Arent Hayes howled in pain as a rock slammed into his massive back.The devil and the dark water, Stuart Turton, Sourcebooks 2020
It’s been a day since I finished the book (I had to rush the last 200 pages because of a deadline), and I’ve only become more flabbergasted since. There really was a 410 page build-up for something that was turned around in five pages.
The devil and the dark water goes for the Sherlock Holmes-trope of a gentle, slightly goofy very intelligent small man and a brute of a protector; this time they’re called Sammy and Arent. The location is a WIC-ship and is it a devil or something or somebody else that is causing all of that chaos and mayhem? Dum dum dum, etc.
The other thing that makes this caper less fun (the first thing being “The Twist”) is that it all goes on for too long. The author mentions that he didn’t want to add more characters, but he could have done a character-cut twice more to bring some clarity and add some speed.
In all honesty, I think it would have been a more exciting and original story if he would have started with The Twist and showed those shenanigans in seventeenth-century Europe. But Turton already promised a next book, so who knows.
Probably Sammy and Arent.
One morning at the beginning of 2019, when I was in my London flat, the telephone rang.Lady in Waiting: My Extraordinary Life in the Shadow of The Crown, Anne Glennconner, Hachette Books 2020
If you feel like you need more after watching all of The Crown in one go, are a fan of ‘truth is stranger than fiction’ or just want to see how the aristocratic one percent lives – this is your book.
Because Lady in Waiting Anne Glennconner (she’s Princess Margaret’s friend and Lady in Waiting) doesn’t only come from that category – pretty much everyone she knows does. And those that don’t, are celebrities through music, art and film – the only thing missing is the aristocratic element. Those are also the only people that aren’t related to her or her husband in some way — because in England royalty and the level below that — everyone is.
Anne (I honestly don’t know if she should get a title) lives through a large part of the twentieth century and goes through almost the same amount of houses as she goes through years – on many continents. With her anxious, aggressive, loud husband she has five children who provide their own problems, while she has to be head of the household of several households and take care of Princess Margaret in every possible way as soon as she’s around. In a fictional story an editor would have told the author to start culling this huge amount of detail, story lines and disasters 100 pages in. But this is someone’s life.
Mostly it just shows that heritage, money and a network won’t prevent you from suffering trauma, while simultaneously making you see how much of a circus it all is. Honestly, if this is her truth; give me fiction.
This is a bit like The Favourite, except it’s simultaneously milder and meaner. Less laughs, whimsy and absurdity than that film; more cold-blooded actions.
I don’t think that the character of Lady MacBeth desires any kind of introduction: she leaves a path of destruction as one does. This time, the lady is just a brat with little background and motivation, and absolutely no remorse.
That’s a relief, to be honest. She wants to, she does so, and we move on. The missing background isn’t bothersome, the motivation is clear as nothing more than ‘because I want to’. It also makes the film solely about her: other characters are almost extras, and it provided a watching experience that’s different.
Will it stay with me? Maybe. Was it something new I needed? Yes. I immediately checked which other films A71 Entertainment provides, which I’d definitely call a compliment.
The parties at the Tuñóns’ house always ended unquestionably late, and since the hosts enjoyed costume parties in particular, it was not unusual to see Chinas Poblanas with their folkloric skirts and ribbons in their hair arrive in the company of a harlequin or a cowboy.Mexican Gothic, Silvia Moreno-Garcia, Del Rey 2020
It’s always tricky to read a hyped book, I’ve mentioned this before. Is it a hype because people jumped on the band wagon, or does it really deserve all praise?
I wanted to say that I don’t know with this one, but I think I do. The promo laid it on thick that for once this wasn’t a Latin-American author writing magic-realism and that her scares were genuine. Magic-horror, terror, gothicness! I, far from a fan of horror, was curious because of the denial. I understand – no-one wants to be cornered as a one-trick-pony, but why not promote the story if it was So Different Than Any Other?
Maybe because it isn’t. Noémi moves to a scary, old house far away from civilisation to help a cousin that sent her a nerve-wrecking letter. Is it abuse, is it gas lighting or is it [add drums here] something else?
I won’t answer that question, but will say that Moreno-Garcia takes her time for a build-up only to throw everything at you in the last fifty pages.
It’s a nice roller-coaster ride, but nothing we haven’t experienced before.
On the night of October 4th, 1966, Val and I, both in late middle age, attended the opening of Many Are Called at the Museum of Modern Art – the first exhibit of portraits taken by Walker Evans in the late 1930s on the New York City subways with a hidden camera.Rules of Civility, Amor Towles, Sceptre 2011
As with my previous review, this novel can be summarised in one sentence. The characters however, can not.
Young woman in NYC 1940s moves up through class-levels while learning things about society and what she wants.
Just like in his following novel, Amor Towles manages to make a lot out of a little, without rocking any kind of boat in any way. A little less sofa, that’s all. You’re not completely detached, but never manage to break the surface either. Towles makes it feel like this is how he wants to be, in complete control of the story/stories.
It’s only about that, and do with it as you will. If you want.
They must think I don’t have long left, because today they allow the vicar in.
Bitter Orange, Claire Fuller, Fig Tree 2018
I first saw Freya at my high school.
The Swap, Robyn Harding, Simon & Schuster 2020
New template, new way of posting? I read the second book to have something different from the first (because my previously planned book was also in a historic setting), turns out I got another portion of unreliable narrator and obsessive behaviour. Oh, well.
All protagonists are female, how often does the combination of unreliable narrator and obsession happens with male characters? Frances is close to forty, while Low and Jamie are a teen and a thirty-something. The set time period is different as well, but both books end in murder (or do they?).
The Bitter Orange covers up the thriller/mayhem part better, masquerading for a long time as a story of a woman as exciting as a dry black bean in technicolour surroundings. She has to evaluate gardens of a neglected mansion and finds people who have to do something similar, but don’t really do it. They make her think that she could be technicolour, instead.
The Swap on the other hand starts out with a clear manipulator; an ex-social media influencer for Pete’s sake. She twists everyone around her pinky finger, but some you don’t want around your pinky or other body parts…
Both stories have appealingly-written surroundings, dramatic characters and don’t attempt to make you root for them. It’s train wrecks waiting to happen, with an extra point to The Bitter Orange for a more subtle lead-up to the twist.
Neither are stories that will end up on your Best Of-list (probably), but they’re good for what they attempt to be.
The basement club spat Lawrie out into the dirty maze of Soho, a freezing mist settling over him like a damp jacket.
The pretty cover will definitely throw you off: this isn’t a light, bubbly story about a fabulous time in black music history. This is a novel about black British history, and there’s little prettiness about that.
Jamaicans are ‘invited’ to come to the motherland, but England isn’t a loving mother. Black people are denied on every level of daily living, and when a baby is found, police and white citizens take it as an excuse to go full out racist.
Louise Hare shows the endless fear and frustration as well, making you move from ‘Why not just go back?’ to ‘Why don’t you stand up for yourself?’ and ‘Why is everybody such a wanker?’. Lawrie doesn’t want much in life, but because he’s black there’s a lot of people out there that actively sabotage him.
The Empire Windrush and their people aren’t fiction, nor was their treatment of them. So even though this is an interesting look at London after the Second World War, there’s no fun and bubbles to be found here.
This Lovely City, Louise Hare, House of Anansi Press 2020
Lake Geneva, 1816
Reality is water-soluble.
Now, what to think and say about this one? Unlike The Body in Question, I’m struggling because I’m thinking too much about this story. It’s bewildering, it’s scary, it’s also kind of soothing with showing you how humans and their ideas about identity, life and death have always been around and probably forever will be (in whatever shape).
This isn’t a retelling of Frankenstein, or maybe partly, or maybe only inspired by it. Mary Shelley gets a plot, so does Ry and Victor Stein. There’s layers and century-deep connections, but never in a Gotcha!-way.
Winterson surprised me with a memoir I liked (which doesn’t happen often, as recently mentioned), but I didn’t know what to expect with a novel of hers. After Frankissstein, I still don’t. I find it hard to believe that she could write something like this again, if it’s even a ‘this’.
I’d recommend this novel to everyone who allows themselves to be taken along for a ride. I’d also recommend it because I still don’t know how to place this story and would love to pick other people’s brains. While still in their heads, of course.
Frankissstein, Jeanette Winterson, Jonathan Cape London 2019
22 x 30 min
I know it’s based on a game, but to me it felt – from time to time – like it could have been part of the same world that The Sandman Chronicles play out in. It’s bleak and gruesome but also beautiful in the Gothic way and the story telling comes first through spare, solid story lines that aren’t endlessly muddled with side plots.
Castlevania is about vampires, but not really. Or just kind of. It’s about a sad Dracula, vicious vampire women, monster hunters, magical monks (sort of?) all played out in a greyish and brownish Eastern Europe. Maybe. The castle moves around, after all.
If you want lore, mythology, beautiful animation, snarky yet terrifying vampires and their ilk plus quite a quick fix (those 22 episodes are three seasons), you should try it. If you don’t like gore in any way, and prefer your shows bright and bubbly – better you pass this one.
Castlevania, Netflix 2017
The first time our father brought Andrea to the Dutch House, Sandy, our housekeeper, came to my sister’s room and told us to come downstairs.
I changed my mind on this book maybe three – four times. Pretty cover -> meh summary -> positive reviews -> where is this story going? -> Oh. Oh wow.
Wasn’t that an exciting trip to go on?
This book is the house it’s about, but at the same time its story never gets as bright and colourful as the interior of the house. Even before the big thing that changes everything happens, there’s a thick gray layer over not just the people of this story, but the story itself.
It doesn’t make the story less appealing, but it did make me long towards that version of the story: if Ann Patchett would halfway flip to the owners under whom the house prospered, I wouldn’t even have minded and this coming from the woman who despises different times – same houses stories.
Still, the story as it is found its way under my skin. On family, on bitterness, on deciding what you need for yourself instead of for someone else. And in the end – yes: oh wow.
The Dutch House, Ann Patchett, HarperCollins 2019