I am sure that I have enthused on here about the Regency novels of Georgette Heyer far too much for most people’s taste, so I’m going to just plant a teaser and let you do what you will: I did a re-read of The Convenient Marriage this week, in between other books, and it made me think about which are my favorites of hers and why, and it all has to do with the protagonist. I’m sure you could say that about many books, but with these, in particular, if the main character doesn’t shine, it’s going to fall flat, no matter how beloved the genre, period, scene-setting, etc. So here are mine (and some double as the name of the book):
SOPHY (from The Grand Sophy)
HERO (from Friday’s Child)
HORATIA (HORRY) (from The Convenient Marriage)
NELL (from April Lady)
KITTY (from Cotillion)
And yes, upon reviewing these, it has also to do with the male leads: Mr. Beaumaris, the Marquis of Alverstoke, Viscount Sheringham, the Earl of Rule, Lord Giles Cardross, and Freddy Stanton from Cotillion, who is the best anti-hero ever.
So I guess, if pressed, these would be my favorites out of the 28 (?) she wrote (in no particular order, except that the one I’m currently reading is always the favorite!). If you’re not a complete ninnyhammer, you will read them and see for yourself!
I was first introduced to Melina Marchetta when I was a young adult librarian. Although she is probably best known in YA circles for her books Looking for Alibrandi and Saving Francesca, or perhaps her Printz-award-winning On the Jellicoe Road, all of which identify as realistic / contemporary fiction, I first encountered her in the guise of a fantasy writer, with her series the Lumatere Chronicles. We read the first book, Finnikin of the Rock, for high school book club in 2010, two years after it was published, and although I enjoyed it quite a bit, I didn’t really recognize the brilliance of her prose until she came out with the two other books in the trilogy—Froi of the Exiles, and Quintana of Charyn. I won’t go into the details of what the series is about (it’s kind of complicated), but these books are filled with heartache, pain, adventure, mystery, magic, and madness, and the characters, world-building and story-telling would be hard to surpass. It’s one of those series about which I tell people: “You have to read the first one in order to know what’s happening in the subsequent books, but those make it well worth the effort.”
After having read nearly all of Marchetta’s YA books, I was pleased to see, in 2016, that she had written her first for adults. And although Tell the Truth, Shame the Devil contains a bunch of teenagers as significant characters, it is from the adult viewpoint that the story unwinds, and the adults in the story have the typical hard time fathoming the teen mindset. The book was primarily a suspense novel (reviewed here), which proved to me that Marchetta can write pretty much anything successfully.
I was pleased, then, to pick up her latest offering, The Place on Dalhousie, published in 2019 but just discovered by me. It is contemporary fiction, focused on relationships (both romantic and familial), and is fully as compelling, if somewhat more low key, as anything else she has written.
The book is a little bit confusing at first, because there is a “time out of time” quality to the meeting of two of the protagonists. Rosie is living in a small town on the coast of Queensland, serving as caregiver to an elderly woman, and the two are caught up in a natural disaster when the town is flooded. Jimmy Hailler is also by chance in a kind of time-out there, and it is his work helping to save the stubborn villagers from the rising waters that brings he and Rosie together for a cautious two-week interlude fueled by the disaster. Then Rosie returns to Sydney to her childhood home, which is in dispute: Her father built the house for she and her mother, Loredana, but her mother died of cancer when Rosie was 15, and her father married Martha 11 months after Loredana died, sending Rosie off in a fury. A few years later her father also died, and now she is in a standoff with her hated stepmother over the ultimate ownership of the house.
The story picks up 15 months later, when Jimmy tracks down Rosie and arrives on the scene to discover Rosie living upstairs, Martha downstairs, and a battle raging about whether to sell the house. Rosie, a prickly, difficult young woman at the best of times, is suspicious of Jimmy’s motivations in finding her so long after she initially reached out to him, and the remainder of the book, centered on families both interconnected and divided, compromise, love, and identity, proceeds slowly and cautiously to explore not only their relationship but those of almost everyone involved. I don’t want to give away too much, because a huge part of the enjoyment of the book was in discovering the details as you went along. But there are great characters here (she writes women of all ages particularly vividly), and a lot of humor and pathos in the telling of their stories
I thought Jimmy’s name sounded familiar, and when I checked reviews I soon realized that he was one of the characters introduced in Marchetta’s book Saving Francesca, when he and the others were in high school, and the one character of the group notably missing from the sequel, The Piper’s Son. Many refer to him as the most sympathetic or compelling character, and are thrilled to see him turn up in a later incarnation. You don’t have to know any of that or have read the other two books to enjoy this one—it definitely stands on its own. But for those who loved the YA books, this is a culmination of those stories, and some also hold out hope for additional books with the others—Frankie, Tara, Tom, Justine, and Siobhan—as protagonists.
If you do feel moved to read the two YA novels as foundation, you won’t have wasted your time. Marchetta’s writing is severely underrated outside her native land, and it would be lovely to think that I have convinced more people to appreciate her fully.
I seem to be gravitating lately towards coming-of-age stories about boys and their dogs (see The Story of Edgar Sawtelle), but although it is, in fact, a coming-of-age story, A Boy and His Dog at the End of the World, by C. A. Fletcher, is a special one, being as well a post-apocalyptic saga. I am a sucker for dystopian and post-apocalyptic fiction; I don’t know exactly what draws me, but I think it is, as the character Griz says about his own liking for these books, that “it’s interesting to see what the Before thought the After would be like.”
This is an unusual sample of the genre, since there was no bomb, no pandemic, no big catastrophe—just a slow dwindling of fertility (speculatively attributed to pesticides, food additives and pollution) until humanity arrived at the Baby Bust generation, whose members got older but didn’t reproduce (except for about .0001 percent), and as the people died out, nature slowly began to take over. Griz’s family are among that infinitesimally small percentage, Griz’s parents having given birth to four children. The family has isolated itself in the Outer Hebrides, on one of a series of islands off the coast of Scotland, and lives a careful life, coming in contact with only one other family (who live on another island)—one of whose sons will presumably eventually marry their daughter. They take judicious foraging trips to the mostly empty mainland to acquire the things they are unable to build, so that they have a couple of sailboats, a windmill for power, some miscellaneous tools and weapons, and a fair number of books—nonfiction how-to in the case of the father, and fiction/escape in the case of Griz, who is something of a bookworm. They call these foraging trips “viking,” turning the noun into a verb. They also have several dogs (also a rarity in terms of fertility), two of which (Jip and Jess) are Griz’s.
One day they spot red sails on the horizon, and a stranger comes to visit—a man named Brand, who brags about his extensive travels to other exotic shores and who has both necessities and wonders to trade. The family treats him with a healthy dose of suspicion, but his engaging manner and the tall tales he shares over dinner soon has them more at their ease. Next morning, however, Brand’s sailboat is seen fleeing over the horizon, and he has taken Griz’s dog Jess with him. Griz, in a rage, grabs some basic supplies and jumps in his own boat to follow. No one is stealing his dog. This is the set-up for all the adventure and discoveries to come.
The world-building in this book seems both inventive and inevitable, with the author knowing just what would happen to a world without people. The huge, nearly empty environs are beautifully depicted, with the overtones of the tragedy of the past subsumed into the matter-of-fact acknowledgment of present-day details. The voice is appealing—Griz is an endearing combination of knowledgeable and innocent, relying on what he has been told but also able to take in new information, process it, and find inventive ways to use it. And despite a difficult and challenging journey, he remains doggedly optimistic (pardon the pun). The prose is simple, beautiful, and full of meaningful observations. There is a lot of content packed into this fairly short book by the time you take into account the back story, current events, musings, and action sequences. It also keeps you moving because you get the occasional ominous hint of things to come, which I normally find irritating but didn’t mind here because of the format of the book (it’s written as a journal, partially after the fact).
The bottom line: I’m just going to say it without reservation—I loved this book! I think it would appeal to anyone who enjoys this genre of fiction, whether (older) teen or adult, and perhaps even those who don’t normally read the genre, because of its inventiveness and the headlong manner of its story-telling. It’s completely self-contained, but I would definitely not say no to a sequel! The potential is there…
I discovered Dervla McTiernan through a picky fellow reader on the Facebook page “What Should I Read Next?” She had asked for recommendations for mystery series, but then dismissed about a third of them as not what she was looking for. When I recommended a few to her, we discovered we were both fans of Tana French, and she then mentioned McTiernan to me.
I don’t want to damn with faint praise here: I don’t feel like the comparison with French is justified, but I feel like it could be, with a few more books under her belt. Having said that, I thoroughly enjoyed this debut novel, and will read whatever else is available, which I believe to be only one or two other books.
The lead, Cormac Reilly, is in the midst of a career transition: He has apparently made something of a name for himself in Dublin, but now his partner, Emma, has received a substantial research grant tied to an exciting new job in Galway, and he has agreed to a transfer to their police department so he can go with her. This is a bit of a demotion for him, but he didn’t perceive it as a serious one until he was in place in the Galway station and discovered he was being relegated to working by himself on cold cases. There is only one person on the force he thinks of as a friend, and that officer, too, is currently being ostracized by the rest of the squad. His new colleagues are not welcoming, and it goes beyond the usual hazing of the new guy. There are undercurrents of unease, and some of the officers seem to spend as much time disrupting investigations as they do pursuing them. The total lack of support and cooperation are beginning to get to Cormac, and at a couple of points he feels like he is being deliberately set up, without a clue as to why that would be.
The mystery unites a case from his past with one in the present day: A man has died, presumably by jumping off a bridge in an act of suicide, but his sister and, latterly, his girlfriend don’t believe he would have done it and wish the police to look into the possibility of foul play. The officer in charge of the investigation proves strangely reluctant to do so, and the man’s relatives amp up their protests as a result. Then Cormac is roped in with a cold case that causes him to be in the position of looking at the sister as the possible murderer of her own mother. Cormac is familiar with the case because as a rookie he was sent out on a supposed domestic violence call, only to discover a mother dead of a heroin overdose and two children—Maude, 15, and Jack, 5—on the premises. The boy Jack is the man who is the apparent suicide in the present day.
I really enjoyed McTiernan’s style of writing, and the way she leads the reader through the (admittedly convoluted) story lines. I did feel like there were a few problems with the scene-setting: Reilly is made out to be a big success in Dublin, and yet you see few signs of this when he’s on the ground in Galway. There is never sense made out of the hostility of some of his co-workers. There is virtually no development of Emma—she is an occasional presence, but I couldn’t tell you what she looks like, or anything much about either her job or her life with Cormac except that she works late a lot, leaving him on his own at the pub. But the rest of the characters, the ones directly involved with the mystery, are charismatic, and the sympathy with which she portrays the tragedies that result from the total inadequacy of the children’s social services in Ireland is compelling. I liked what McTiernan did with her material, and look forward to another outing with Cormac Reilly.
I promised ghostly goodies in honor of Hallowe’en, so let’s review some titles that will have you thinking of the mysterious barrier between this world and the next, and what happens when that barrier falters!
First off is a series that was written for middle school teens but that delights everyone who reads it: The Lockwood & Co. series by Jonathan Stroud. The first book is called The Screaming Staircase, and it lays out the scenario that prevails in the other four books:
For more than 50 years, England has been overrun by ghosts. They linger, they float around, they make horrifying noises, they haunt specific places and, in some cases, they reach out to touch the living, which “ghost-touch” is nearly always fatal. The most frightening aspect of this wholesale haunting is that while adults can experience some of the effects, they can’t actually see the ghosts and therefore can’t protect themselves. So a bevy of teens and children (who CAN seen them) are recruited and armed with silver chains, salt, lavender, swords, and holy water and sent out in teams to lay the souls to rest by measures merciful or stern.
Psychic Investigation Agencies, mostly run by adults, are in charge of these teams of teens; but one young man decides that the adults who can’t even see the threat shouldn’t be in charge of his fate, and starts his own agency, run by and employing only teenagers. Anthony Lockwood, George Cubbins, and Lucy Carlyle do their best to prove they can fight ghosts with the best of the prestigious and powerful organizations against which they are competing for business, but a series of hapless incidents puts their fate in question. Then they get the chance to spend the night in one of the most haunted houses in England…
I’m baffled as to why the reviewers insist that this series is “for a younger audience.” In fact, the recommendation for 4th through 7th grades is wholly inappropriate—the 4th-graders would be too frightened! I would say 6th grade and up…and up. I found the mysteries engaging, the haunted scenarios truly frightening, and the world-building completely believable. I think anyone would like these. The other books are: The Whispering Skull (pictured above), The Hollow Boy, The Creeping Shadow, and The Empty Grave. (Another bonus: The series is complete! No waiting around for sequels.)
Now for another book that is also YA, but doesn’t seem so in the reading: A Certain Slant of Light, by Laura Whitcomb. Helen and James are two spirits who are haunted by a few hazy, incomplete memories of their pasts (when they were alive), and need to remember who they are and how they died, and figure out why they are in this strange limbo between life and death. Helen, who is 130 years past her due date, has discovered that when you are “light,” in order to keep from plunging into some kind of horrific afterlife you need to cling closely to a human host. Her latest is an English teacher, Mr. Brown, and it is in his class that she encounters James, the first person who has been able to see her since she died. There’s a reason for that: James is also “light,” but has found an ingenious way to live again.
I don’t want to give away much more than that, but if you are thinking this sounds like a Stephenie Meyer plot, think again: It’s far more than a sappy teen romance. FIrst of all, Whitcomb’s writing is witty and sophisticated, and the story itself is surprisingly complex, exploring such themes as human existence, forgiveness, and the emotions of love, grief, and responsibility. The personas are carefully crafted to relate to their relative time periods, Helen’s formal speech contrasting beautifully with James’s more contemporary lingo. Whitcomb is also a master at describing the sensations the characters feel as they experience certain things for the first time. I found the story arc deeply satisfying when I read the book, and only recently discovered that there is a second book, called Under the Light. I was surprised, since a sequel didn’t seem necessary, but the description reveals that it’s more of a companion novel, telling the stories of two other deeply invested characters, and I intend to grab it just as soon as I reread this one so that I remember all the necessary details!
Note; Whitcomb has another book that sounds like it would be spooky, called The Fetch. My recommendation is, don’t bother. It’s more about the Russian Revolution than anything else.
Another young adult series that offers up some spooky situations is the Shades of London series, by Maureen Johnson. In the first book, The Name of the Star, Louisiana teen Rory Deveaux has arrived in London to start boarding school just as a series of murders directly mimicking the crime scenes of the notorious Jack the Ripper are taking place. Despite a number of potential witnesses, it seems that Rory is the only one who spotted the man responsible for these heinous crimes, for a surprising reason that puts Rory in imminent danger. In the other two books—The Madness Underneath, and The Shadow Cabinet—we move beyond the Ripper story to discover that there’s a lot more happening on the ghostly front in London than anyone without Rory’s extraordinary perspective would suspect.
Note: There was supposed to be a fourth book, but six years passed and the author seems to have moved on permanently. It’s not really necessary to continue—the story arc was satisfyingly contained within these three. People wished for new adventures for various characters, but there is no cliffhanger, the story ends.
Finally, let me mention a few stand-alone titles that provide a satisfying shiver for your backbone:
Try Graveminder, by Melissa Marr. Although she is primarily a teen author, this book was billed as her first for adults; but I think both teens and adults would enjoy it.
The story centers on the town of Claysville, home to Rebekkah Barlow and her grandmother, Maylene, and also a place where the worlds of the living and the dead are dangerously connected. Minding the dead has been Maylene’s career and, once she dies, Bek must return to her hometown and, in collaboration with the mysterious Undertaker, Byron, make sure that the dead don’t rise. The tagline of the book is “Sleep well, and stay where I put you.” Deliciously creepy!
Break My Heart 1,000 Times, by Daniel Waters: A suspenseful thriller in which a “Big Event” has happened in the nearby metropolis, and all the resulting dead are lingering instead of moving on. Veronica and her friend Kirk have recently noted that not only are the ghosts not moving on, but they seem to be gaining in power. But when the two decide to investigate, they draw the sinister attention of one of Veronica’s high school teachers, who has an agenda that may include Veronica’s demise…
Meet Me at the River, by Nina de Gramont, is told from two viewpoints, that of Tressa, trying to cope with the death of her boyfriend, and that of Luke, the boy who is dead but can’t leave. I don’t want to say too much about it, because I so much enjoyed discovering the facts of the story in exactly the way the author wanted, which was not immediately, not all in a paragraph of explanation, but gradually, through the interchanges, the thoughts, the scenes. I will say that this book is much more than a sad paranormal love story—it’s as deep and intense as the river in its title. I found myself humming while I was reading, and finally figured out that I was remembering the hymn “Shall We Gather At the River?”, a song they sang at funerals in my childhood, a song laden with images of crossing over, being with loved ones. So much of this book was about death, but so much about life, too.
Far Far Away, by Tom McNeal: Jeremy can hear voices. Or, specifically, one voice, that of the ghost of Jacob Grimm, one half of the infamous writing duo, The Brothers Grimm. He made the mistake of admitting this once during childhood, and has been treated with doubt and suspicion by all the others in his village ever since. Jacob watches over Jeremy, protecting him from an unknown dark evil whispered about in the space between this world and the next. But when Ginger Boultinghouse takes an interest in Jeremy (and his unique abilities), a grim chain of events is set in motion. And as anyone familiar with the Grimm Brothers knows, not all fairy tales have happy endings…
For this list, I pretty much stuck to ghosts and steered clear of all the other beings that go bump in the night, but I’m going to mention one simply because it’s so much fun: Fang Girl, by Helen Keeble. Xanthe Jane Greene, a true fangirl of the fanged, wakes up one night in a coffin. Given her fantasies you’d think she’d be pleased, but no: What girl wants to preserve in eternal life such 15-year-old afflictions as acne and a puberty-born tendency to extreme clumsiness? Not to mention missing out on all the teen milestones, like getting a driver’s license and going to prom. So what does she do, upon emerging from her grave? What any 15-year-old from a loving environment would do—she goes home to her parents and little brother. Vampire lore has been done to death, but in this clever and winning parody Helen Keeble finds new territory, and it’s the perfect mix of paranormal with comedy. Don’t miss it.
I hope you will find something from this list to make your Hallowe’en reading sufficiently scary. Let me know what you think!
Please follow me on Instagram @thebookadept to see the artwork I make to accompany book reviews—including characters and scenes from books—and also pictures of people reading. Some few have appeared here, but I only feature a fraction of the things I paint (or have painted in the past), so check it out if you’re interested! Also, I do sell certain selected works…
I read The Good Sister, by Sally Hepworth, on the recommen-dation of multiple people, although I held out for a while because it felt like one of those books about which excessive raving leads to inevitable disappointment. I am happy to say that wasn’t the case here.
In brief, there are two sisters (fraternal twins) in their late twenties: Rose, who is successful in her career as an interior designer and is happily married to Owen, but has recently endangered her relationship by becoming obsessed with having a baby; and Fern, a single librarian with a sensory processing disorder. The initial presentation is that Rose is the sister who has everything pretty much together, while Fern relies heavily upon Rose to guide her in life’s decisions and keep her on an even keel. Fern sticks to a rigid schedule of dining with Rose three nights a week, and otherwise carefully constructs her life to help her avoid all the many overwhelming situations with which she is unable to cope. This co-dependent relationship evolved from a difficult shared childhood with a narcissistic mother, and the sisters continue to fall naturally into the roles of protector and protected.
When Fern realizes that Rose is unable to have children, she reasons that this may be the one big thing she can do to pay Rose back for all her care and concern over the years. All she needs to do is find a father for the child. To anyone with traditional boundaries this would seem like a complicated issue, but to straightforward and literal Fern, it may be as easy as asking the first suitable male she encounters!
The point of view fluctuates between a direct narrative by Fern and the reading of entries of a daily journal that Rose is keeping at the suggestion of her therapist, whom she is seeing to help her with the tragedy of being unable to conceive. Through the agency of the journal, things are revealed about the two women’s past that will become particularly hazardous if a child is brought into the mix.
This book is billed as a thriller but, while it has aspects of mystery, suspense, and revelation to it that are definitely germane to the overall story and drive its action, the real reason to read this book is the co-protagonist sister, Fern, and her new friend, “Wally.” (I put his name in quotes because that’s what Fern calls him, due to his resemblance to the subject of the “Where’s Waldo” books.) Fern is a complex, nuanced character who interrogates the behavior of people around her and muses “out loud” about her own reactions to those behaviors. We are given the initial impression that Fern has been static in her routines, relationships, and accomplishments for a good long while; but as the story progresses so does Fern. Her forays into the unknown are a delight to witness, not the least of which is her relationship with Wally, who has issues of his own that may complement Fern better than she can believe.
I would categorize this as family or domestic drama more than suspense, although it is gripping in the end as issues resolve. But the best part of it is the wonderful characterization, the depiction of people who approach life differently, to be sure, but are in their own ways more together than the mundane “regular” folk can ever hope to be. I haven’t liked a character this well since Eleanor Oliphant.