Posts Tagged Book Review
Title The Witches of New York
Author Ami McKay
Genre Historical Fiction, Paranormal Fantasy
Publisher Knopf Canada
Publication Date October 25, 2016
Setting New York, 1880
Synopsis: In the year 1880, as suffragettes roamed the streets of New York demanding civil rights and Cleopatra’s Needle slowly made its way from the banks of Hudson River to Greywacke Knoll, witches and witch hunts were far from being a thing of the past. But just as the settlers of Salem misdirected their fear and abuse, the religious fanatics of the Gilded-Age failed to appreciate the value of suffragettes and witches alike, in differentiating them as well as realizing their commonalities. At a time like this, Beatrice Dunn, a country orphan living with her spinster aunt responds to an advertisement placed by two self-sufficient witches, Eleanor St. Clair and Adelaide Thom, to help around their shop of alternate solutions to womanly woes, St. Clair & Thom: Tea & Sympathy. Beatrice’s arrival in New York City coincides that of the Egyptian Obelisk and her first adventure in the city is to touch the monument, her innate magic only serving to draw from its magic. Sensing her as a kindred sister, she is hired by Eleanor immediately, though Eleanor had first objected to Adelaide’s ad. Adelaide is slower to be convinced and only accepts Beatrice when the younger woman demonstrates an ability to see and communicate with netherworld dwellers. Adelaide takes on Beatrice as a show-stopper for their enterprise while Eleanor sees the girl as a magical apprentice to be honed and cherished. As the more experienced witches go about passing on their wisdom and craft to the newly initiated, and Beatrice tries to navigate between the two people looking out for her “best interests”, a sinister predator lurks in the background. Reverend Francis Townsend is a preacher revered by his parish for his austere regulations, but when no one is looking, he takes it upon himself to punish and rid the world of “devil worshipers”. And he is on the warpath to save the lovely Beatrice who has been “bewitched” by the ladies of the tea shop.
Experience: The first thing I noticed while reading this book was McKay’s unique writing style. With descriptive short sentences, she very economically sets up and explores the setting of the novel, flitting from scene to concise scene. It gives the readers glimpses of the various active characters (minor as well as major) of the plot from the get-go. At first, I was not able to comprehend why so many different characters were being introduced at once (I lost my place in the novel numerous times) but, eventually, the bigger picture began to form. It helped me, as a writer, to see how completely unrelated characters may go through the world [i.e. of the novel] to coalesce in a series of events that provides deeper exposure into the main characters of the plot. Once I managed to settle down with the book, I could appreciate the nuances of the various heroines, their counterparts, and the villain better. But it took me a while to settle down.
I think my favorite character of the novel was Adelaide Thom, who is apparently the heroine of a previous book, “Moth” in The Virgin Cure. Adelaide is not a typical heroine of all goodness. She has been abused by life, having lost an eye and been left with the scars from an acid attack by a jealous mad woman, and this has left her heart riddled with cynicism. She is often self-serving and refuses Eleanor’s (who really is the mothering type of good sort) advice as well as her magical visions when it suits her immediate agenda. This brews the main conflict of the novel and inadvertently propagates the climax. But essentially, she has a good heart and can be kind to those in need of kindness. What makes her interesting is her wholly unapologetic claim to procure that which she believes she wants and deserves, perfectly in line with the background activity of the suffragettes. The happy aspect is that while she runs from romance, she manages to find the perfect hero for herself in this book, a man with an equal number of imperfections but an open-minded and perhaps more compassionate spirit.
However, the novel is not without flaws. I felt that although the various glimpses into minor characters added to the main character developments, effectively the mystery of the novel was lost a little too early in the novel. While the arrangement of the chapters was such that it jumped from character to character so that each aspect of the story developed parallel to the others to accommodate the passage of time, but it left me a bit frustrated to have to keep breaking off just when things start to get interesting. Perhaps it also intended to keep the pages turning but it, in fact, made me slower to adhere to the novel with any form of gusto. I could easily put aside the novel and pick it up later (in fact, at one point I completely left to read another book), and by the time the story returned to one character development, the interest was lost. The whole business made it a very slow read.
Recommendation: This is a tough one. Although I found the story pleasant enough, if the purpose of reading is to be enthralled by a page-turning plot, I say leave off. Our TBR lists are long enough and those seeking entertainment are better off without this book. However, if you are a writer and wish to explore new writing styles and voices to find your place in the authorship, this might provide an interesting experience.
Title Jane Eyre
Author Charlotte Brontë
Genre Classic English Literature
Publisher Penguin Classics | Originally by Smith, Elder & Co.
Publication Date June 29, 2011 | Originally 16 October 1847
Setting North England, late Georgian Era
Synopsis: With both parents deceased Jane Eyre lives with the brutish wife of his dead uncle Mrs. Reed and her equally self-serving three children. She suffers abuse until her aunt decides to place her in the austere orphan school of Lowood. There she utilizes her observant intellect to cultivate her mind for 06 years before spending another 02 years as a teacher. When all her friends and role models either pass away or move away, she advertises to become a governess and finds herself teaching the child ward of Mr. Rochester, a wealthy gentleman and owner of Thornfield Hall. Soon Thornfield Hall becomes her home, gaining her friends. She even learns to like the brusque, self-centered ways of Mr. Rochester, developing somewhat of an infatuation. When he brings a big party to the Hall, among which is a beautiful heiress playing for the role of his wife, she discovers she may even be in love with him. Following this, after Jane is called away for a month to take care of Mrs. Reed at her deathbed, upon her return, the two confess their love for one another and prepares to marry. On the wedding day, it is discovered Mr. Rochester is already married and is hiding his violently mad wife in the attic and the wedding is called off. Jane runs away since the only other choice of becoming his mistress is beyond her moral bounds and while begging door-to-door in a distant village, finds herself on the stoop of Mr. St. John Rivers and his sisters. There she finds new directions but she can’t seem to leave behind the concept of never being with Mr. Rochester.
Experience: I got into this novel as a self-imposed challenge, given my dislike for Charlotte Brontë the person (you can read more about that in my article on Jane Austen Vs Charlotte Brontë). To ensure that I remained completely objective in my reading, I decided to venture through the book the first time as I would any novel instead of holding it to the expectations of a classic. Once I got the story down, I immersed myself in the literary analysis. Both times, I enjoyed and disliked the same scenes and aspects so this should be a fairly unbiased review. Read the rest of this entry »
Title The Nearly-Weds
Author Jane Costello
Genre Chick Lit, Contemporary Romance
Publisher Simon & Schuster UK
Publication Date July 07, 2009
Synopsis: After being jilted at the altar by her boyfriend of seven years, Zoe Moore is on the run from her past. Falling back on her experience in early childhood development, she seeks sanctuary across the pond from Liverpool in Boston to become a live-in nanny for a young family of four with the prospect of even an all-expense-paid summer holiday in the Bermuda. Upon landing in the land of dreams, however, she learns that there has been a change in her arrangements and she now will be looking after two children, aged six and three, in Boston with their widowed father, Ryan Miller. Zoe is an instant hit with the children but warming up to daddy is another ballgame altogether. Unfortunately, the father is the heart-stopping gorgeous kind with the bite of a barracuda. As Zoe navigates a life in a new country with the help of a band of new friends (other British nannies in the affluent neighborhood and their myriad of romantic prospects), she has to also deal with checking her hormones whenever Ryan is around even while fending off his attacks on her competence. It is obvious that Ryan is not coping well with the death of his wife and has spent the past two years boozing, womanizing and becoming exhaustingly efficient at his job as VP of Communications. But when sparks fly between them, it isn’t always amid altercations. Still, sex with the boyfriend is strictly a no-no, not only because of the unprofessionalism but also because he is bad news for a woman already trying to fall out of love with her ex-fiancé. Except, her ex-fiancé Jason doesn’t seem to want to lie low either.
Experience: This novel gave me a lot of mixed feelings. First of all, it took me about 03-04 days to get into the mood for the novel and then again 03-04 days to finish reading it. This happened despite the fact that the chapters are very short (mostly ending below 05 pages) and the writing was quick paced. So what was the problem? The style of Costello’s writing.
Usually, a 419-page Chick Lit of British comedy would take me 02-03 days to complete on regular workdays (I’m a meticulous reader, or in other words, slow). But this novel had me rolling my eyes and sighing with a bit of discontent by chapter 05. Don’t get me wrong. Costello made me laugh quite a lot by this time with the witty self-effacing first-person narration from the single POV of Zoe Moore [who doesn’t like a protagonist with a healthy dose of insecurities, right?], but Zoe Moore thinks and talks in similes to the point of exhaustion.
Even though it is my first time reading her work, I could immediately surmise how pop culture savvy Costello is because the aspect blossomed on every page – nay every paragraph – of the book. I thanked my lucky star that I was brought up in the West during my formative years and have been a fan of American television since because otherwise I would have been spending as much time on Google researching to understand the content of the book as reading it [and possibly more than Costello spent while writing it]. E.g. the kids, when challenged to quickly put away their toys, is not merely enthusiastic, they’re “possessed by the spirit of Mr. Sheen”. Even when she is running away from her second home, depressed as hell and sobbing, she carries out her luggage to the taxi as though “dragging the dead body of a large yak”.
But it’s not only Zoe but her mother and new friends who also speak this way. The mother I could understand because maybe Zoe picked up her tendencies from her but when other characters began showing the same speech pattern, I began wondering if it was just a thing with the British characters or was Costello mixing up character appeals. So I was really spending a lot of time sorting out who was talking when. In fact, if we cut out the constant bombardment of similes and metaphors, I think the book would end with about 300 pages. I kid you not.
Fortunately, later in the book, individual character approaches do begin to emerge. For example, the male characters have fewer tendencies to exaggerate their statements and the similes and metaphors are kept mostly out of their dialogues [thank god]. The children show certain unique characteristics and so does Zoe’s dad. But these characters have much fewer dialogues. Yes, even the hero. For most of the book, Ryan is kept in the background of the scenes although fresh on Zoe’s mind. He only picks up in making appearances halfway through the novel, which I found refreshing. Hence, I would shelve the book firmly in the chick lit genre more than contemporary romance.
Actually, far as the plot goes, I thought it was very well planned. The gradual development of Ryan’s character was a required element to help Zoe adjust to her recent relationship trauma. While Zoe had not recovered from the jilting-by-Jason fiasco till the near end of the novel, that she had a healthy six months on the job before sleeping with the boss works out as well as the fact that Ryan’s wife had been dead for more than two years before he can come to terms with the death. Really, all of the characters were very believable and the plot too was very relatable. If Costello could have just skimmed it on the adding-of-the-similes a bit, I would have few bad things to say about it. [To be fair, I plan to read at least one more of her book to see if this was something she incorporated for Zoe’s character or is it really her own personality seeping into her work.]
There is one aspect that I could really commend Costello for, though. It is her keeping Zoe so secretive. For a character who has such natural tendency for humorous overtures, Zoe sure kept it mum throughout her yearlong stay in the USA about her failed wedding. Costello’s ability to keep the topic consistently on Zoe’s mind but never bring it to her lips was a very intelligent addition to the suspense. It certainly kept me wondering what would happen once she finally revealed why she ran away from home. And this also actually adds to another consistent element of Zoe’s characteristics – that she has a tendency to make a run for it when her romantic relationships show a first sign of failing.
Recommendation: Really, it’s a good story. I enjoyed it despite the writing peccadilloes once I adjusted myself to reading through the similes. In fact, my eyes eventually were trained to skip phrases upon contact with words such as “like” and “as”. Still, I would suggest you read it on the tab with Wi-Fi access if you are not Western pop culture savvy.
WEDNESDAY REFLECTIONS #04 – Jane Austen’s Persuasion starring Sally Hawkins, Alice Krige, Anthony Head and Rupert Penry-Jones
Title Persuasion (A BBC adaption of the Jane Austen novel of same name)
Starring Sally Hawkins, Alice Krige, Anthony Head and Rupert Penry-Jones
Director Adrian Shergold
Screenplay Simon Burke
Genre Romantic Satire, Drama
Release Date January 13, 2007
Filming Location Bath, Somerset, England
Parental Guidance PG – General viewing, but parental discretion advised
IMDB Rating 7.6
Synopsis: Anne’s (Sally Hawkin) life has been led by others. She lives with a narcissistic father, Sir Walter Elliot (Anthony Head), and a self-absorbed elder sister who leave her to handle all household responsibilities but give her none of the credit for it. She has a younger sister married off but who always calls for her ministrations whenever fancying herself ill. And her only confidant is her deceased mother’s best friend, Lady Russell (Alice Krige), who has only her “best interest” at heart but may love her a little too dearly. At twenty-eight, Anne has resigned herself to spinsterhood and obscurity when the return of a former paramour sends her heart once again aflutter. Once almost engaged to Fredrick Wentworth (Rupert Penry-Jones), Anne’s love affair had been halted by Lady Russell’s advice on the unsuitability of their stations and connections in life. But Wentworth returns to their lives as an exalted Royal Navy captain who made a sizeable fortune serving the nation and Anne must eat crow. As a series of circumstances keep pushing the former lovers into each other’s paths, each struggle in their own way to be not affected. Anne does not believe she has another chance with Wentworth because she rightly discerns that he still blames her for being so easily influenced away from his proposal in the past. And then there is also the sudden entry of a distant cousin who is to eventually inherit her father’s baronetcy and who seems to fancy Anne. Any chance of reconciliation and rekindling affection between Anne and Wentworth, therefore, seems hopeless.
Experience: I always feel that whenever a Jane Austen novel is adapted into a film, people start comparing it to the epic 1995 BBC adaptation of Pride and Prejudice starring Jennifer Ehle and Colin Firth. So I consciously switched off my parity tool because let’s face it – there will never be another flawless masterpiece like Pride and Prejudice or such a dedicated collection of cast and crew to turn a literary work into a 06-hour cinematic indulgence of an author’s genius. So with a deep breath and a mind as unbiased as possible, I sat down to watch Persuasion. For a 1.5-hour TV movie, it was a pretty good attempt to emulate and entertain. And not only because it had Austen’s clever storytelling style to fall back on.
Definitely, the strongest facet of the movie was its mechanics. The direction, the cinematographic techniques, the queueing of the scenes and music all swelled and dissipated to match the ethos of the story as it progressed. From the first scene where the camera circled Anne and followed her about as she rushed from room to room auditing items in preparation for the time when the Elliot family will move out to lease their home to strangers to that when she rushes all through Bath in search of Wentworth so she could tell him she accepts his proposal to that in the privacy of her room as she records in her diary her romantic success and secretly smiles into the camera to allow the audience to bask in her happiness, Burke and Shergold perfectly captures the protagonist. As to the protagonist herself, Hawkins may not have been my first choice for the role of Anne, a girl in her late twenty’s that has lost some of her bloom but still remains adequately pretty, but Hawkins manages to flirt with the camera in a subtle way that gives Anne life. While in the book, Anne’s character is more subtle, the movie-Anne does not suffer for the little boldness inspired by Hawkins.
Moreover, Hawkins manages to portray the drama that revolves around Anne’s character. She allows herself to be shuffled between her family members and is often led by Lady Russell’s advice, but it does not make her unobservant or unfeeling. She watches and notes her surroundings acutely but accepts her lot in life for the most part. But there are moments when she does not allow herself to be bid, moments where her logic prevails. This aspect of Anne’s character is well-turned out by Hawkins in the movie in the manner with which she moves. In the novel, Austen did not give the docile Anne much dialogue but Hawkins very intelligently trounces that challenge with her body language. Comparatively, Penry-Jones did not pick up on the subtlety of Austen’s depiction of Wentworth. Rarely do I say someone has underacted but Penry-Jones playing Wentworth is one of those times. I can only assume he did not read the novel, which for an Austen fan like me is unforgivable. However, he is handsome and just enough handsome to be adequately cast as Wentworth.
Another notable portrayal is of Sir Walter Elliot by Head. Now, I must admit I am a bit biased towards Head from his Buffy the Vampire Slayer days but, again, I tried not to be while watching the movie. I found Head to portray Sir Walter with just the right level of ridiculousness necessary to make him unlikeable. I initially thought Head was disappointing me with overacting until I remembered Sir Walter and the rest of the Elliot clan were meant to be comic relief. They are the characters that are the butt of Austen’s satirical wit. So, yes, when Head does literally huff and puff at the possibility of having to rent his family seat to people of “inferior birth” and potential “coarse countenance”, it is the required precedent.
The one character I felt that could have gotten more screen time was Lady Russell’s. Lady Russell plays an indispensable antithetical role to Anne-and-Wentworth’s relationship in the novel. More so than the fact that she openly discourages Anne from pursuing a relationship with Wentworth (in the past and present), it is the nature of her influence, the subtlety that is wrought in her relationship with Anne, that makes Lady Russell a centrifugal force in Anne’s actions in abandoning her desires, and later in her polite decline to subjugate. While Anne’s tendency to be persuaded to do the biddings of her family members is the surface manifestation of her character, it is Lady Russell’s persuasiveness, albeit, in good faith that does the pertinent harm to Anne’s happiness. It is especially more disappointing Lady Russell’s character is not more explored in the movie because Krige has proven in past performance that she is able to deliver the necessary gravitas for such a role.
The other smaller parts are played relatively well and relevantly ensures the smooth flow of the plot depiction. In particular, the characters of Mary (Amanda Hale), Anne’s younger extracting and fretful sister, and Charles Musgrove (Sam Hazeldine), Mary’s husband and Anne’s once upon a time admirer, are performed suitably well. Interestingly enough, the role of William Elliot (Tobias Menzies), the distant cousin who aims to sweep Anne off her feet, is played better than one would expect. The novel mostly portrays Mr. Elliot’s character via the grapevine, yet Menzies brought out the character with mastery.
Recommendation: If you haven’t seen this movie yet, do. If you are a Jane Austen fan, do it right now! After BBC’s 1995 versions of Pride and Prejudice and Sense and Sensibility [too many ‘and’s but you’ll figure it out], I found this to be the next best Austen rendering.
Title Lola and the Boy Next Door
Series Anna and the French Kiss #02
Author Stephanie Perkins
Genre Young Adult Romance
Publisher Dutton Books
Publication Date September 29, 2011
Synopsis: Lola Nolan is an aspiring fashion designer with grand, over-the-top concepts that sort of define her personality. She is also a good daughter, a good enough student to keep her parents satisfied, a good friend most of the time, a fairly good employee at the movie theater where she works part-time and a pretty good girlfriend to keep her rocker boyfriend Max interested. Too bad her love interest does not fully suit the rest of her world. But Lola gets by juggling between Max and all her other responsibilities. Until the dreaded Bell twins return to the neighborhood and Cricket Bell is once again brought to the forefront of her life, throwing her emotions and life into chaos. Her childhood friends Calliope and Cricket had transformed into two divergent roles in Lola’s life as they all grew up next door to each other. While national ice skater Calliope lost interest in Lola and saw her as a nemesis there to steal her twin brother’s attention away, boy-inventor Cricket became Lola’s lifetime crush. Thankfully, they were rarely around and Lola thought she grew out of her feelings for Cricket when the Bells moved away to pursue Calliope’s career. And she also had Max… But as the Bells move back in next door, Lola is compelled to wonder the accuracy of her self-assessments.
The following section may contain some spoilers…
Experience: I loved this book and I am going to just dive into it. Despite the title more or less giving away the ending (either Lola will leave her present boyfriend for the boy next door or fumble with her feelings for the boy next door and return to her boyfriend), it is truly one of those journey-through-the-plot kind of novel and it is even more ripe with unfolding revelations because of the way Stephanie Perkins used her trademark first-person POV to reach each movement of Lola’s character development. The series of events that occur in Lola’s life, how she deals with each in the present either in reflection of her future aspirations as well as her past experiences kept me on edge. It was not very difficult to guess which ending the book will reach after reading a few chapters but it was very, very important to see how Lola would reach that conclusion all the same. Her reactions kept the suspense alive and the plot churning. And it was very interesting how Perkins managed to blend the character arc as a response to the plot conflict, which by the way was truly plot-driven and not just something the character built up in the protagonist’s head.
Moreover, as Lola transforms in the book, through her viewpoint, we also see this kaleidoscope of other very relevant characters transform, or rather their true natures reveal themselves. In fact, what makes Lola… the book so great is that Lola wouldn’t be Lola if it weren’t for the people in her life. Her parents support her career aspirations and this is an important aspect of Lola, who is really one of the most colorful characters I have come across in years. I kept imagining a butterfly with beautiful sparkly wings but one that could just as easily become a gray moth. And while her fashion sense made her a misfit in school, it’s also sort of okay because she has a great supportive best friend with whom she not only shares couture related traditions but who is also able to sanction Lola’s love affair with Max despite not being able to get along with Max herself.
Which brings us to the romantic conflicts. Max is obviously in a relationship with Lola because he is intrigued and attracted by her creative sense. But at the same time, it’s her quirky outfits that sort of niggle on him too, though he tries to claim that it is really her secretive ways. But this suggests Lola, who is all about expressing herself through her fashion, is really hiding from him because she is not fully sure of herself. An abject contrast to her relationship with Cricket, with whom she seems unable to hide anything about herself at all. Meanwhile, Cricket, as an inventor, actually feeds Lola’s aspirations with tangible contributions. Yet, she cannot consciously accept herself to be in his company because of their past conflicts. Honesty in relationships as well as with oneself is definitely a key theme of this novel. But then, the contrast between Max and Cricket is not only explored by Lola’s reaction to each love interest but also by through the interactions each possible hero has with the important people in Lola’s life. Despite the superficial similarities between Max and Cricket (creative, attractive, somewhat successful and with unique dress sense), the people Lola’s life respond differently to each.
In all this, enters Lola’s former drug addict and somewhat dissolute birth mother with whom she cannot abide and who is again living in her house and making life uncomfortable for everyone, another potential angle for Lola’s growth and self-acceptance. And even Anna and St. Clair, the wonderful heroine and hero from Anna and the French Kiss (first of the series), make appearances to further confuse Lola with their extremely adorable and heartwarmingly cohesive relationship by providing a contrast with her own relationship with Max while throwing her more frequently into Cricket’s path.
Really, with so many people so greatly invested in her life, how can a girl, who is simply trying to keep her boyfriend happy and not get involved with a former-present crush with all the seeming ability to devastate her again, not get confused? But, just as an aside, I would love to have as many creative and crazy people in my life even if they were a bit meddlesome.
Before I finish this review, I must also put in a word for Perkins’s method of world building in this novel. While in Anna…, Perkins spent long beautifully written passages describing Paris through Anna’s eyes, in Lola… she better employs her narrative genius to create individual settings to develop the reader’s sense of each character. Because, again, for Lola, all these people are essential. Perkins delves greatly into helping readers visualize Lola’s and Cricket’s bedrooms, her baker dad’s kitchen, Max’s apartment, even the living room where Lola’s mom moves in and transforms, each space an extension of the characters’ personalities and each a setting where some significant scenes of the novel unfold.
Last but not least, I always love Perkin’s name selection. Lola and Cricket, gotta love it!
Title The Flame and the Flower
Series Birmingham #01
Author Kathleen E. Woodiwiss
Genre Historical Romance
Publication Date First published in April 1972
Synopsis: Set in the cusp of Georgian and Regency eras over 1799-1800, the story begins in a dilapidated cottage in England, where the heroine, Heather Simmons lives a life of toil handed by fate when her father dies, leaving his debts behind. The cottage belongs to Heather’s only living blood relatives, a weak paternal uncle and his overbearing and abusive wife, who grudgingly took her in. As Heather plays the slave to her aunt, who takes sadistic pleasure in terrorizing the girl for inheriting her mother’s stunning Irish beauty, she spends moments of reprieve reminiscing about her past of relative luxury in London where she dreams of returning to one day. The opportunity arrives when her aunt’s younger brother, a rich clothier, offers to help her find employment in a ladies’ school. However, once in London, he tries to rape Heather as he discloses his true plans to sell her into a brothel. Heather manages to escape after injuring him, only to be captured by a couple sailors who mistake her as a prostitute and take her to their merchant captain for the night. The captain and hero of the story, Brandon Birmingham proceeds to have his way with Heather, misinterpreting her struggle as coyness and divests her of her virginity. His solution to the injury caused is to turn her into his mistress, albeit an unwilling one. Heather manages to escape and return to her uncle’s cottage and eventually discovers she is pregnant. Her aunt, learning the truth, formulates a plan to profit from the situation by marrying Heather to Brandon, which he does in fear of legal repercussions. Unfortunately, Brandon believes Heather had a full hand in forcing him and decides to punish her by withholding his love and keeping her out of his bed – yet providing her with the necessities to live the life of a wealthy merchant’s wife. Having been traumatized by her sexual initiation, Heather finds this verdict more than welcome at first though eventually realizes the punishment for what it is – rejection. As the story progresses, the newly married couple sail back to South Carolina and settle into Brandon’s family mansion and plantation. The already timid Heather navigates her marriage like a flightless bird while Brandon suffers an irrepressible lust for her, all as their affection and dependency for each other grows.
Experience: I picked up the book when I came upon the title in an article on the history of “sexual revolution” in romance novels. As a romance reader, naturally, I was curious about the book that set the ball in motion to what lines the “Romance” sections in libraries and bookstores today. As an author, I felt it my duty to read up on works by the pioneer who paved the way for paperback romances. And so, it was with somewhat of an awe that I began reading.
I have to admit it took me a while to get into the mood to continue, though, once I got through the first few scenes. Living with the freedoms I enjoy in 2017, it is pretty difficult to relate to Heather Simmons, a meek woman-child who allows herself to be told she only has the weak mind of a woman and shuffles around from one life to another doing others’ biddings – who accidentally falls into a bed and then accidentally impales herself as she struggles to get away from the hero’s raging manhood. Moreover, her relationship with the hero begins with a full-on struggle to stop him from having sex with her but which he takes as foreplay only to later conclude his “mistake” easily redeemable (what we call rape today regardless of which angle you look at it) and moves along to where she admires his attractiveness, prowess and virility while lamenting that he took her virginity by force (as though rape is not rape if the rapist is handsome). Not the stuff of romantic heroes and heroines I am accustomed to – the moral compass gone haywire. But I trudged on, telling myself that I was reading a novel written by a woman who lived in the 70’s about a female character who lived in 1799. Perhaps The Flame and the Flower was the level of cognitive liberty and ethical progress achieved at the time Woodiwiss wrote the novel. She was a brazen feminist instigating a cultural revolution, a quality quite admirable and which I can live by. I am glad I reconciled myself to continue reading.
The book redeems itself to me as I realized the consistency with which Woodiwiss kept both Brandon and Heather’s individual streams of consciousness in chaos throughout the book. Heather keeps oscillating between being pleasantly surprised by the little acts of kindness Brandon displays and terror-stricken when his foul temper bursts forth (which by the way reflects back on her experience under her aunt’s reign); while Brandon’s struggle to keep his lust in check to salve his ego or relenting to a woman he thinks has forced him into marriage is also real. The consistency in the driving traits of each protagonist is what made the book a good read. Though Woodiwiss’s very descriptive narration and passages a bit on the longish side made the reading slow at first, a troupe of varied characters included later in the book pushes the plot along at a quicker pace, making the development of the romance between the hero and heroine enjoyable for Woodiwiss’s audience. Apart from the relatively steamy scenes, of course, which must have been quite refreshing for the women of the 70’s.
Recommendation: If you are well-versed in romance novels, this would be an excellent read to gain some perspective on what life must have been like back then (197o’s/1790’s). And once you adapt yourself to the culture shock, it is actually a pretty well-written novel with an entertaining plot. If you are newly venturing into the world of romance novels and a very impressionable young woman, please put it down and pick it up again a few years later – the material and characters within do not send the liberating messages we, romance authors, want representing us today.
P.S: I’m sorry to be posting my WEDNESDAY REFLECTIONS on very early Thursday morning – which is a sad beginning for my first ever blog for the column. But I had picked up The Flame and the Flower as my initiation blog given its historic significance and well, you now know the rest.
(Also there will be changes to the site in 2017)
Picking up from the title, did I reference that exclamation to the wrong holiday? I don’t think so. I love Christmas. Having spent the greater part of my preteen and adolescence amongst colorful baubles and fairy lights in red, green and white all through December, accentuated by the great American television bonanza surrounding the spirit of giving, Oh Christmas Tree and Santa Claus, it’s hard not to pick up on the excitement. Although the same decorations and entertainments stayed up until New Year Day, I have never actually been lured in by New Year’s Eve revelry. So what is all this hype about? Read the rest of this entry »