Helen Bryan’s novel opens in the present day with an elderly woman packing to get on a plane to Europe. Her distination is unknown, but we know that whoever she plans on seeing, she hasn’t seen in over 50 years.
The bulk of Bryan’s novel takes place 50 years earlier during the Second World War and follows the lives of four women, Evangeline who has eloped from New Orleans, Alice a spinster living in the English countryside, Elsie evacuated from London, Tanni who has fled Vienna, and Frances a high spirited society girl sent to live with her Godmother, as how their lives intersect as they all find themselves in Crowmarsh Priors for the war. The novel had a great set up, but fell rather flat and had an unsatisfying conclusion.
I won’t say too much more at risk of spoiling the book, but there is a lot of character development during the first half of the novel which is well done, but Bryan seems unsure of where to go from there. Each woman is introduced on her own and has a compelling backstory; Evangeline is the daughter of a planter in New Orleans and is having an illicit affair with her mulatto cousin, Elsie is a slum rat in London but clever nonetheless, and Tanni find herself married to a family friend studying at Oxford in order to escape Nazi occupied Austria. Once all the women find themselves in Crowmarsh priors, their stories get tiresome. The women’s stories end before the war does, and the epilogue tacked on to the end is sloppy and seems out of place. It feels as though Bryan was rushed in writing this in order to make a deadline or something. I was quite disappointed after what seemed like such a promising start to the story.
I have a difficult relationship with short stories, and aside from David Sedaris’ Me Talk Pretty One Day, I have yet to come across a compilation of short stories that I absolutely love. Well I finally found it.
I’m not even quite sure how to explain what makes this collection so great, which is terrible because I’ve decided to review books in my spare time, but it definitely has to do with Holmes’ writing style. She writes in a very candid way with short and snappy sentences never leaving her characters to dwell on a thought for too long. Her writing is very matter-of-fact and often times dripping with sarcasm or irony. Maybe I just loved her writing so much because I feel like I speak in a similar way.
The stories themselves are also all great ranging from the story of a law student with an identity crisis acting as a lesbian to work at a female-positive sex shop, so a woman who falls in love with a Swedish guy who she grows to dislike more and more as he gets attached to her dog Pearl. I feel like short stories seem like they would be easy to write, but are actually in reality quite difficult. It’s easy to come up with the idea for one, but then to create a compelling enough storyline that people actually care about before reaching a satisfying conclusion in a limited number of pages is tough. As with most short story collections, I likes certain stories better than others, but they all hit all the right notes.
I can’t recommend this enough. It’s a short smart and quirky read that you’ll want to lend to your friends so that you can laugh about it together.
After the first few seasons of Downton Abbey exploded in the United States, books like this one started to be published and quickly became a dime a dozen. There’s nothing especially remarkable about this particular book, but I liked it nonetheless. Mollie was obviously a spitfire in her day and that spirit and sass comes through in her writing even though she was 93 at the time this was published.
This book takes place pretty close to the Downton Abbey period as Mollie takes up service just before the Second World War. Her memoirs detail the friendships she made (and kept) as well as the hardships she bore and the things she learned as she worked her way up from scullery maid to head chef in a manor house. The appendix also contains a number or recipes that are made reference to throughout Mollie’s writing. She writes about the importance of Mrs. Beeton’s Book of Household Management, a book I’ve become quite familiar with, and includes one of my favourite quotes, “Sauces are to cookery what grammar is to language.”
It’s a neat little read and while it doesn’t shed light on anything particularly new about the time period, fans of Downton Abbey will enjoy it.
Nick Hornby is right up there as one of my favourite authors. He is sharp, witty, and while I’m not sure if anything equal my love of High Fidelity, Funny Girl, his newest book was pretty great.
The novel focuses on Barbara Parker, a beauty queen from Blackpool who wants nothing more than to be a comedian like Lucille Ball. She leaves her small town striking out for London but finds that she is considered too good looking to be seen as being funny. This is the 1960s and Barbara, who changes her name to Sophie, only gets bit parts in plays and TV shows often as a Ditz. Hornby then introduces a whole cast or characters; BBC writers Bill and Tony, producer Dennis, and leading man Clive. The novel follows the production of Barbara (and) Jim starring Sophie/Barbara and Clive as it becomes one of Britain’s most beloved sitcoms and as the plots parallel the lives of the other characters in the story.
I loved everything about this novel, the character of Sophie/Barbara was so likeable, and the other characters were also layered and interesting. 1960s London is an amazing time to set a book like this dealing with. Hornby is sophisticated and funny in his writing as always and there were some parts that had me laughing out loud. I can see this being made into a movie so easily, especially as one directed by Richard Curtis, and will be so excited if that does come about.
While the collection of essays is titled White Girls, to simply call it a book about white girls both true and false. The subjects of these essays, Truman Capote, Michael Jackson, Eminem, and Richard Pryor are all ‘white girls’ in some respect, according to Als.
This collection was very dense and theoretical and I sometimes got lost amid all of Als writing. I understood what he was trying to do but for a general audience (Als is a staff writer for the New Yorker), if feel like readers might find themselves a bit in over their head. It’s not exactly theory, but it’s not far off.
Throughout his collection Als interweaves his own personal memoir and reflections on society with biographies of major cultural influences. Essentially as a gay black man, Als writes about other gay black men’s desires. “White Girls” are the absolute opposite of gay black men, yet the symbol with which they most identify with. It is within this paradigm that Als fits cultural icons into, treating them as the “White Girls” that he wishes he could be.
Its a worthwhile read for anyone studying culture in an extremely critical way. He takes notions of race and gender and upends them quite successfully. It’s dense and tough to get through at times, definitely not a beach read, but quite worth it if critical theory is your thing.
I’m not quite sure what compelled me to pick up this book. It tells the story of Marie Duplessis, one of the 19th century’s most well known courtesans from her difficult upbringing to her rise among the Paris elite. Made famous by her beauty, Duplessis’ story is much better known through the novel, play and opera that made her a cultural icon.
In her colourful biography, Kavanagh seeks to look at who Marie Duplessis actually was not the woman portrayed on the stage. Duplessis was much more calculating and manipulated that she is portrayed as. This will be disappointing to those readers looking to find some integrity behind Marie as her letters to various suitors and willingness to do anything to get ahead show that Marie was quite calculating and her one true love always remained money.
Kavanagh is actually quite sympathetic to Marie however using her hard upbringing as an explanation for her behavior later in life. The daughter of wretchedly poor peasants in Normandy, her father an alcoholic peddler, Marie’s early life was definitely not easy. After moving to the city and working as a laundress however Marie (formally Alphonsie) began to gain notoriety for her looks and realized she could make money and succeed being “kept” by another man. Her love of material good strong, Marie elected to this option.
This was a good book but I wish that Kavanagh had spent a bit more time setting the scene in 19th century Paris. I loved learning about Marie Duplessis but would have loved to know more about her historic context and the world of high class courtesans in Paris.
In defining this book I would say that it was totally and wholly expected. It’s one of those historical fiction novels that you pick up in an airport for a pleasant, although unremarkable read. Maybe some will disagree with me, but there wasn’t anything in this book that really stood out for me; nothing took my breath away.
Essentially the book takes place in San Francisco’s Chinatown just before the United States enters the Second World War. Following three characters; Grace, a young Chinese girl from the mid-west who has run away from her abusive father; Helen, a young Chinese widow from a prominent family; and Ruby, a Japanese girl posing as Chinese, Lisa See tells a story of fame, female friendship, and betrayal set against a looming war. All three work as dancers at a nightclub each pursuing their own dreams, and quite unsurprisingly their lives are turned upside down when Pearl Harbour is bombed.
The characters were charming although one-dimensional, and it was easy to see where the story was going from the start. Maybe I’m asking a bit too much of the author or expect too much from the fiction that I read but overall this book was good, but nothing special.