Tag: Historical Fiction Page 4 of 5

Pub Day Repost: Miss Kopp’s Midnight Confessions by Amy Stewart

Miss Kopp's Midnight ConfessionsMiss Kopp’s Midnight Confessions

by Amy Stewart
Series: The Kopp Sisters, #3
eARC, 384 pg.
Houghton Mifflin Harcourt, 2017
Read: August 15 – 16, 2017

Without meaning to slight Girl Waits with Gun or Lady Cop makes Trouble, this is the best constructed novel in this series. There’s a unity of theme, stories that complement each other, and a level of (honest) introspection from the characters that we haven’t seen before. That said, I don’t think I enjoyed it nearly as much as I did the others. So it’s a little bit of a trade-off.

We are treated to three stories of young women, one sixteen year-old and two eighteen year-olds, who leave home for various reasons. They all want something more than they can have at home — meaning, a job, excitement, freedom, and maybe something more. One girl did everything right, but sill was arrested for waywardness. One was pretty foolish, and did some illegal things, but was really arrested for the foolish mistake. The third was Constance’s little sister, Fleurette. Constance went to bat for all three — interceding with the law (when applicable), with family (when she could), trying to give them the ability to live the life they wanted to — and each of them pressed Constance’s ability, job and standing as she did so.

While this is going on, Constance is making headlines across the nation — making her both a distraction to her friend the Sheriff, as well as a voice for social change. I know she regrets the former, and I’m not convinced she relishes the latter. If she had her druthers, I think Constance would prefer just to do her job and be left alone. But she is learning how to use her notoriety — or at least her relationship with members of The Press — to help her accomplish her goals.

Constance begins to come to terms with some very unfortunate realities of her life, and begins to grasp what the future may hold for her, both professionally and personally. In some way (I think), she thought she could keep the life she had and just add on her job on top of it. But between her fame, the time she spends away from the home, Fleurette’s aging and getting ready to leave the nest, and everything else going on around the sisters, that’s no longer possible. Her old life is gone, and the new one is too in flux for her to get a handle on it. Assuming that there are more Kopp Sister novels to come, watching Constance figure out what her life will be — and hopefully she gets a hand in shaping it — will be the key to the series as it progresses.

On the whole, this one didn’t work as well for me as the previous books did. But several of the individual elements I found compelling and wanted more of — I wish we got more of the story about Edna Heustis (I don’t need to know what happened over the rest of her life, I just want a clearer picture of the next few months) or her roommate. I’d have liked more interaction between Constance and her boss — we just didn’t get enough of them — and an honest conversation about the future would’ve been nice. I did think the ending of the Fleurette story was handled perfectly — I don’t think I’d change a thing about that whole storyline, really. Still, this novel was somehow less than the sum of its parts, for me — but I can easily see where I’ll be in the minority for thinking that. I’m not saying I didn’t enjoy it, I just should’ve enjoyed it more.

Strong characters, some strong themes (ones you usually don’t see in Detective fiction), and a tumultuous time period (for several reasons) combine to deliver another satisfying entry in this series that’ll please existing fans and probably pick up a few more.

Disclaimer: I received this eARC from Houghton Mifflin Harcourt via NetGalley in exchange for this post — thanks to both for this.

—–

3.5 Stars

Salt Creek by Lucy Treloar

Sometime in the reading of this novel, it occurred to me that I don’t think I’ve ever read a novel about life on the frontier (American or, now, Australian) written with a male as the central character — Laura Ingalls, Caddie Woodlawn, a few others I can’t think of the names of, all female. Clearly, that’s not that important, and even more clearly, I’ve not read deeply in this area — I just found it odd.

Salt CreekSalt Lake

by Lucy Treloar

Kindle Edition, 464 pg.
Aardvark Bureau, 2015

Read: August 29 – 31, 2017

Memories are just the survivors of complete events and are not easy to interpret; in the recalling they can be used to create a story that is only partially true or not true at all.

It’s the mid-1850’s and Hester Finch and her family are settling in the Coorong region, after her father’s finances fall apart in Adelaide (which follows them falling apart elsewhere before). This is clearly their last chance, but with some luck and determination, they should be able to survive — even if they can’t rebuild their fortunes enough to return to town. It’s too much of a step down for their mother, who seems ill-equipped for Australia at this time, much less the Coorong, and Hester has to step up and shoulder more responsibilities for the running of the household and the raising/educating of her younger siblings.

Her father sees himself as a businessman, an entrepreneur, but it doesn’t seem that his abilities match his ambitions/self-estimation. He’s a strong and pious Quaker, with some fairly (for his time) progressive ideas about the status and nature of the natives. Yes, he wants to help them via Western Civilization and Christianity (whether they want it or not), but he doesn’t see them in the same way that many others (including some of this sons) do. At least not in the beginning of the novel — things continue to not go well for him (I’m being purposefully vague here), and as that happens the broken man inside him is revealed or his ideals and hopes are shattered and something else emerges. He becomes the villain of the piece, or one of the many victims of the environment — I quite enjoy the fact that I could argue either way on that.

Space and patience (yours and mine) prevent me from talking about all of Hester’s siblings (there are several) and the others they come into contact with, so I’ll sum up by saying within and without the family display a wide swath of humanity, the good and the bad (and the worst) we have to offer. There is a native (Hester’s word), Tull, who lives around the Finch home that is befriended by the family, who comes to occasionally live with them, work alongside them, is educated with them — and becomes part of the family. Much of the plot revolves around or comes from his presence, his interactions with the Finches and others. Treloar handles the character well — Tull’s not perfect, not all-wise, or a paragon, or anything. He’s just as flawed as the rest of the people in this book (well, maybe a little less flawed than some).

This will be seen primarily as a story about love, or about the clash of native cultures and Western colonization in the harshness of pioneer life, or something along those lines. To me, the recurring theme was pride (I’m not sure the word was used all that much, but man, it was all over the place). People broken by pride, motivated by pride, people corrupted by pride, people blocked by pride — I could probably go on. I don’t think of one thing in this book that was motivated by pride that went well — it was only when pride was ignored or set aside — for love, for the sake of another — does anything actually go well (this applies to Hester post-Coorong, too). It was subtle, but it was profound.

There are enough references to Jane Eyre that the reader is forced to draw lines of comparison/contrast between Jane and Hester (and maybe some of the others, as well). This is a nervy thing for an author to do (not just to Jane Eyre, but any classic of that stature), and it rarely works out well for the newbie. I’m not saying the comparisons are invalid, I just am not sure that Treloar should’ve pushed it. One mention of the book — maybe two (her receiving a new copy and reading it in secret) would’ve been enough just to see that Hester draws some inspiration from the literature she’s exposed to.

There are passages from this book that rank right up there with some of the best I’ve read this year — one scene where Hester is overcome with grief and a sense of futility that’ll just wreck your heart. There’s another involving an injury on the farm and Hester’s tending to the wound (including some stitches), that just curled my toes — really, give me Thomas Harris describing one of Lecter’s snacks rather than make me read that again.* When it comes to pain and hardship, Treloar can write with the best of them.

But I’m not totally taken with her as an author. Early on, Treloar jumps around chronologically between the early months in The Coorang and to various periods of Hester’s time in England as an adult. I didn’t see the point to this move, unless she was going to continue that as a way to develop the story. But she stops that for several chapters, abandoning the future until the last three chapters — when it fits easily. I didn’t see the point to it, it muddied the waters a little and made it hard for me to get invested in what was happening in the 1850s.

And that ties in with my biggest problem with the book — I couldn’t get interested until slightly after the 50% mark. I really wasn’t even that curious about anyone at that point, it was just a matter of me pushing on, wondering if I’d ever get invested. Thankfully, I did. Somewhat, anyway. But that it took so long for me to care about the things that were happening — much less the people they were happening to/because of, says something about the book. There’s a lot to be said for an author taking time to establish the world she’s writing in, to develop the characters slowly, patiently — I’m all for that when it’s done well. But it’s so much easier to appreciate when I’m given a reason to keep reading beyond wanting to finish a book.

Once I did make that connection — my enjoyment of and appreciation for the book ratcheted up. I don’t think the pacing changed at this point (maybe it picked up a little bit), but everything she’d spent 52% or so of the book setting up was set up, so with all the causes in place, the effects started and that was much more engaging.

Regardless, there were some killer sentences (even in the first half) in this book, demonstrating that Treloar has the right stuff. I think she could do more with it than she has, and would like to see more from her in the future. On the whole, this is a good read — and I can easily see where some will enjoy it more than me (I can almost bet those who do are engaged more than I was during the first half), a gritty, stark examination of pioneer living in the mid-19th century with just a hint of hope. Recommended.


* I will always take blood and guts and gore that are clearly fantastic over those that really happened or are close enough to reality to have probably happened several times.

Disclaimer: I received a copy of this book from the publisher in exchange for this post and my honest opinion.

—–

3.5 Stars

Miss Kopp’s Midnight Confessions by Amy Stewart

Miss Kopp's Midnight ConfessionsMiss Kopp’s Midnight Confessions

by Amy Stewart
Series: The Kopp Sisters, #3

eARC, 384 pg.
Houghton Mifflin Harcourt, 2017

Read: August 15 – 16, 2017


Without meaning to slight Girl Waits with Gun or Lady Cop makes Trouble, this is the best constructed novel in this series. There’s a unity of theme, stories that complement each other, and a level of (honest) introspection from the characters that we haven’t seen before. That said, I don’t think I enjoyed it nearly as much as I did the others. So it’s a little bit of a trade-off.

We are treated to three stories of young women, one sixteen year-old and two eighteen year-olds, who leave home for various reasons. They all want something more than they can have at home — meaning, a job, excitement, freedom, and maybe something more. One girl did everything right, but sill was arrested for waywardness. One was pretty foolish, and did some illegal things, but was really arrested for the foolish mistake. The third was Constance’s little sister, Fleurette. Constance went to bat for all three — interceding with the law (when applicable), with family (when she could), trying to give them the ability to live the life they wanted to — and each of them pressed Constance’s ability, job and standing as she did so.

While this is going on, Constance is making headlines across the nation — making her both a distraction to her friend the Sheriff, as well as a voice for social change. I know she regrets the former, and I’m not convinced she relishes the latter. If she had her druthers, I think Constance would prefer just to do her job and be left alone. But she is learning how to use her notoriety — or at least her relationship with members of The Press — to help her accomplish her goals.

Constance begins to come to terms with some very unfortunate realities of her life, and begins to grasp what the future may hold for her, both professionally and personally. In some way (I think), she thought she could keep the life she had and just add on her job on top of it. But between her fame, the time she spends away from the home, Fleurette’s aging and getting ready to leave the nest, and everything else going on around the sisters, that’s no longer possible. Her old life is gone, and the new one is too in flux for her to get a handle on it. Assuming that there are more Kopp Sister novels to come, watching Constance figure out what her life will be — and hopefully she gets a hand in shaping it — will be the key to the series as it progresses.

On the whole, this one didn’t work as well for me as the previous books did. But several of the individual elements I found compelling and wanted more of — I wish we got more of the story about Edna Heustis (I don’t need to know what happened over the rest of her life, I just want a clearer picture of the next few months) or her roommate. I’d have liked more interaction between Constance and her boss — we just didn’t get enough of them — and an honest conversation about the future would’ve been nice. I did think the ending of the Fleurette story was handled perfectly — I don’t think I’d change a thing about that whole storyline, really. Still, this novel was somehow less than the sum of its parts, for me — but I can easily see where I’ll be in the minority for thinking that. I’m not saying I didn’t enjoy it, I just should’ve enjoyed it more.

Strong characters, some strong themes (ones you usually don’t see in Detective fiction), and a tumultuous time period (for several reasons) combine to deliver another satisfying entry in this series that’ll please existing fans and probably pick up a few more.

Disclaimer: I received this eARC from Houghton Mifflin Harcourt via NetGalley in exchange for this post — thanks to both for this.

—–

3.5 Stars

Devil in the Countryside by Cory Barclay

Devil in the CountrysideDevil in the Countryside

by Cory Barclay

Kindle Edition, 348 pg.
2017

Read: June 10 – 13, 2017


I’ve said it before, I’ll say it again — I prefer liking books, I like liking things. I do not enjoy giving anything other than recommendations — but sometimes, I just can’t do anything else. This is one of those times.

This is a historical fiction but the history is bad. Before we even get to the first chapter — in an introductory note we’re told “By the early 1500’s,” Europe was in a time called the Protestant Reformation. The traditional starting point for the Protestant Reformation was October 31, 1517 — but things didn’t really get moving for a few years. So “by” the early 1500’s is not really accurate. The same paragraph says, “while across the ocean in North America witch-hunts were gaining traction.” Now, I guess it’s possible that some of the Spanish colonies or Native American tribes were conducting these hunts, but I’m pretty sure Barclay intends us to think of the Salem Witch Trials, which started more than a century after the events of this novel. We’re not even to chapter 1 and we’ve got a paragraph with two glaring historical flubs — it’d be difficult (but not impossible) to recover from this. Barclay doesn’t.

With historical fiction, you have to decide on the character’s vocabulary — will you attempt to get it chronologically-appropriate, or will you take some liberties and use contemporary language and ask your readers to suspend disbelief to allow for everyone’s ease? Most take the latter, and most audiences play along. It is difficult to get period-dialogue correct if you’re not immersed in it, and many readers find it difficult or boring to read. While it’s understandable to use contemporary phrasing, I’m not sure I’m willing to buy 16th century people talking about “teenage angst.” Nor should we get people drinking coffee, wearing high heels (at least not among the peasant class), or making references to zippers. These kind of anachronisms are just lazy, sloppy — and it takes the reader out of the moment.

If you’re going to set something during the 3rd generation of the Reformation, and make the conflict between Lutherans, the Reformed and Roman Catholics (and the state powers that use those groups to mask their machinations) core plot points — you should, get the theology right. Which is just the same point as above, I realize — but man . . . when it’s such a major component of the book, you owe it to your readers to put in the effort. (also, Barclay suggested I’d like the book as a “theology nerd,” so I should be expected to look at it as one). We shouldn’t have Roman Catholic priests consulting German translations of the New Testament, nor should we have Lutheran ministers conducting baptism by immersion — particularly not of someone already baptized. Martin Luther, like all the Protestant Reformers, had very harsh things to say about that practice. In general, every religious sentiment (at least those expressed by the devout) was in conflict with the point of view it was supposed to be espousing — most of them not sounding like 16th Century Lutheran, Reformed or Roman Catholic believers but some sort of vague 21st Century theism.

This book is also a mystery. As such, um, it wasn’t really a success. There wasn’t real effort put into finding answers, just finding good candidates to pin something on. At least officially — those who actually looked for answers were stopped by one way or another. If we were talking about a novel about 16th Century politics and the ways they impacted lives of individuals — including crime victims and survivors — this might have worked.

I’m just piling on now, and I really don’t want to do that. So, I’ll ignore the grammatical errors, typos, a handful of words that basically demand Inigo Montoya to tap the author on the shoulder to say ” I do not think it means what you think it means.” Nor will I get into the lazy plots revolving around Roman Catholic clergy sexually molestation or father forcing a daughter to marry a horrible person for his own financial gain.

Barclay can probably produce a decent book — there were some good moments in this book, but not enough of them. This is just not worth the time and trouble.

Disclaimer: I received this book from the author in exchange for this post — I do appreciate it, even if the book didn’t work for me.

—–

2 Stars

Blackbeard’s Daughter by Diana Strenka

Blackbeard's DaughterBlackbeard’s Daughter

by Diana Strenka

Kindle Edition, 199 pg.
2016

Read: October 6 – 7, 2016


Edward Teach had a rough childhood dominated by a harsh, abusive, taskmaster of a father. He eventually grows to manhood, marries and takes over the family estate — as soon as he can, he takes his wife and daughter to the New World and the freshly established colonies.

The focus of this story turns to his daughter, Margaret — and she has a rough crossing of the Atlantic, and doesn’t take to the New World too well. It’s a dramatic time for British settlers — battles with the natives and others disrupt the lives of the Teaches in dramatic fashion, death, injury, and loss of home and income. Margaret’s world is turned upside down several times, the last time when her father starts going to sea for months at a time, only turning up unexpectedly.

She eventually learns that he’s the pirate Blackbeard (not really a spoiler folks, look at the title) and goes to sea with him for a while. Almost none of this part of the novel works — and when it ends, it’s almost a relief.

There’s a plotline about Margaret and her efforts to help free slaves that’s sentimentally nice, but doesn’t seem to ring true and doesn’t really go anywhere.

I have no idea how close any of this novel comes to matching historical data, it has a ring of authenticity augmented by imagination, but I can’t be sure.

Everything almost worked — almost — but I can’t think of anything that actually did. There’s an earnestness to the text that will draw you in and make you root for the author, but that’s really the best I can say.

Disclaimer: I received this book from the author in exchange for this post and my honest opinion. Sorry.

—–

2 1/2 Stars

Pub Day Repost: Lady Cop Makes Trouble by Amy Stewart

Lady Cop Makes TroubleLady Cop Makes Trouble

by Amy Stewart
Series: The Kopp Sisters, #2
eARC, 320 pg.
Houghton Mifflin Harcourt, 2016
Read: August 6 – 8, 2016

Miss Constance Kopp, who once hid behind a tree near her home in Wyckoff, N.J., for five hours waiting to get a shot at a gang of Black Handers who had annoyed her, is now a Deputy Sheriff of Bergen County, N.J., and a terror to evildoers. — New York Press, December 20, 1915

The novel’s epigraph tells you pretty much everything you need to know. In the previous book, Girl Waits with Gun, Constance goes to extremes to protect her family from criminals, now she’s moved on to being an official “terror to evildoers.”

Constance begins the novel as a Deputy Sheriff, but political pressure removes her (temporarily she’s assured) and she’s demoted to matron of the women’s jail. She’d been serving in that capacity anyway, but now that’s all she does. She notes, and is probably on to something, that the police are far more willing to arrest women knowing there;s a matron at the jail to watch over them than they were when it was just men. That’s probably not the kind of women’s equality that people hoped for, but I guess you take what you can get. During this time, Constance makes a horrible blunder — one that jeopardizes her career as well as that of Sheriff Heath.

Bound and determined to keep her job (and for her friend and boss to keep his), as well as to see justice done, Constance ignores orders, protocol and (what some would consider) good sense and sets off to correct her error. Doing so will take her out of her comfort zone and into a long investigation that will remind her just what kind of evil lurks in the hearts of men.

Reading about Constance — and some of the professional women she meets in NYC — reminds me of the book I recently read about Nelly Bly and the efforts of female journalists to be taken seriously, and given the opportunities to do more than society page work. Another female law enforcement officer that Constance meets in the opening pages isn’t allowed to do much at all in her role — far less than Constance can (and does). Now this other woman seems content in that, even scandalized at Constance manhandling a suspect, but that doesn’t change the fact that times are changing, and it’s determined women like Constance and Nelly Bly that are going to make them change.

The friendship — and mutual respect — between Constance and Sheriff Heath continues to bloom, and be misunderstood by everyone (with the possible exception of Norma) from Mrs. Heath to juvenile delinquents. But really, there are no romantic sparks (and I expect Stewart will keep things that way — as did history, it seems). I do wish that more people in Bergen County — particularly some of her coworkers (even just one) — most people outside of her home (see especially almost everyone in New York) seem to be encouraging/accepting of a female Deputy.

Norma and Fleurette aren’t as important to the progress of the plot in the sequel — Norma’s stubborn, no-nonsense streak keeps Constance moving when she needs it. Fleurette’s naïveté and desire for a different life fuel Constance’s desire to make the world a better place — at least their corner of it — and to keep the money rolling in. Watching the Sheriff Heath interact with these ladies is a hoot.

I’m not sure it stacks up to its predecessor as a novel — it’s not as deep, the story’s really straightforward, and you might argue the ending is a bit rushed. But, it’s a whole lot more fun to read. Having established the world so effectively in the first book, Stewart can just let her characters live in it. This is a solid crime novel, elevated by the historical circumstances and actual history that undergirds it. Stewart really won me over with this one, I hope we have many more installments to come.

Disclaimer: I received this eARC from Houghton Mifflin Harcourt via NetGalley in exchange for this post — thanks to both for this.
N.B.: As this was an ARC, any quotations above may be changed in the published work — I will endeavor to verify them as soon as possible.

—–

4 Stars

Lady Cop Makes Trouble by Amy Stewart

(slightly modified to address something I forgot earlier)

Lady Cop Makes TroubleLady Cop Makes Trouble

by Amy Stewart
Series: The Kopp Sisters, #2

eARC, 320 pg.
Houghton Mifflin Harcourt, 2016

Read: August 6 – 8, 2016

Miss Constance Kopp, who once hid behind a tree near her home in Wyckoff, N.J., for five hours waiting to get a shot at a gang of Black Handers who had annoyed her, is now a Deputy Sheriff of Bergen County, N.J., and a terror to evildoers. — New York Press, December 20, 1915

The novel’s epigraph tells you pretty much everything you need to know. In the previous book, Girl Waits with Gun, Constance goes to extremes to protect her family from criminals, now she’s moved on to being an official “terror to evildoers.”

Constance begins the novel as a Deputy Sheriff, but political pressure removes her (temporarily she’s assured) and she’s demoted to matron of the women’s jail. She’d been serving in that capacity anyway, but now that’s all she does. She notes, and is probably on to something, that the police are far more willing to arrest women knowing there;s a matron at the jail to watch over them than they were when it was just men. That’s probably not the kind of women’s equality that people hoped for, but I guess you take what you can get. During this time, Constance makes a horrible blunder — one that jeopardizes her career as well as that of Sheriff Heath.

Bound and determined to keep her job (and for her friend and boss to keep his), as well as to see justice done, Constance ignores orders, protocol and (what some would consider) good sense and sets off to correct her error. Doing so will take her out of her comfort zone and into a long investigation that will remind her just what kind of evil lurks in the hearts of men.

Reading about Constance — and some of the professional women she meets in NYC — reminds me of the book I recently read about Nelly Bly and the efforts of female journalists to be taken seriously, and given the opportunities to do more than society page work. Another female law enforcement officer that Constance meets in the opening pages isn’t allowed to do much at all in her role — far less than Constance can (and does). Now this other woman seems content in that, even scandalized at Constance manhandling a suspect, but that doesn’t change the fact that times are changing, and it’s determined women like Constance and Nelly Bly that are going to make them change.

The friendship — and mutual respect — between Constance and Sheriff Heath continues to bloom, and be misunderstood by everyone (with the possible exception of Norma) from Mrs. Heath to juvenile delinquents. But really, there are no romantic sparks (and I expect Stewart will keep things that way — as did history, it seems). I do wish that more people in Bergen County — particularly some of her coworkers (even just one) — most people outside of her home (see especially almost everyone in New York) seem to be encouraging/accepting of a female Deputy.

Norma and Fleurette aren’t as important to the progress of the plot in the sequel — Norma’s stubborn, no-nonsense streak keeps Constance moving when she needs it. Fleurette’s naïveté and desire for a different life fuel Constance’s desire to make the world a better place — at least their corner of it — and to keep the money rolling in. Watching the Sheriff Heath interact with these ladies is a hoot.

I’m not sure it stacks up to its predecessor as a novel — it’s not as deep, the story’s really straightforward, and you might argue the ending is a bit rushed. But, it’s a whole lot more fun to read. Having established the world so effectively in the first book, Stewart can just let her characters live in it. This is a solid crime novel, elevated by the historical circumstances and actual history that undergirds it. Stewart really won me over with this one, I hope we have many more installments to come.

Disclaimer: I received this eARC from Houghton Mifflin Harcourt via NetGalley in exchange for this post — thanks to both for this.
N.B.: As this was an ARC, any quotations above may be changed in the published work — I will endeavor to verify them as soon as possible.

—–

4 Stars

Friends of the Wigwam by John William Huelskamp

Friends of the Wigwam Friends of the Wigwam: A Civil War Story

by John William Huelskamp

Paperback, 358 pg.

Barrington Group Publications, 2016
Read: July 20 – 23, 2016


Don’t just read the first sentence, please:

This book has all the elements of a winning historical novel — a great (and large) cast of characters, solid research, rich setting — but it just doesn’t come together in the way it should. But it frequently comes close. What it really needed to be successful is pretty simple: More. More of just about everything. Longer scenes, more developed characters, more developed storylines. The book covers the years from 1857 to 1864 in 358 pages — roughly 51 pages a year (with some of those taken by pictures) — you just can’t do a whole lot in that space. Longer scenes could’ve given the chance for characters and events to develop, for nuance to be shown.

The only thing it didn’t need more of was dialogue. Well, that’s not exactly true, it could’ve used more, but primarily it needed better dialogue. There was one scene, and only one, that I didn’t cringe almost every time someone spoke. It was wooden, stiff, artificial.

The book follows a group of friends and people they know from their part of Illinois in the days leading up to and through the heart of the Civil War — just about everyone mentioned was a real person that the historian Huelskamp researched thoroughly. The book is littered with photos of the people, letters and other documents supporting his work. Some of them are political movers and shakers, some are in the military, and some are citizens worrying about loved ones.

The characters — as historically accurate as they might be — were drawn pretty thinly. If Huelskamp is going to talk about interpretation of historical figures, he needs to interpret them multi-dimensionally. I wanted to like everyone (well, except Loomis — who no one is supposed to like), but I couldn’t muster up affection for anyone, there wasn’t enough of anyone to really appreciate.

    Beyond the clearly extensive historical research (and documentation!), this book had a few strengths that I want to focus on:

  • The Battle Scenes were great — the internal dialogue of the combatants detracted a lot from that, but the description of the events, the action was just about everything you’d hope for.
  • In the early days of the war, one of the friends is killed — seeing the emotion when the group gets the news was a high point of the book, Huelskamp captures it perfectly and then ruined the moment with clumsy writing.
  • The best part of the book is in the aftermath of a battle concerning two friends comforting each other after being wounded — it was just perfect.

The book could’ve been really strong; maybe as a trilogy (or duology), it could’ve been great. But in its too-short form, it was just almost a good book. I bet Huelskamp’s historical writing is really something — his fiction? Maybe one day. The richness of the historical work here does elevate this over a lot of historical fiction I’ve read recently, so I’m going to give it the 3rd star.

Disclaimer: I received a copy of this from the author in exchange for my honest thoughts.

—–

3 Stars

United States of Books – The Magnificent Ambersons by Booth Tarkington

The Magnificent AmbersonsThe Magnificent Ambersons

by Booth Tarkington
Series: The Growth Trilogy, #2

Mass Market Paperback, 346 pg.
Tor Classics, 2001 (first published 1918)
Read: May 12 – 14, 2016

… the grandeur of the Amberson family was instantly conspicuous as a permanent thing: it was impossible to doubt that the Ambersons were entrenched, in their nobility and riches, behind polished and glittering barriers which were as solid as they were brilliant, and would last.

If only, if only . . .

How do you enjoy a 300+ page book with a protagonist who is an arrogant, petulant, jackwad with no obviously redeeming qualities for the first 300 pages? Well, it’s tough. But if it’s as well told as The Magnificent Ambersons, it’s possible.

Sure, that’s a little bit of a spoiler — George Amberson Minafer does develop a couple of redeeming qualities in the last 30 pages or so. But you know what? The book is almost a century old, you’ve had plenty of time to read it if you’re worried about spoilers.

The plot is straightforward: At the dawn of the Industrial Revolution, an impossibly rich family produces an arrogant twit as the only heir. Unbeknownst to him, the economy is changing and the family is beginning to fall on hard times. Too proud to admit it, they continue living as if they have all the money in the world. Meanwhile, the twit falls for a girl who’s humble, kind, and wise. For some inexplicable reason, she falls for him, too. Things happen, they don’t get together and the bottom falls out on the Ambersons. There’s family drama, too — between the financial crisis, health problems, love, old flames, and scandal, there’s plenty to entertain a reader (if they can put up with younger George).

Most of the characters are pretty thin — there are exceptions (George’s mother, aunt and non-ambassador uncle, are the best) — but even the developed ones aren’t as fleshed out as we would have them today. But it fits with Tarkington’s overall style. It’s very, very difficult to like most of the people on these pages. So the ones you’d normally sort-of like, you end up really enjoying.

What makes this book work is Tarkington’s style. It’s hard to describe — highly detailed (for example, there’s so much attention paid to clothing and fashion that you’d almost think Gail Carriger had a hand in this), with a dry sense of humor, and plenty of cultural commentary. He changes his focus repeatedly: he’ll jusmp months or years at at time, and summarize events from those months in a paragraph or less and then cover a single evening in 15 pages, so he can highlight what matters and ignore the rest. But better than the plot (or characters), you get lines like this: “Some day the laws of glamour must be discovered, because they are so important that the world would be wiser now if Sir Isaac Newton had been hit on the head, not by an apple, but by a young lady.” How do you not keep reading for things like that?

Tarkington takes time out from the narrative to say

Youth cannot imagine romance apart from youth. That is why the roles of the heroes and heroines of plays are given by the managers to the most youthful actors they can find among the competent. Both middle-aged people and young people enjoy a play about young lovers; but only middle-aged people will tolerate a play about middle-aged lovers; young people will not come to see such a play, because, for them, middle-aged lovers are a joke–not a very funny one. Therefore, to bring both the middle-aged people and the young people into his house, the manager makes his romance as young as he can. Youth will indeed be served, and its profound instinct is to be not only scornfully amused but vaguely angered by middle-age romance.

I assume that captures the spirit of the late 19th/early 20th Century — if you take out the word “play” and put in “film” or “show,” it does a pretty good job of capturing the spirit of the early 21st Century, too. Which is a pretty nice achievement for a piece of writing.

The book isn’t a chronicle of the changes to the American culture/economy due to industrialization, it’s a family drama. But if you pay attention to what’s going around the lovebirds, cads and gossips, you can see those changes taking place. It’s a temptation for someone to cheat a little when writing historical fiction and make characters seem smarter than they are by knowing how predictions would actually turn out, Takington’s not above falling into that. Note what Eugene Morgan, early designer of automobiles says:

“With all their speed forward [automobiles] may be a step backward in civilization–that is, in spiritual civilization. It may be that they will not add to the beauty of the world, nor to the life of men’s souls. I am not sure. But automobiles have come, and they bring a greater change in our life than most of us suspect. They are here, and almost all outward things are going to be different because of what they bring. They are going to alter war, and they are going to alter peace. I think men’s minds are going to be changed in subtle ways because of automobiles; just how, though, I could hardly guess. But you can’t have the immense outward changes that they will cause without some inward ones, and it may be that George is right, and that the spiritual alteration will be bad for us. Perhaps, ten or twenty years from now, if we can see the inward change in men by that time, I shouldn’t be able to defend the gasoline engine, but would have to agree with him that automobiles ‘had no business to be invented.'”

That was 98 years ago, think what he’d say now about the automobile’s impact on culture (he’d probably cite James Howard Kunstler’s The Geography of Nowhere).

A dull(ish) story, full of unsympathetic characters acting foolishly (on the whole), with a quaint writing style that somehow makes it all work. I can’t explain it, I’m just glad I read it. You just might feel the same way, give it a shot.

—–

3.5 Stars

The Old World by Roy M. Griffis

The Old World The Old World

by Roy M. Griffis
Series: By the Hands of Men, Book One

Kindle Edition, 262 pg.
CreateSpace Independent Publishing Platform, 2013

Read: April 29 – 30, 2016


I was blindsided by this one — I knew what to expect plot-wise, don’t get me wrong — what I didn’t know what how little time it’d take for me to care. I got invested in this story and the characters far faster than I normally would.

Charlotte Braninov was sent to a boarding school in England to keep her safe during the tumult leading up to the October Revolution, not one to hide away, she volunteered to become a nurse tending to the English wounded in France during the Great War. Her American friend (who we could’ve spent a little more time with), Kathleen, is in a similar position. Toiling away at a hospital near the front lines — there’s a great focus on the nurses here, not just the doctors and surgeons (as one usually gets), those who tend to the wounded and dying all the time. I really appreciated that.

Charlotte has a brief encounter with a charming and wounded British officer that leaves a mark on her psyche. Not surprisingly (because this is a novel, and people like that don’t just vanish), Lt. Robert Fitzgerald is stationed at the hospital Charlotte serves. Events conspire to get them to spend time together, a friendship blooms — and maybe something else will as well.

Through Robert, we get a glimpse or two of life in the trenches while Charlotte is our entry to medical care. Between the two, you get a decent idea what things were like in France (or at least Griffis lets you think you do). The research is there, but you get the idea Griffis wouldn’t let historical data get in the way of his story (which is the way it ought to be in historical fiction). He also doesn’t overwhelm you with details the way so many slip up and do in early works — just enough to provide atmosphere and add an air of authenticity.

Tragedy, hardship, horrors of war intrude and complicate life. Honestly, peacetime isn’t a picnic for anyone, either — especially for someone from Russia. The plot takes a couple of twists and turns, setting things up nicely for a sequel that you really need after the last couple of paragraphs.

This isn’t just a love story, nor is it really that much of a war story — it’s both and a lot more. You’ll chuckle, you’ll “awww,” you’ll get ticked off, you’ll be moved. Pretty much, if you name it, Griffis characters will make you feel it.

I’m not going to tell you that Griffis is a master of style, a wizard with subtle characterization, or a weaver of intricate plots, or anything like that. What he is, however, is a compelling story-teller. You like Charlotte, Kathleen, Orlando, Robert, Matron, and the rest almost effortlessly and want to see them happy, healthy, etc. You care about the events surrounding them and the outcomes for the characters. I really liked this one and am trying to find a hole in my schedule to throw the sequel into, you should do the same.

Disclaimer: I received a copy of this from the author — sorry for imposing on your patience, Roy — in exchange for an honest review.

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