Would we break the will of our loved one if we think it's in their best interest? Would we imprison them for their safety? Would we kill for them?

Yet one thing is certain, I don't think Colin's mother would approve of his coddling of Emily. Madame Hargreaves is who I think Emily will evolve into. Yes, it's trite to say that boys marry women who remind them of their mothers, but going beyond that, Colin believes in the rights and equality of women, so it would make sense that he would find a woman he viewed as his equal to marry. At first I, like Emily, was wary of her mother-in-law, but I grew to really appreciate her, so much so that she better be returning in a later book! I love the little insights into the mind of Mrs. Hargreaves with her journal entries, a device Tasha has used from the first book in this series starting with Philip's journal and later being letters from her various friends, that give us insight that Emily herself doesn't have that acts as a catalyst to the plot. What tickles me is that Mrs. Hargreaves is so hard on Emily, she just doesn't see what Colin does. But we, as readers, see that all her criticisms are because Emily has turned inward and is recovering and that the "real" Emily would perfectly match her mother-in-laws' expectations. By the end of the book they have come to an understanding, but I can't wait to meet them again now that they are on equal footing. The government of England better send out a warning, because these women want the right to vote! Long live strong women!

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Alexander Autumn, Angelica, Dangerous to Know, France, Gothic, Heathcliff, Jack the Ripper, Mary Elizabeth Braddon, Pregnancy, Tasha Alexander, The Woman in White, Unsolved Mysteries, Victorian, Wuthering Heights

Fingersmith by Sarah Waters
Published by: Riverhead
Publication Date: October 1st, 2002
Format: Paperback, 548 Pages
Rating: ★★★
To Buy

Sue Trinder has grown up in Lant Street. She has never left this slummy Borough of London, and has never wanted to. She has lived her entire life in the care of Mrs. Sucksby, who makes her living farming babies. But Sue was the only baby that ever mattered to Mrs. Sucksby. They live with Mr. Ibbs, who makes his living in the roundabout manner of taking in dubious goods through the back door and sending it out the front in a slightly different "legitimate" form. The rest of the household is made up of Mr. Ibbs' invalid sister and John Vroom, a man with a love for dog skins, and his simple girl Dainty. This is Sue's world entire. And they are as dear to her as family. One day an acquaintance, known to all as Gentleman, arrives with a plan to make all their fortunes using Sue. Mrs. Sucksby has always told Sue that she would be the making of them all and now Sue has her chance.

Gentleman has been posing as an artist, a Mr. Rivers, for a Mr. Lilly, who lives out west in the Thames Valley. Mr. Lilly has a niece, Maud. Maud is where their fortune will be found. Gentleman has been seducing this isolated girl in hopes of getting at her fortune through marrying her but has hit a brick wall. Maud's maid, who was their chaperon, has taken ill and now Maud isn't allowed in the presence of Gentleman. Gentleman has decided to fix that. By installing not only a new chaperon, but one that will help him pursue his interests with Maud. With Sue on the inside it is a win win situation. They will compromise Maud, throw her in an insane asylum, and split her vast fortune and live like toffs. What could possibly go wrong? In a world where there are plots within plots, games within games, and you don't know who's playing who, there are a lot of ways this could play out... and perhaps it won't be to everyone's liking.

Fingersmith is an amazing book if you were to redact the final two-thirds of the book. Divided into three parts the second and third parts are repetitive. Waters showed us in that first-third what she was capable of, and if it had ended there this could have been a true classic. But instead she chose another course. Yet I wonder if this drawing out of the narrative wasn't purposeful. Yes, she could have had a tauter more compact story, but that would defeat the Victorian aspect. I think being overly long and taking the narrative straight into "I don't care land" is a staple of true Victorian writing, or Victorian-esque in this case. Like Wilkie Collins's The Woman in White, which Fingersmith strongly emulates, it overstays it's welcome by several sections. Looking back onto the other Waters book I've read, The Little Stranger, I realize now that that book really did have the perfect ending. You weren't sure what happened and it ended a bit mysteriously. If Waters had done that with this book, ending on a cliffhanger and being all mysterious, I would have been blown away and ranked it up there with some of the finest short fiction with the likes of Shirley Jackson. Instead she went the route of Wilkie Collins, and you can't really blame her for that.

Yet I can blame her for the repetitive nature of the storytelling. The Woman in White might have overstayed it's welcome but it was always moving forward. By having two different narrators with Sue and Maud, we see the exact same events at least twice. With the second section with Maud narrating I was almost skipping pages going, OK, I've already read this all from Sue's point of view, let's get to the part where we left off with Sue so that I get to the forward progression of the narration. Though once we move forward, back to Sue, we go back to the ending of part one! We have learned so much from Maud that it is painful to then have to live through Sue's excruciatingly slow journey to see Sue learn all that we already know. One step forward, two steps back. That cliffhanger to end part one... it will blow you away. Yet it is soon nullified and made pointless by all the other twists and turns and cliffhangers that come after it. The impact is lost in the dragging narrative. It got to the point where it was like watching M. Night Shyamalan's The Village, I kept not only waiting for the next not really shocking twist, but I got good at predicting what it would be, and in the end you really didn't care. So, by all means, read this book, just don't read past part one.

Though this book can't be discounted just for falling prey to the tropes Waters is emulating. She does an amazing job of capturing the seamy side of Victorian London. Sometimes you're reading about other times and think, now that would be a nice place to visit. Not here, not this world. And I think that's what makes the world of the book so real. You feel as if this is probably the most accurate depiction you've ever read of this time period. It's filthy and dirty, it's creaking corset stays on a large woman who never washes herself and the secrets she hides within her bodice. Maud's penchant for gloves, though not of her own doing, at least is some kind of barrier to the grotesques that are discussed. But even they are tainted. Yet it's the unrelenting depravity and filth combined with characters who you don't just dislike, but who have nothing good or nice ever happen to them that wears you down in the end. Sure a little history of Victorian pornography is well and good, but after awhile, you say enough is enough. This book grinds you down, and in the end, you are relieved that it is done.

The secret of Mr. Lilly and his pornography collection builds on this seamy underbelly that Waters has exposed. The Victorian London she is depicting isn't the one we really see in the literature of the day. While Victorians were far more into sex, sensationalism, and penny dreadfuls than popular authors of the day were willing to depict, it is still a little taboo. Over time the image that has arisen in popular culture is of the Victorians being a very prudish lot. They never talked about sex and didn't even know quite how one went about it, like the old Pete and Dud sketch where children are conceived through sitting on warm chairs and the eating of good meals. The last few years at the steampunk convention I go to I have attended a panel on the "Forbidden Image." Which is a "selection of erotic images from the Victorian era and classical images known to the Victorians ... but forbidden by polite society!" The images, ones that would no doubt be in Mr. Lilly's collection, show that these things did indeed exist. Any new technology soon goes to sex, just look at the internet. So is it any wonder that as soon as there was photography there was pornography? Fingersmith doesn't just depict Victorian England as we know it, but as it actually was.

Which leads to Sue and Maud. This book is perhaps most famous because it continues in Waters tradition of depicting lesbianism in different eras. Sapphic love has been around as long as there have been humans, but outside of pornography, it wouldn't have been openly discussed in Victorian times, despite it existing. Here Waters is breaking down another door, going all out with what would be a taboo subject and making it believable and compelling. For all the repetition and all the tropes she falls victim to in her writing of Fingersmith, there is the other side of the coin. All that she does right. A more accurate depiction of the times, relationships that are real, making us readers see that this world of times gone by was just as real as the "now." I also defy anyone to not find Sue and Maud's sex scene quite steamy. With their bodies connecting it makes us feel for them, and no, not in THAT way. It's a scene that makes them both so vibrant and alive that even if you hadn't found some connection to the characters, this one moment will make them real for you. Because more than anything, that is what this book does, make Victorian England real. 

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Backlog Bonanza, England, Fingersmith, Lesbian, M. Night Shyamalan, Pete and Dud, Peter Cook, Pornography, Sarah Waters, The Little Stranger, The Village, The Woman in White, Victorian, Wilkie Collins

The Frozen Deep by Wilkie Collins and Charles Dickens
Published by: Hesperus Press
Publication Date: 1866
Format: Paperback, 112 Pages
Rating: ★★★★
To Buy(different edition than one reviewed)

Miss Clara Burnham doesn't mingle much in society. Raised in the Scottish hinterlands, she has grown up pale, delicate and odd. She is odd in that she believes she possesses the power of Second Sight, a power which her dear friend Mrs. Crayford is desperately trying to convince her is just a fancy, nothing more. Mrs. Crayford's husband is the First Lieutenant of the ship The Wanderer, which, with The Sea-mew, leaves port tomorrow to find the Northwest Passage. Therefore a ball is in progress. Clara longs to follow her heart and accept the advances of Mr. Frank Aldersley, who ships out on The Sea-mew the following day, yet she harbors a secret. Clara believes that the violent and temperamental Richard Wardour, a man who she spent much time with because of their fathers friendship, is under the misapprehension that they are engaged. Richard has been at sea and Clara worries that the letter she sent to him to clear up the misunderstanding has been mislaid.

Clara has every reason to worry. Not only is Richard still believing himself attached to Clara, but he returns that night and seeks her out at the ball. He ferrets out the truth, that her heart belongs to another. He declares that he will find this man and destroy him. Clara, with her superstitions, believes that Richard will succeed, and that a reckoning will happen between the men. Little does she realize how right she is when Wardour secures a berth for himself on The Wanderer... Clara must than wait for news. Years pass as the expedition fails and they become ice bound. Yet, learn Frank's identity Wardour does, now one must hope that Clara is mistaken as to what her visions see in store.

This is an odd little book. The story, having started it's life as a play sometimes seems to still cling to it's old identity. Descriptions of places have the ring of stage directions verses prose. But knowing that this was the story's origins and also having spent a good portion of my life doing theater, I was able to overlook this slight flaw and enjoy the story for what it has become, after it's first life as a play. Yet the question still must be asked, how much influence did Dickens have on this story? Many have said that once a play got into his hands he'd do whatever he wanted to make it "better." Better being more like his work than subjectively better. Therefore The Frozen Deep is sometimes credited to both authors, but the truth is, the play was just "under the management of Charles Dickens," while the novella was substantially re-written by Collins to use as public reading material for his American tour.

I have to say that, having read Collins's other works, The Moonstone, and in my mind, the superior, The Woman in White, a lot of the book rang true to Collins and his style. The narrative set in England with Mrs. Crayford and Clara felt like Collins at the best of his writing. I even had fantasies that this story could have been expanded beyond the short story and made into a fully fleshed out novel, but seen more through the eyes of those left behind than those on the ship, because I don't really care for arctic voyages or the privations that an ice bound ship faces and, lets not mince words, cannibalism. Yet, there's another part of me that applauds Collins for creating such and captivating story with strong female leads, a Collins speciality, without the story going to hundreds and hundreds of pages. Brevity has never been a trademark of Collins, and therefore I was pleasantly surprised by this story.

While the book is ostensibly about the failed, some might say doomed, expedition to find the Northwest Passage, it was everything else that drew me too it. I might even say that the fact it was about a Arctic expedition made me avoid reading it for quite some time. Yet the other worldliness and the relationships between the characters are so riveting, the expedition is almost just used as a plot device to bring the two men together for their final confrontation than as anything of true significance. There is one thing the I found interesting and if I could go back in time and talk to Collins I would ask. The way the two men pursue each other across the pristine white landscape, the way they are at odds but are still connected and still need each other reminded me eerily of Frankenstein. The way the creature and the doctor have their final showdown on an ice bound ship, I think we must say that Collins had to be a fan, or at least an admirer of Shelley's. Leaving aside the fact that one of the characters is called Frank, it is really Frank who has turned Wardour into a monster, a creature bent on revenge. Therefore, it is my belief that this story owes far more to Shelley than it does to Dickens.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Charles Dickens, Frankenstein, Mary Shelley, Northwest Passage, Revenge, Ships, The Frozen Deep, The Moonstone, The Woman in White, Wilkie Collins

Wilkie Collins was a great Victorian writer mainly known for his "sensation novels," The Woman in White and The Moonstone. The Moonstone is viewed as the beginning of what would be the traditional detective story and remains one of Collins's most critically acclaimed works. Dorothy L. Sayers referred to it as "probably the very finest detective story ever written." Yet, it is Collins's friendship with Dickens that has probably led to his fame more than anything.

Wilkie Collins and Charles Dickens where lifelong friends. At the time of their meeting in 1851, Dickens was already a popular writer with his editing of the weekly magazine, Household Words, which Wilkie himself would later be published in. They met through a mutual friend, Augustus Egg, who invited Wilkie to join Dickenss' amateur theatrical company. The two authors collaborated together on stage and off, writing dramatic and fictional work. During the beginning of their acquaintance they where never apart, Wilkie spending much time at Dickens's homes, loving the domesticated life that Dickens didn't. Yet, don't think they spent all their times in domesticated bliss! They where often cavorting the nights away in the streets of London and Paris, visiting music and dance halls and stopping in at their favorite restaurant, Verrey's, where they always had a table waiting.

Despite their friendship, Dickens didn't automatically publish anything Wilkie wrote, in fact, he notabley rejected his stories if he viewed them unfit for his audience. With "Gabriel's Marriage" in 1853, Wilkie finally became a contributor to Household Words. By 1856 Wilkie was a regular contributor and Dickens was considering making him staff, which soon became a reality. In 1859, Dickens stopped working on Household Words to create his own paper, All the Year Round. Launching in April of that year, by May, Wilkie already was published in the periodical, following where Dickens led.

By 1860, they where not just friends but family, with Wilkie's younger brother Charles, marrying Dickens's daughter Kate. Yet their literary friendship took a blow when Wilkie left All the Year Round in 1861 because of the success of The Woman in White. In 1862, Collins was extremely ill with gout and Dickens offered help... in the form of writing for him, which Wilkie turned down. What Wilkie did accept though was laudanum, which led to an addiction that would last till his death.Yet by 1867, Wilkie was back with Dickens and The Moonstone was serialized in his periodical. Though, this return to normalcy wouldn't last.

Around this time, with Dickens travelling to America, their friendship started to sour. It could be the burden Wilkie's brother was to Charles, the fact that Collins's life was taken up with two separate women in a convoluted domestic bliss, or even the fact that Collins requested written evidence stating that he owned his own copyrights, and not Dickens's magazines. Dickens died in 1870. Wilkie was asked posthumously to finish Edwin Drood, which he refused. Collins lived till 1889, but the quality of his work declined after Dickens's death. Whether this was just because he missed his dearest friend, Dickens mentorship or his increased dependence on drugs, will never be known. One thing is certain, these two men made each other better writers, and when one thinks of Wilkie Collins, you can't help but think of his dear friend, Charles Dickens.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: All the Year Round, Charles Dickens, Dorothy L. Sayers, Edwin Drood, Household Words, The Moonstone, The Woman in White, Wilkie Collins

The Thirteenth Tale by Diane Setterfield
Published by: Atria
Publication Date: September 1st, 2006
Format: Hardover, 406 Pages
Rating: ★1/2★
To Buy (different edition than one reviewed)
Margaret Lea lives a half life. Working with her father in their antiquarian bookstore she knows that at birth she was a twin. Yet the twin didn't survive. She has always felt that the day she was born was also the day she died. Always looking in mirrors and reflections wondering if that is her sister on the other side. Out of nowhere the author Vida Winter contacts her. She read a little article Margaret had wrote and thought that perhaps Margaret would be her biographer. This would be quite the opportunity to be the biographer to the woman who in every interview she has ever done has told a different biography. Nineteen in the past two years alone. But Margaret can't help being intrigued by opportunity to be the biographer to the most popular author of the age and perhaps find out what happened to the elusive Thirteenth Tale... the missing story from her first book. Margaret agrees to the dying woman's wishes and takes up residence in her Yorkshire home, provided that she tell her three truths that can be verified. The three truths are her real name, where she is from and an event that could be verified. She is really Emmeline Angelfield, from Angelfield and the house burned to the ground. Yet these truths aren't why Margaret stays, it's the fact Vida's story is about twins.

Soon Margaret is obsessed with the world of the Angelfields. The possibly incestuous and definitely masochistic brother and sister, Charlie and Isabelle. Isabelle being the mother of the twins, Adeline and Emmeline, Charlie perhaps being the father. We see the feral children raised in squaller as the Angelfield estate falls apart under the overwork hands of the Missus and John, the Gardener. There are attempts to bring them out of their twinness, speaking only in their twin language. There is Doctor and Governess involvement, but they do more bad then good when they separate the twins, making them amputees missing that which gave them life. When Margaret is not transcribing the story laboriously with pen and paper she is not eating well and having nightmares, her life consumed by the Angelfields. She even ventures to the estate and tries to ferret out their secrets. But how can you be sure you know everything when someone who has always lied, always been the storyteller, claims to be telling the truth. Might they still omit something so there is still a secret only they know?

I will warn you now, I don't usually do spoilers in my reviews. This review will contain spoilers. I need to vent and address my issues, and to that effect, a certain rather big twist (to some) will be discussed at length. For years now people have been telling me to pick up The Thirteenth Tale. The story does center on bookish people, an English country house and perhaps a ghost or two. Add to that the heavy handed name dropping of some of my favorite books from Jane Eyre to The Woman in White to The Turn of the Screw and you'd think me and this book where a perfect fit. We weren't. We not only don't fit together, I think we're from two entirely different puzzles. The titular name dropping was used by the author to force us into this mindset that her book was similar to these other wonderful Gothic Tales. Saying it, repeatedly, doesn't make it so. Just because you have plot devices that mimic events that happen in these classics doesn't mean you should keep hammering the point home. Your book will never be as good as these standards, so stop comparing them, you will always, I repeat, always, come out the loser. You need to make your own book, references are fine, just don't be so blatant.

The book hinges on the story of Miss Winter's life. Miss Winter who is shamelessly an amalgam of Daphne Du Maurier and Agatha Christie, including all the creepy bits of Daphne Du Maurier's past that it's best not to dwell on. Miss Winter is an inveterate liar. She can never tell the truth, so when she does tell the truth there is a key fact omitted. A fact that is obvious to anyone familiar with this genre. The story about the girls, if you pay close attention shows a story of not just the mentioned twins, but a story of three girls. Yes, that is the big "secret." Three not two. The ghost is just another little girl, who happens to be a cousin or perhaps half sibling to the twins and could pass for either one of them and is probably born of rape. I should probably mention I am now going on to spoil other books for you too, The Woman in White being the first up. The "Woman in White" being the illegitimate daughter of the heroine's father, and therefore her half sibling, mimics the girls relationship to each other in The Thirteenth Tale. The evilness of the twins is seen as similar to The Turn of the Screw, while the godsend governess is Jane Eyre, oh, and of course, the house is then destroyed by fire. Here's an idea Diane Setterfield, try to write something original. Don't jumble all these other books together, reference them and then make the reader wish they where reading them instead of your choppy writing style with made up words like "twinness." Don't care if it's in the Urban Dictionary, it's not in the real one and sounds stupid.

The twinness more than anything is what got on my nerves. The changes of "We" to "I." Which I could easily see without the writer going, hey, did you see that. In fact Setterfield seemed so insecure in her own powers of weaving red herrings and hints throughout the book the she went out of the way to say "Hey, you caught that right?" and if you didn't, "Women in White, cough cough." Well, yes, I did, I'm not an idiot, by the way, I just started your book and there's three girls not two, this better not be what the next 300 pages is building up to. Of course it was. Also if I have to hear one more thing about the mystical bonds of twins I may vomit. Margaret always felt alone because she had a twin that her parents never told her about. Boo hoo, confront your parents and move on with you life. The only character I think I could spend any time with was the cat Shadow... too bad he has to live with Margaret. Also, why do you always drink hot cocoa? Don't appear to own a computer and then have a weird angel/ghost hallucination at the end? Why Margaret? WHY!?!

Posted by Miss Eliza at 12:00 AM 2 comments  

Labels: Agatha Christie, Angelfield, Daphne Du Maurier, Diane Setterfield, Gothic, Jane Eyre, The Thirteenth Tale, The Turn of the Screw, The Woman in White, Vida Winter