Showing posts with label Victorian London. Show all posts
Showing posts with label Victorian London. Show all posts

Wednesday, January 15, 2025

Book Review 2024 #7 - Sarah Waters's Affinity

Affinity by Sarah Waters
Published by: Riverhead
Publication Date: June 5th, 2000
Format: Paperback, 352 Pages
Rating: ★★★★★
To Buy (different edition than one reviewed)

There are secrets in everyone's lives. Everyone knows that Margaret Prior hasn't been the same since the death of her father. Only a few know that she tried to kill herself. And only one other knows that the death of her father was only the first domino to fall. His death confined Margaret to Cheyne Walk. Her dreams of Italy and a life with Helen were crushed. Helen subsequently married Margaret's brother and bore him a child. Helen, Italy, her father, all of it lost forever. Her future being nothing more than her mother's dogsbody will eventually break her. But first a kind friend of her father's tries to help. Mr. Shillitoe has asked Margaret if she would be interested in becoming a "Lady Visitor" to Millbank Prison. The scheme is that Margaret, being from a well-respected upper-class family, will be a good influence on the female prisoners. Her manners and comportment will encourage the women to emulate her. During her first visit she's uncertain if she will ever return. The despair and drudgery. The claustrophobic air. Everything combines to sap the will to live out of you. But then she sees one prisoner remarkably holding a flower. In this is a place where nothing grows. It is a mystery. One that will take over Margaret's life. Because the prisoner is none other than the famous, some may say infamous, medium Selina Dawes. Selina is in prison because her patroness died after Selina conducted a private session with a young American, Miss Madeleine Silvester, who went into a fit after Selina's spirit guide, Peter Quick, manifested himself and was rough with the her. All of this Margaret learns over time. Some from her too short visits with Selina, some from the matrons, and some from the outside world. Because that's what has happened to Margaret. She believes that her world is the prison. That she is there with Selina. And yet she cannot show how desperate she is to see Selina. Her mother has already threatened to stop her visiting the prisoners. She thinks Margaret just gets too worked up. Also Margaret cannot let the matrons suspect her partiality for the medium or they too could stop her visits. She must spread her "good work" to other inmates, hiding her true feelings and desires. But Selina understands all. Selina has manifested miracles for Margaret, flowers in the bleakest of nights. Now it is up to Margaret to get ready for another miracle, Selina's escape. The two of them will forge a new life together. The spirits just have to be willing.

Until now I didn't know that Sarah Waters had reached her full potential and written a perfect book. I should have known given how beloved she is, but of her six books I've only read half of them so I only had half the picture. I felt that The Little Stranger left much to be desired despite having a lasting influence on me and Fingersmith overstayed its welcome. So much like Goldilocks it took until I read Affinity to find something just right. The problems I had with Fingersmith in particular highlight why this book is perfection. With the story of Sue Trinder and Maud Lilly we essentially had two novels. The first half was Sue's story and the second half was Maud's story, or, if I'm being honest, just the entire story of Sue rehashed once the "twist" was revealed. The book should have ended at the twist. Leave your audience wanting more with shock and awe, with a visceral gut punch that they will never recover from. Which, ironically, is exactly what Sarah Waters did with Affinity, the book she wrote before Fingersmith. I wonder if it's because this book left questions and in some places was open to interpretation that there were critics out there who said she should work on that and then she did and it made her work less than. I would rather be left wanting more than grow to dislike a novel. Sarah Waters does an amazing job with worldbuilding. People have rightfully compared her to Dickens. She brings Victorian London to life. You feel the oppression of the air on your skin, the din of the streets in your ears. But what I found astonishing here is that she brought an overlooked part of Victorian London to life in Margaret's visits to Millbank Prison. I felt like I was there, in Millbank. The chalky walls, the confining routines, the itchy clothes, the loneliness, the dark, I was there. I was a prisoner in Millbank. And oh how it mirrors the prison of Margaret's own life. She has her own jailor in the form of her mother, her own torment in seeing her lover married to her brother, her prison is just far more luxurious. And every time I picked up this book I was taken away from my world and lived in theirs. I was there with Margaret, I was there with Selina. I WAS THERE. For a little less than a week I lived in another world. A world where a skilled Spiritualist made a desperate and lonely woman believe in supernatural powers. Believe that there was a life they could make together. A world that was someone else's. And I so believed. As George R.R. Martin said "[a] reader lives a thousand lives before he dies. The man who never reads lives only one." But not every book gives you that lived in experience. Affinity did. Sarah Waters let me live another life. A truly unforgettable one.

Friday, June 2, 2023

Book Review - Sarah Waters's Fingersmith

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.

Tuesday, September 25, 2012

Book Review - Terry Pratchett's Dodger

Dodger by Terry Pratchett
Published by: HarperCollins
Publication Date: September 25th, 2012
Format: Hardcover, 368 Pages
Rating: ★★★
To Buy

Dodger is a Tosher. The best Tosher there is, if he was asked. He knows all the secrets of the sewers under London and all the perfect places for a coin to get trapped in the muck, or more fortuitously, a bit of jewelry. Everyone knows and likes Dodger. His is a simple life, he doesn't desire more. Though one act of heroism will change everything forever; not just his reputation, but his outlook on life. Maybe Dodger does want something more, if there was a someone to want the more for...

It was a dark and stormy night, as all good stories start, and Dodger rescued a damsel in distress from some thugs by leaping out of the sewers and thwarting their attempts to do a bit of mischief. Shortly the sewer rat and the damsel are stumbled upon by Charles Dickens and his good friend, Henry Mayhew. These two eminent Victorians take the care of the young girl to heart, knowing more about the underbelly of London than the average citizen. But Dodger still follows, concerned for the young girl's safety. The young girl, who they dub Simplicity, is in a bad way, she has miscarried and it is obvious that the danger to her life is coming from someone rather high up the social ladder, if the fancy ring she is wearing is anything to go by. She is scared, but she trusts Dodger implicitly.

Dodger, totally smiting, makes it his goal to find these evil men and make the world safe for Simplicity. Easier said than done. Ever since that night Dodger seems to be attracting danger. He thwarts a robbery at Dickens' newspaper, he fights of Sweeney Todd, has dealings with Disraeli, and all the while, he feels as if what's happening and what people think is happening are two entirely different truths. That's something Charlie specializes in, the malleability of the truth. Let people believe what they want to. Could this work to Dodger's advantage? Could he create a new truth, a false truth, by playing with what people expect to see versus what they really see? Dodger sure is learning a lot and his star is definitely coming up in the world.

There is one thing that mystifies me about this book and it's how they are promoting it as a historical fantasy. To me it is historical fiction plain and simple. I mean most historical fiction is quite fantastical, just look at some of the things Philippa Gregory has written, or even The Tudors TV series. License in writing historical fiction gives you a lot of leeway, without having to add the additional "fantasy" label. I really didn't find anything in this book that would have been totally unrealistic for the time and setting and therefore needing this added genre. But, I have a feeling it was more for the fans of Terry. Terry Pratchett writing historical fiction? No no, you must be wrong, there has to be a bit of fantasy in there cries the fan base. Personally, I don't see why they bother, they being the publishers, Terry's fans are some of the most loyal out there, I mean, even this hideous and totally not at all relating to anything in the book cover hasn't put them off. I mean, this book was one of the few books willing to go up against J.K. Rowling's new book with the same release date, unlike other authors, like Ian Rankin, whose publishing date was pushed back. Than again, it is a YA book, so a different list... which brings me to another point, why YA? But then again, I've never been one to really separate why some books by an author are YA and some are not. Pratchett is Pratchett and Discworld is Discworld, no matter what those wack jobs who always insist that the YA Discworld shouldn't be counted... yes, that was a huge argument I had a few years back on Goodreads, thankfully Terry himself was in favor of my reasoning. Suck it YA haters!

If Terry's purpose in writing this book was to create an homage, not just to the world of Dickens, but to Dickens' style of writing and his characterization, I have to say he succeeded admirably. Dodger feels like a modern book that Dickens himself would have written. There is a vast cornucopia of interesting characters from Dodger's "landlord" Solomon and his adorable and loyal dog Onan (wiki that name and you'll get a funny joke, like Pratchett, I will not repeat it myself), to the French lady who feeds soup to the destitute, to the Mayhews and their love of social reform and rehabilitation, to Charles Dickens himself. The characters though are just one level of Dickensian drama. The plot itself, especially the solution for Simplicity, is one that I'm sure Dickens himself would have written, it has some of the more far fetched elements of say Our Mutual Friend. More than anything though, it was the pacing that made me think of Dickens. This isn't a book to be ploughed through, beginning to end, it's a world you stroll through, leisurely, savoring the characters. I think Dickens would be proud, and if this even ended up being adapted for stage or screen, I'm sure Dickens would demand to play himself.

Yet underneath that Dickensian shine, there is Pratchett. That lovely little devious Brit in black. There are footnotes and asides that only Terry could do. And in the end, this book deals with one of Terry's favorite themes, Truth, and yes, it needs the capitol "T." Terry has explored in various books, including one called The Truth, the idea that Truth is malleable, that it is what we make it. The way Dickens tries to explain this to Dodger shows that Dickens is Terry's conduit, the author within the book telling you how it is. Truth can easily be changed by writers, and more so by writers in the press. Yet, there is Truth that needs to be accepted, people need their fantasies, they need to believe certain things to survive. Everyone needs their own Truth, and it's what you make of it that matters. My Truth? I need a world with Terry Pratchett in it.

Friday, October 9, 2009

A Victorian Future

Ever wish that you lived in Victorian times, but with a little bit more Wellsian sci-fi? Perhaps just that little extra something to make it more like an episode of Dr. Who but with that splash of Charles Dickens. Well enter Steampunk! That fantasy and speculative fiction genre that posits, what if steam had really become widely used, what if people had parasols and wore goggles on their top hats, what if cybermen helped a wicked lady who ran an orphanage...no, wait, that last one was an episode of Dr. Who...but it does perfectly epitomize the genre. Victorian manners melded with steel. An amped up future but in the 1880s. From the aforementioned Dr. Who episode, The Next Doctor, to books such as Gail Carriger's Soulless, to The League of Extraordinary Gentlemen, Steampunk is getting quite a following, and quite the fashions too. Like a costume drama and Marilyn Manson had a car crash and what came out you can now buy and wear on such sites as Clockwork Couture.

Personally I have Steampunk on the brain...must be because I'm currently reading Soulless and thinking how cool dirigibles in common use would be...or maybe because it's Steampunk month over at Tor...or perhaps it's because my home town has their own Steampunk group, Steam Century, and they're having a Darke Carnival...for one reason and another, Steampunk is very big at the moment. So, if you're interested in this interesting blend of possibilities, pick up a book, put on some clothes, or head over to the Darke Carnival at the Inferno in Madison, Wisconsin this Saturday, October 10th!

Wednesday, September 30, 2009

Finding a Paranormal Home in Victorian London

Today I have a very special treat in store for you lucky readers! No, not tea and biscuits. The author Gail Carriger is here for a guest blog. Her debut novel, Soulless, was released upon the book buying masses yesterday, and lets hope those masses were buying this book, I know I was trying to influence you.... As it says on her website "Soulless, book the first in the Parasol Protectorate Series, is a comedy of manners set in Victorian London: full of vampires, dirigibles, and tea. It is either Jane Austen does paranormal, or PG Wodehouse does steampunk." Either way I'm in, loving anything English, especially Jane Austen and PG Wodehouse. It's like a Buffy and Anglophiles dream! Well, enough of me, you get enough of me every day, it's not that often I hand the reins of my blog over to someone else...so without further ado, I present Gail Corriger:

There is something incredibly appealing about Victorian London. While I'm certain it was stinky, uncomfortable, unsanitary, and largely unpleasant for many of its residents - the romantic appeal is unassailable. I don't know what makes it so alluring to others, but for me it is equal parts the clothing, the manners, and the intellectual revolution of the time. London in 1873 seemed to me a natural habitat for vampires, with all their vaunted urbanity (not to mention the whole "can't enter without an invitation" thing - the only people more obsessed with proper etiquette than vampires were the Victorians), just as the army of the British Empire seemed like the perfect place for werewolves.

There is an odd kind of logic to the Victorian mentality, and that, coupled with a sense of scientific superiority, makes acceptance of the supernatural easy to imagine. One can envision the Victorians sipping tea with werewolves, discussing ancient philosophy with ghosts, or playing cards with a vampire. One simply can't imagine the 19th century French or Italians doing anything nearly so civilized when confronted with fangs or fur.

I just love the idea of a whole genre centered around a stately yet pompous mixture of paranormal and high society, gravitas ab umbraculum. (Dignity in Parasols, or something like.) Gothic literature, after all, had its heyday during Victorian times, and what is the urban fantasy genre but gothic writing modernized? In a way, returning to Victorian London is full circle for paranormal authors. Toss a little steampunk in there and what could be more fun? I, for one, was excited by the idea of urban fantasy quitting its contemporary setting. And since I had nothing better to do – I wrote about it myself.

(Me, Miss Eliza again...I hope you enjoyed that wonderful post, and make sure to go out and get that book and check out Gail Corriger's site, it's lots of fun, it even has an interactive paperdoll! And we all know how much I love those...)

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