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Fiction Archives - Her Literary Salon

‘Aunt Dimity & the Lost Prince’ by Nancy Atherton

'Aunt Dimity & the Lost Prince' by Nancy Atherton

‘They were my fairy godmothers, and you were their wand. Sometimes, just sometimes, life is even better than books.’

‘Aunt Dimity & the Lost Prince’ is the 18th book in Nancy Atherton’s Aunt Dimity series, but the first of her books that I have ever read, or truth be told, have even heard of. However, survey says … Atherton, my dear girl, it looks as though you may have found yourself a new Dimity fan.

The series is quaint, heart-warming and made richer by the deceased yet still present, paranormal character of Aunt Dimity. Sounds a bit too weird for you? A bit too odd? Yes, it is odd, and it is weird – this is a series where one of the titular characters is dead but somehow still speaking, albeit through a magical journal. How could such a premise be fun or interesting? Well, it is – it just really is. Plus, the other characters are alive, acceptably normal in the ‘we are all normal’ sense, and just trying to make it through another day in jolly old England.

Fine literature? Aunt Dimity and her cohorts are not. But if you are looking for light, easy, and slightly silly, then slither off with Dimity for an hour, get lost, and just accept the ridiculousness that is this silly little series.

Salon Summary

RECOMMENDABILITY: 3 {out of 5} stars | ★★★☆☆
REPETITIVE READABILITY: 1 {out of 5} stars | ★☆☆☆☆
RATING: 4 {out of 5} stars | ★★★★☆

{This novel was gifted to Her Literary Salon by Penguin/Viking Books.}

My First Journey with Stephen King: ’11.22.63′ – A Review

My First Journey with Stephen King: '11.22.63' - A Review

My husband is a huge fan of Stephen King – he tears through King’s thrillers the same way I tear through Susan Elizabeth Phillips’ romantic escapades. As a result, he has been tirelessly urging me to add a little more ‘King’ to my bookshelf, but with stories like ‘It’, ‘ Carrie’ and ‘The Shining’, I feared this scaredy-cat would never find a King novel tame enough to read. Upon the release of ’11.22.63′, we finally found a compromise – less thrill, more history.

’11.22.63′ is a counter-factual propositional story of the Kennedy assassination – exploring the idea that the world would be greatly improved or at least greatly changed had JFK survived Oswald’s assassin bullet. A young man, Jake Epping, is directed to a time-traversing ‘rabbit-hole’ of sorts by greasy-spoon chef, Al, and sent through with the direct mission of changing the world. And thus begins his journey into the cigarette smoke-filled, good old days of America in the 60s; a love-affair with someone born decades before himself; and his interaction with a mightily unhappy, unsatisfied, unstable and abusive Oswald.

‘We never know which lives we influence, or when, or why.’

The journey through the story was exhilarating and emotional, and at times, frustrating – especially the ending. After 800+ pages full of – what I am assured is quintessential King twist-and-turns – the story ends neither happy nor sad, it just does. I found myself opening back of the book again and again to make sure I hadn’t missed something – which, sadly, I hadn’t.

King is a wonderful writer, with great structure and clarity, and clearly a very strong editing team. His story was innovation, well-researched and well-structured. But still, even with all this positive, I cannot sit here and honestly say, ‘I like Stephen King.’ Although I do not dislike him per say and did not loathe his story as I did this one, I also do not think I will ever be drawn to read one of his stories again.

Salon Summary

RECOMMENDABILITY: 3 {out of 5} stars | ★★★☆☆
REPETITIVE READABILITY: 1 {out of 5} stars | ★☆☆☆☆
RATING: 3 {out of 5} stars | ★★★☆☆

Perfect Passages: ‘Maternity’ from ‘My Mother’s House’ + ‘Sido’ by Colette

Perfect Passages: 'Maternity' from 'My Mother's House' + 'Sido' by Colette

No sooner was she married, than my long-haired sister yielded to the persuasions of her husband and her in-laws and stopped seeing us, while the formidable machinery of lawyers and notaries was set in motion. I was only eleven or twelve years old, and I had no idea of the meaning of such expressions as ‘improvident guardianship’, and ‘inexcusable extravagance’, directed against my father. There followed a complete rupture between my parents and the young married couple. To my brothers and myself it made little difference. Whether my half-sister – the tall gracefully-built girl with the Mongolian features, whose amazing hair weighed her down as with chains – shut herself all day in her room upstairs or exiled herself with a husband in a neighboring house, it came to much the same thing, and did not affect us. In any case, my brothers, who had themselves left home, perceived only the distant reverberations of an upheaval that engrossed our entire village. A domestic tragedy in a great city can run its course discreetly, and its heros can slaughter each other in silence. But a village that vegetates all the year round in peace and inanition and has to content itself with meagre scandals afforded by local incidents of poaching or gallantry, such a village is without compassion, and its inmates are not likely to avert their eyes in charitable consideration from the spectacle of a woman whom financial disputes have robbed of her child in less than a day.

We were the only topic of conversation. Every morning there was a queue at Léonore’s, the butcher’s, in the hope that my mother might be cornered and forced to betray some emotion. Creatures who the day before had not appeared bloodthirsty, now gloated together over a few precious tears, a few words of complaint wrestled from her maternal indignation. She would come home exhausted, panting like a hunted beast. At home with father and me, she would pull herself together, cutting up the bread for the fowls, basting the roast, hammering away, with all the strength of her small hands and beautiful arms, at a box for the cat who was near her time, or washing my hair with rum and yolk of egg. She made a sort of cruel art of suppressing her grief and sometimes I would even hear her singing. But at the evening she would go upstairs to close the shutters of the first floor windows herself, so as to gaze across the party wall at the garden and house where my sister lived. She could see the strawberry beds, the espaliered apple-trees, clumps of phlox and three steps that led to a terrace with orange trees in tubs and cane chairs. One night – I was standing behind her – we recognised, lying on one of the chairs, a gold and purple shawl which dated from my long-haired sister’s latest convalescence. I cried out: ‘Oh, look! There’s Juliette’s shawl!’ and received no answer. A curious, convulsive sound not unlike stifled laughter died away with my mother’s footsteps down the corridor, after she had fastened all the shutters.

Months went by and nothing was altered. The ungrateful daughter remained under her own roof, and passed our threshold without turning her head. But sometimes, meeting my mother unexpectedly, she fled like a child that fears a blow. As for me I would meet her without emotion, only mildly surprised at the sight of this stranger who wore new dresses and unfamiliar hats.

One day the rumour reached us that she was going to have a child. But I had ceased to think about her, nor did I attach any special significance to the fact that just at the time my mother began to have attacks of nervous fainting, nausea and palpitations. I only remember that the sight of my sister, distorted and grown heavy, filled me with still more embarrassment and disgust.

Still more weeks passed. My mother, always lively and active, began to employ her energies in a rather incoherent manner. One day she seasoned the strawberry tart with salt instead of sugar, and instead of showing distress she met my father’s expostulations with a face of stony irony that upset me terribly.

One summer evening, just as we three had finished dinner, a neighbour come in bareheaded, wished us good evening with an important air, whispered a few mysterious words in my mother’s ear and departed forthwith. My mother sighed, ‘Oh my goodness! …’ and remained standing, her hands resting on the table.

‘What’s the matter?’ enquired my father.

With an effort, she withdrew her gaze from the flame of the lamp and answered:

‘Things have started … over there …’

I vaguely understood, and went upstairs earlier than usual to my bedroom, one of three that overlooked the garden opposite. After putting out my lamp I opened the window in order to watch, at the end of a garden turned purple under the moonlight, the mysterious house with all its shutters closed. I listened, pressing my beating heart against the window-sill. The scene was bathed in the nocturnal silence of the village, and all I could hear was the bark of a dog and the scraping of a cat’s claw on the bole of a tree. Then a shadowy form in a white dressing gown – my mother – crossed the road and entered the garden opposite. I saw her raise her head and consider the party wall as though she had hopes of climbing it. Then she started to walk up and down the centre path, where she broke off a sprig of scented bay, automatically crushing its leaves between her fingers. Under the cold light of the full moon not one of her gestures escaped me. Motionless, her face upturned to the sky, she listened, and waited. A thin cry, long-drawn-out and muffled by distance, and the intervening walls, reached us at the same moment, and she clasped her hands convulsively to her breast. A second cry, pitched on the same note, almost like the opening of a melody, floated towards us, and a third … Then I saw my mother grip her own loins with desperate hands, spin round and stamp on the ground as she began to assist and share, by her low groans, by the rocking of her tormented body, by the clasping of her unwanted arms, and by all her maternal anguish and strength, the anguish and strength of the ungrateful daughter who, so near to hear and yet so far away, was bringing a child into the world.

{ISBN 0-374-52833-0 | Pages 76 -79}

Author-in-Residence: Ron Currie, Jr. author of ‘Flimsy Little Plastic Miracles’

Author-in-Residence: Ron Currie, Jr. author of 'Flimsy Little Plastic Miracles'

My latest read was a different type of novel, a novel that was a delicious combination of truth and falsehood, with the designation of reality versus fiction being left – in large part – to the decision of the reader. Author Ron Currie, Jr., caricatured himself into his newest novel, ‘Flimsy Little Plastic Miracles’, creating a thoughtful and beautifully written story, as well as an interesting view into the living man.

In addition to the innovative theme, formatting of this book is quite unique. To a certain extent, this novel is written as a compilation of stories and experiences in literal short bursts of remembrances. There are no real designated chapters, and the story is not linear, but rather collected. You jump from one recollection to the next, at first not seeing any specific binding tie and then slowly entering a deep submission into the characters’ lives and thus the overarching story.

I really enjoyed the story presented – even though my mind did tend to glaze over as Ron spewed about his belief of a computer-takeover he referes to as the ‘Singularity’. I enjoyed the odd formating, the non-linear story, the love story, the truthfulness, and the truly glorious use of the English language that Ron employs.

Although the book has a fairly complete and semi-satisfying ending, there is a definite openness to the story and to the overall intent of the tale. Thankfully, the author, Ron Currie Jr., took some time to answer a few of the myriad of questions that formed in my brain upon completion of this very thought-provoking tale.

——–

Author-in-Residence: Ron Currie, Jr. author of 'Flimsy Little Plastic Miracles'

Author-in-Residence: Ron Currie, Jr.

CAROLANN: What characters in the book are based on real people and which are completely imaginary? For example, the character of fictional Ron’s father is so honestly and realistically written – being someone who also lived with a close family member dying from cancer – and I feel this experience must be based in fact. And Emma, is Emma a compilation of a multitude of loves or based on one specific woman?

RON: It’s dangerous territory to wade into. Though I certainly anticipated that people would ask these sorts of questions, my hope is that the book itself answers them–or at least offers an explanation for why I won’t.

CAROLANN: What characteristics of fictional Ron are true to realistic Ron? How much of fictional Ron is real, how much is exaggerated, and how much is just wishful thinking?

RON: I’ve been saying for a while that the character in the book is me with the volume turned up. An interesting (and possibly problematic) thing that happens when you write fiction based on real life is that, at a certain point and in certain instances, it can be difficult to recall what actually happened and what you made up. There were also times in the composition of the book when life began to imitate art in an actual and spooky kind of way.

CAROLANN: Were you inspired by James Frey’s story and the surrounding scandal of his story ‘A Million Little Pieces’? If not, where did the idea for this tale come from?

RON: “Inspired” is a strong word, but certainly I had it in mind–if you look closely at the cover, one of the book spines is of A MILLION LITTLE PIECES. That’s a flourish I’d like to take credit for, but the credit belongs to the book designer, who did an absolutely amazing job of creating a cover that is, in my mind, an intrinsic part of the book as a piece of art, rather than just sexy wrapping paper designed to get you to buy the thing. But beyond that, yeah, I did a lot of thinking about Frey and the scandal, the way in which he was crucified, and whether or not readers had right or reason to be as outraged as they were. I still haven’t decided, but it’s worth thinking about.

CAROLANN: The book formatting is very different than a standard novel structure. Did you write the book in this fashion? Was this an editing decision? How were you hoping to change the reader’s experience with this formatting?

RON: I did write it with exactly this formatting, the single-line pages, all that empty space. The idea was, among other things, to convey the fragmented nature of the narrator’s state of mind through physical presentation of the text.

CAROLANN: What does the real Ron do when he is not writing?

RON: Many of the things we all do—watch baseball, pay bills, wash the dishes.

CAROLANN: Who is your favorite author? Favorite Book? Who do you hope to one day be compared to? Currently some compare you to Kurt Vonnegut – is this a fair assessment? Accurate? Pleasing?

RON: There are way too many good books and authors to cite a favorite, but Vonnegut is one of them. I have a tattoo of the final page of SLAUGHTERHOUSE FIVE on my right forearm, if that gives you an idea. I think the comparisons to Vonnegut have been, in the past, somewhat apt, but I don’t think they apply so much with FLIMSY LITTLE PLASTIC MIRACLES. Then again, I’m not always the best judge of my of my own work, so maybe there is good reason to draw parallels between us again, with this book.

——–

Thank you so much Ron for taking the time to talk to me – I love being able to speak with an author, especially so soon after completing their novel. Below is my favorite passage from his book, as Ron describes his fictional love interest (and possibly real-life love interest?), Emma.

‘One thing you can never understand, from reading the book or seeing the movie or even me sitting here telling you, is the scope of her beauty. Her loveliness, witnessed, exposes  language for the woefully limited mode of communication that it is.  Nevertheless, I am always compelled to try and explain: she’s objectively and undeniably beautiful. She’s self-possessed, successful, whip-smart, often an enigma, which of course I can’t resist. She laughs with her whole body, but you’ve got to  work a little harder to make her laugh. And her eyes: clear, flinty orbs that reveal as much as they take in; more, perhaps. You’ll never learn who she is from anything that comes out of her mouth. It’s the eyes.’

Salon Summary

RECOMMENDABILITY: 3 {out of 5} stars | ★★★☆☆
REPETITIVE READABILITY: 2 {out of 5} stars | ★★☆☆☆
RATING: 4 {out of 5} stars | ★★★★☆

{This novel was gifted to Her Literary Salon by Penguin Books USA.}

‘Me Before You’ by Jojo Moyes

'Me Before You' by Jojo Moyes

‘Some mistakes just have greater consequences than others. But you don’t have to let the result of one mistake be the thing that defines you.’

'Me Before You' by Jojo Moyes

Author Jojo Moyes

This novel is not a tale I that I would customarily be drawn towards. I feel life, although great, is generally hard and sad and as such my chosen books – and the worlds that they create, which I then lose myself in so easily – lean more towards the happily ever after. Reading is an escape for me and while this book does not end happily (something a reader can ascertain from a brief glance at the book description), the deep impression the story leaves is worth the tears shed by this reader on a crowded, rush-hour train.

‘You only get one life. It’s actually your duty to live it as fully as possible.’

Jojo Moyes’s novel tells the story of Louisa Clark, a woman who is afraid to live, and Will Traynor, a man who wishes not to live. Louisa is adorably relatable and realistically imperfect – she is a woman you would become friends with, with her quirky sense of style and unassuming nature. Will is a self-proclaimed asshole, a man who had everything, did everything, traveled everywhere, lived the life of a giant and after an accident which occurred while he simply walked to work, is now stuck in a broken body that can not satisfy the intense spirit that once was ‘Will’. Thrown together, the two characters are able to learn from each other in so many true-to-life inspirational and utterly heartbreaking ways

This book is not simply words on a page but more an experience. I loved every minute – through my tears, through my angst, and through my desire for Will Traynor to have a miraculous and unrealistic recovery. And for once, I was able to live with the unhappily ever after ending – and, in fact, be completely satisfied with it – for the story was rich, and real, and so much more than a fairytale.

After reading this novel I found myself reevaluating my life, my fears, and my dreams. When was the last time a book did that for you?

Salon Summary

RECOMMENDABILITY: 5 {out of 5} stars | ★★★★★
REPETITIVE READABILITY: 3 {out of 5} stars | ★★★☆☆
RATING: 5 {out of 5} stars | ★★★★★

{This novel was gifted to Her Literary Salon by Viking/Penguin Books USA. Penguin Group also created and shared this fabulous little book club packet with me … perfect if you are interested in recommending this tale for your club.}
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