The Family Game - Catherine Steadman Tandem Collective Playalong

 

I read this book as part of a Tandem Collective readalong. I’d applied for their readalongs before but had never been successful. I was all for giving up, thinking I was too old, with too few followers, poor blogging. Then the acceptance mail pinged into my Inbox. I was delighted. I didn’t know what to expect from a Tandem readalong but I didn’t expect this!!

For a start it was a readalong plus - a ‘play-along’ ! The pack contained some crucial post it notes to mark pages, a family tree card, a book mark with some QR codes to locate reading cards and audio recordings and of course the book itself. At one point we had to message a WhatsApp number!  We were divided into two groups on Instagram to chat and compete over who we predicted the murderer might be. It was such fun.

But, wait, I hear you ask. Isn’t this supposed to be a book review? Yes, it is and it will be. I take my hat off to the Tandem Collective crew who developed such an entertaining way of enjoying a book. However this would not work with any old story. I don’t think you’d have this much fun with War and Peace, for example! 

It worked so well because this book was the perfect choice. It’s a humdinger of a thriller, edge of the seat stuff in places with so many twists and red herrings it made my head spin. A carefully constructed narrative that began innocuously enough, steadily paced but gradually built into a crescendo and then eased down so we could sleep safe in our beds at night with all revealed and resolved.

THE RULES
1. LISTEN CAREFULLY
2. DO YOUR RESEARCH
3. TRUST NO ONE
4. RUN FOR YUOR LIFE

‘Harriet Reed is newly engaged to Edward Holbeck, the heir to an extremely powerful American family.
When Edward’s father hands her a tape of a book he’s been working on, she is desperate to listen.
But as she presses play, it’s clear that this isn’t a novel. It’s a confession to murder.
Feeling isolated and confused, Harriet must work out if this is all part of a plan to test her loyalty.
Because this might be a gismo to the Holdback family - but games can still be deadly.’

That’s the blurb and I’ll offer no more plot specifics than that for one of the great strengths of this book is its ability to surprise you with the unexpected. Clever is the author who can lead their readers down a garden path with little resistance or opposition. I was conflicted so many times about what was going on, who the baddies were, what the truth was. I actually strongly suspected the murderer early on. That character had been portrayed as one of the least likely and we all know in many thrillers the least likely turns out to be the most likely. So when the writer turns things around to make the character seem the most likely I started looking for a less likely character again and….. tied myself in knots! For what if we were up against a flawed narrator? And what if there were not one but two murderers? That sent all my theories spiralling out of the window. 

The Holbeck family are quite something and the sense that there are secrets to be uncovered imbues the story with a slightly off balance feel. Their traditions hinted of a latent dysfunction beneath the wealth and privilege. Each time Harriet interacted with the family I had the sense of her entering a nest of vipers. I liked Harriet, a feisty, smart heroine who took on the family single handedly. 

I felt there was an almost cinematic quality to the story and I can see this translating well to either the large or small screen. One of those three or four part dramas that can have you binge watching for your own sanity because the suspense of not knowing is too great. I’d not read any of Catherine Steadman’s books before but I’ve a feeling that will change pretty soon!

My absolute thanks to the Tandem Collective for letting me be part of this playalong and  heads up to all the folk on my team. You know who you are. 

AD-PR PRODUCT

The Bone Flower - Charles Lambert

 

With much of today’s contemporary fiction I get the feeling that authors are keen to make some kind of point, topically maybe, retrospectively even and to be seen as P.C., woke and all the epithets that contribute to an enlightened individual with their finger on the pulse. I’m not intending to suggest that is a bad thing, far from it, no, issues need to be highlighted and dissected and thrust into a broader consciousness. But sometimes it is so refreshing to “just“ read a story. Something that has a beginning, a middle and an end. Charles Lambert is a consummate storyteller and his book is nigh on perfect as an example of a story told well.

‘On a grey November evening in Victorian London, Edward Monteith, a moneyed but listless young man, stokes the fire at his local gentleman’s club, listening to its members: scientist, explorers and armchair philosophers discussing the supernatural experiences and the theories of life after death. Edward is taken under the wing of some sceptics and attends a supposed  seance where he is captivated by beautiful young woman selling flowers outside the theatre. What follows is a quintessential Gothic novel, a ghost story, and an uncanny love story.’

Gothic is a term often bandied today when a work of historical fiction borders even slightly on the dark or supernatural. Some stories carry few of the elements but it requires sustained thematic understanding to produce a truly Gothic novel. Often it isn’t really a Gothic novel. Wikipedia defines Gothic fiction thus - 

‘Gothic fiction, sometimes called Gothic horror in the 20th century, is a loose literary aesthetic of fear and haunting. The name is a reference to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels. The first work to call itself Gothic was Horace Walpole's 1764 novel The Castle of Otranto, later subtitled "A Gothic Story". Subsequent 18th century contributors included Clara Reeve, Ann Radcliffe, William Thomas Beckford and Matthew Lewis. The Gothic influence continued into the early 19th century, works by the Romantic poets, and novelists such as Mary Shelley, Walter Scott and E. T. A. Hoffmann frequently drew upon gothic motifs in their works. The early Victorian period continued the use of gothic, in novels by Charles Dickens and the Brontë sisters, as well as works by the American writers Edgar Allan Poe and Nathaniel Hawthorne. Later prominent works were Dracula by Bram Stoker, Richard Marsh's The Beetle and Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde. Twentieth-century contributors include Daphne du Maurier, Stephen King, Shirley Jackson, Anne Rice and Toni Morrison.’ 

I think we can add Charles Lambert to the 21st-century list of Gothic novelists! Dark and atmospheric Lambert has created an unsettling and at times horrific portrayal of Victorian supernature. The research is impeccable but also the understanding of the value and protocols of that society shown through the excellent characterisations enhance the whole experience. At times it was as if Charles Dickens was alive and well and being channelled through Lambert! Descriptions of Newgate and graveyards will have you thinking Great Expectations.

 

Ghost stories and love stories are often a match made in heaven, (or maybe not if you’re the ghost trapped between two worlds) and Lambert fuses the two to strike a perfect balance. Effortlessly you are transported back to Victorian streets, dark, poor illuminated by the gas lights. You can smell the narrow alleys of Whitechapel and it’s almost a relief to follow Edward to his home and his more privileged  lifestyle. I couldn’t help liking young Edward. His failing was that he fell in love, and we’ve all done that haven’t we? But those of us reading this won’t have done it in Victorian London where class and morality played a large part in determining whether a relationship was suitable or not. I’m loathe to detail the plot for one of the joys of reading this book was seeing how it all unfolded in front of me.

It’s an excellent narrative, moving forward all the time, full of detail, full of intrigue,chilling and spine tingling without being under the covers terrifying. Again Lambert has achieved such a pleasing balance. 

I am indebted to Gallic books for a proof of this thoroughly entertaining and satisfying work.

The Dead Romantics - Ashley Poston Chapter One

  Please enjoy, on my blog, the first chapter of this exciting new novel to be published by HQ stories on September 29th. 

           1

The Ghostwriter

EVERY GOOD STORY has a few secrets.

At least, that’s what I’ve been told. Sometimes they’re secrets about

love, secrets about family, secrets about murder—some so inconse­ quential they barely feel like secrets at all, but monumental to the per­ son keeping them. Every person has a secret. Every secret has a story.

And in my head, every story has a happy ending.

If I were the heroine in a story, I would tell you that I had three secrets.

One, I hadn’t washed my hair in four days.

Two, my family owned a funeral home.

And three, I was the ghostwriter of mega­bestselling, critically

acclaimed romance novelist Ann Nichols.

And I was sorely late for a meeting.

“Hold the door!” I shouted, bypassing the security personnel at

the front desk, and sprinting toward the elevators.

“Miss!” the befuddled security guard shouted after me. “You

have to check in! You can’t just—”

                  

“Florence Day! Falcon House Publishers! Call up to Erin and she’ll approve me!” I tossed over my shoulder, and slid into one of the elevators, cactus in tow.

As the doors closed, a graying man in a sharp business suit eyed the plant in question.

“A gift to butter up my new editor,” I told him, because I wasn’t someone who just carried around small succulents wherever she went. “God knows it’s not for me. I kill everything I touch, includ­ ing three cactuses—cacti?—already.”

The man coughed into his hand and angled himself away from me. The woman on the other side said, as if to console me, “That’s lovely, dear.”

Which meant that this was a terrible gift. I mean, I figured it was, but I had been stranded for too long on the platform waiting for the B train, having a small panic attack with my brother on the phone, when a little old lady with rollers in her hair tottered by selling cacti for like a dollar a pop and I bought things when I was nervous. Mainly books but—I guess now I bought houseplants, too.

The guy in the business suit got off on the twentieth floor, and the woman who held the elevator left on the twenty­seventh. I took a peek into their worlds before the doors closed again, im­ maculate white carpet or buffed wooden floors and glass cases where old books sat idly. There were quite a few publishers in the building, both online and in print, and there was even a newspaper on one of the floors. I could’ve been in the elevator with the editor for Nora Roberts for all I knew.

Whenever I came to visit the offices, I was always hyperaware of how people took one look at me—in my squeaky flats and darned hose and too­big plaid overcoat—and came to the conclusion that I was not tall enough to ride this ride.

 Which . . . fair. I stood at around five foot two, and everything I wore was bought for comfort and not style. Rose, my roommate, always joked that I was an eighty­year­old in a twenty­eight­year­old body.

Sometimes I felt it.

Nothing said Netflix and chill quite like an orthopedic pillow and a wineglass of Ensure.

When the elevator doors opened onto the thirty­seventh floor, I was alone, grasping my cactus like a life vest at sea. The offices of Falcon House Publishers were pristine and white, with two fluo­ rescent bookshelves on either side of the entryway, touting all of the bestsellers and literary masterpieces they’d published over their seventy­five­year history.

At least half of the left wall was covered in books by Ann Nichols—The Sea‐Dweller’s Daughter, The Forest of Dreams, The For‐ ever House, ones my mom sighed over when I was a teenager writ­ ing my smutty Lestat fanfic. Next to them were Ann’s newer books, The Probability of Love, A Rake’s Guide to Getting the Girl (I was most proud of that title), and The Kiss at the Midnight Matinee. The glass reflected my face in the book covers, a pale white and sleep­deprived young woman with dirty blond hair pulled up in a messy bun and dark circles under tired brown eyes, in a colorful scarf and an oversized beige sweater that made me look like I was the guest speaker at the Yarn of the Month Club and not one of the most distinguished publishing houses in the world.

Technically, I wasn’t the guest here. Ann Nichols was, and I was what everyone guessed was her lowly assistant.

And I had a meeting to get to.

I stood in the lobby awkwardly, the cactus pressed to my chest, as the dark­haired receptionist, Erin, held up a finger and finished her call. Something about salad for lunch. When she finally hungup, she looked up from her screen and recognized me. “Florence!” she greeted with a bright smile. “Nice to see you up and about! How’s Rose? That party last night was brutal.”

I tried not to wince, thinking about Rose and I stumbling in at 3:00 a.m. “It sure was something.”

“Is she still alive?”

“Rose has survived worse.”

Erin laughed. Then she glanced around the lobby, as if looking

for someone else. “Is Mrs. Nichols not going to make it today?” “Oh no, she’s still up in Maine, doing her . . . Maine thing.” Erin shook her head. “Gotta wonder what it’s like, you know?

Being the Ann Nicholses and Stephen Kings of the world.” “Must be nice,” I agreed. Ann Nichols hadn’t left her small little island in Maine in . . . five years? As long as I’d been ghost­

writing for her, anyway.

I tugged down the multicolored scarf wrapped around my

mouth and neck. While it wasn’t winter anymore, New York al­ ways had one last kick of cold before spring, and that had to be today, and I was beginning to nervously sweat under my coat.

“Someday,” Erin added, “you’re going to tell me how you be­ came the assistant for the Ann Nichols.”

I laughed. “I’ve told you before—a Craigslist ad.”

“I don’t believe that.”

I shrugged. “C’est la vie.”

Erin was a few years younger than me, her Columbia Univer­

sity publishing certificate proudly displayed on her desk. Rose had met her a while back on a dating app, and they’d hooked up a few times, though now from what I heard they were strictly friends.

The phone began to ring on her desk. Erin said quickly, “Any­ way, you can go ahead—still remember the way, yeah?”

“Absolutely.”

“Perf. Good luck!” she added, and answered the call in her best customer service voice. “Good morning! You’ve reached Falcon House Publishers, this is Erin speaking . . .”

And I was left to my own devices.

I knew where to go, because I’d visited the old editor enough times to be able to walk the halls blindfolded. Tabitha Margraves had retired recently, at the absolute worst time, and with every step closer to the office, I held tighter on to the poor cactus.

Tabitha knew I ghostwrote for Ann. She and Ann’s agent were the only ones who did—well, besides Rose, but Rose didn’t count. Had Tabitha passed that nugget of secrecy to my new editor? God, I hoped so. Otherwise this was going to be an awkward first meeting.

The hallway was lined with frosted glass walls that were sup­ posed to be used for privacy, but they provided extraordinarily little of that. I heard editors and marketing and PR shadows talking in hushed tones about acquisitions, marketing plans, contractual ob­ ligations, tours . . . reallocating money from one book’s budget to another.

The things in publishing that no one ever really talked about.

Publishing was all very romantic until you found yourself in publishing. Then it was just another kind of corporate hell.

I passed a few assistant editors sitting in their square cubicles, manuscripts piled almost to the top of their half walls, looking frazzled as they ate carrots and hummus for lunch. The salads Erin ordered must not have included them, not that editorial assistants made enough to afford eating out every day. The offices were set up in a hierarchy of sorts, and the farther you went, the higher the salary. At the end of the hall, I almost didn’t recognize the office. Gone were the floral wreath hanging on the door for good luck and the stickers plastered to the frosted glass privacy wall that read Try Not, Do! and Romance Isn’t Dead!

  For a second, I thought I’d made a wrong turn, until I recog­nosed the intern in her small cubicle, stuffing ARCs—Advance Reader Copies, basically rough drafts of a book in paperback form—into envelopes with a harried sort of frenzy that bordered on tears.

My new editor didn’t waste any time peeling off those decals and tossing the good luck wreath in the trash. I didn’t know if that was a good sign—or bad.

Toward the end of her tenure at Falcon House, Tabitha Mar­ graves and I butted heads more often than not. “Romance believes in happy endings. Tell Ann that,” she would say, tongue in cheek, because, for all intents and purposes, I was Ann.

“Well Ann doesn’t anymore,” I would quip back, and by the time she turned in her resignation and retired down to Florida, I’m sure we were both plotting each other’s demise. She still believed in love—somehow, impossibly.

And I could see right through the lie.

Love was putting up with someone for fifty years so you’d have someone to bury you when you died. I would know; my family was in the business of death.

Tabitha called me crass when I told her that.

I said I was realistic.

There was a difference.

I sat down in one of the two chairs outside of the office, the

cactus in my lap, to wait and scroll through my Instagram feed. My younger sister had posted a photo of her and my hometown mayor—a golden retriever—and I felt a pang of homesickness. For the weather, the funeral parlor, my mom’s amazing fried chicken.

I wondered what she was cooking tonight for dinner.

Lost in my thoughts, I didn’t hear the office door open until a distinctly male voice said, “Sorry for the wait, please come in.”

I bolted to my feet in surprise. Did I have the wrong office? I checked the cubicles—the brown­haired workaholic intern cram­ ming ARCs into envelopes to the left, the HR director sobbing into his salad on the right—no, this was definitely the right office.

The man cleared his throat, impatiently waiting.

I hugged the cactus so tight to my chest, I could feel the pot beginning to creak with the pressure, and stepped into his office.

And froze.

The man in question sat in the leather chair that for thirty­five years (longer than he’d been alive, I figured) Tabitha Margraves had inhabited. The desk, once cluttered with porcelain knickknacks and pictures of her dog, was clean and tidy, everything stacked in its proper place. The desk reflected the man behind it almost perfectly: too polished, in a crisp white button­down shirt that strained at his broad shoulders, the sleeves rolled up to his elbows to reveal rather intimidatingly sexy forearms. His black hair was swept back out of his long face and somehow accentuated his equally long nose, black square glasses perched on it, and there were very faint freckles speck­ led across his face: one by his right nostril, two on his cheek, one just above his thick right eyebrow. A constellation of them. For a second, I wanted to take a Sharpie and connect them to see what myth they held. The next second, I quickly came to the realization that—

Oh.

He was hot. And I’d seen him before. At publishing functions with Rose or my ex­boyfriend. I couldn’t place the name, but I’d definitely run into him more than once. I held my breath, wonder­ ing if he recognized me—did he?

For a second, I thought so, because his eyes widened—just a fraction, just enough for me to suspect he knew something—before it vanished.

He cleared his throat.

 “You must be Ann Nichols’s assistant,” he greeted without missing a beat. He stood and came around the desk to offer his hand. He was . . . enormous. So tall I felt like I’d suddenly been transported into a retelling of “Jack and the Beanstalk” where he was a very hunky beanstalk that I really, really wanted to climb—

No. No, Florence. Bad girl, I scolded myself. You do not want to climb him like a tree, because he’s your new editor and therefore very, incredibly, stupendously unclimbable.

“Florence Day,” I said as I accepted his hand. His almost com­ pletely enveloped mine in a strong handshake.

“Benji Andor, but you can call me Ben,” he introduced.

“Florence,” I repeated, shocked that I could mutter anything above a squeak.

The edges of his mouth quirked up. “So you said.”

I quickly pulled my hand away, mortified. “Oh god. Right— sorry.” I sat down a little too hard in the uncomfortable IKEA chair, cactus planted firmly on my knees. My cheeks were on fire, and if I could feel them, I knew that he could see I was blushing.

He sat down again and adjusted a pen on his desk. “It’s a plea­ sure to meet you. Sorry for the wait, the subways were hell this morning. Erin keeps telling me not to take the B train and yet I am a fool who does every single time.”

“Or a masochist,” I added before I could stop myself.

He barked a laugh. “Maybe both.”

I bit the inside of my cheek to hide a smile. He had a great

laugh—the kind that was deep and throaty, like a rumble.

Oh no, this was not going as planned at all.

He liked me, and he wasn’t going to like me in about five min­

utes. I didn’t even like myself for what I was here to do—why did I think a cactus as a gift would make this easier?

He scooted his chair in and straightened a pen to be horizontal with his keyboard. Everything was neat like that in this office, and I got the very distinct feeling that he was the kind of person who, if he found a book misplaced at a bookstore, would return it to the shelf where it belonged.

Everything had its place.

He was a bullet journal guy, and I was a sticky note kind of girl. That might’ve been a good thing, actually. He seemed very no­

nonsense, and no­nonsense people were rarely romantic, and so I wouldn’t get a pitying look when I, eventually, tell him that I no longer believed in romance novels and he would nod solemnly, know­ ing exactly what I meant. And I would rather have that than Tabitha Margraves looking at me with those sad, dark eyes and asking, “Why don’t you believe in love anymore, Florence?”

Because when you put your hand in the fire too many times, you learn that you only get burned.

My new editor shifted in his seat. “I’m sorry to hear that Mrs. Nichols couldn’t make it today. I would’ve loved to meet her,” he began, wrenching me from my thoughts.

I shifted in my seat. “Oh, Tabitha didn’t tell you? She never leaves Maine. I think she lives on an island or something. It sounds nice—I wouldn’t ever want to leave, either. I hear Maine’s pretty.”

“It is! I grew up there,” he replied. “Saw many a moose. They’re huge.”

Are you sure you aren’t half moose yourself? my traitorous brain said, and I winced because that was very wrong and very bad. “I guess they prepared you for the rats in New York.”

He laughed again, this time surprising himself, and he had a glorious white smile, too. It reached is eyes, turning brown to a melting ocher. “Nothing could prepare me for those. Have you seen the ones down in Union Square? I swear one had a jockey on him.”

“Oh, you didn’t know? There’s some great rat races down at the Eighteenth Street Station.”

“Do you go often?”

“Absolutely, there’s even a squeak­easy.”

“Wow, you’re a real mice­stro of puns.”

I snorted a laugh and looked away—anywhere other than at

him. Because I liked his charm, and I definitely didn’t want to, and I hated disappointing people, and—

He cleared his throat and said, “Well, Miss Day, I think we need to talk about Ann’s upcoming novel . . .”

I gripped the cactus in my lap tighter. My eyes jumped from barren wall to barren wall. There was nothing in the office to look at. It used to be full of things—fake flowers and photos and book covers on the walls—but now the only thing on the walls was a framed master’s degree in fiction—

“Does it have to be a romance?” I blurted.

Surprised, he cocked his head. “This . . . is a romance imprint.” “I—I know, but like—you know how Nicholas Sparks writes

depressing books and John Green writes melodramatic sick­lit, do you think I—I mean Mrs. Nichols—could do something in that vein instead?”

He was quiet for a moment. “You mean a tragedy.”

“Oh, no. It’d still be a love story! Obviously. But a love story where things don’t end up—‘happily ever after’—perfect.”

“We’re in the business of happily ever afters,” he said slowly, picking his words.

“And it’s a lie, isn’t it?”

He pursed his lips.

“Romance is dead, and this—all of this—feels like a con.” I

found myself saying it before my brain approved, and as soon as I realized I’d voiced it aloud, I winced. “I didn’t mean—that isn’t Ann’s stance, that’s just what I think—”

“Are you her assistant or her editor?”

The words were like a slap in the face. I quickly snapped my gaze back to him, and went very still. His eyes had lost their warm ocher, the laugh lines having sunk back into a smooth, emotionless mask.

I gripped the cactus tighter. It had suddenly become my buddy in war. So he didn’t know that I was Ann’s ghostwriter. Tabitha didn’t tell him, or she forgot to—slipped her mind, whoops! And I needed to tell him.

He was my editor, after all.

But a bitter, embarrassed part of me didn’t want to. I didn’t want him to see how much of my life I didn’t have together be­ cause, as Ann’s ghostwriter, shouldn’t I? Have it together?

Shouldn’t I be better than this?

When I was growing up, my mother read Ann Nichols’s books, and because of that, I did, too. When I was twelve, I would sneak into the romance section in the library and quietly read The Forest of Dreams between the stacks. I knew her catalog back and forth like a well­played discography of my favorite band.

And then I became her pen.

While Ann’s name was on the cover, I wrote The Probability of Love and A Rake’s Guide to Getting the Girl and The Kiss at the Mid‐ night Matinee. For the last five years, Ann Nichols had sent me a check to write the book in question, and then I did, and the words in those books—my words—had been praised from the New York Times Book Review to Vogue. Those books sat on shelves beside Nora Roberts and Nicholas Sparks and Julia Quinn, and they were mine.

I wrote for one of romance’s greats—a job anyone would die to have—and I . . . I was failing.

Perhaps I’d already failed. I’d just asked for my last trump card—to write a book that was anything, everything, but a happily ever after—and he said no.

“Mr. Andor,” I began, my voice cracking, “the truth is—”

“Ann needs to deliver the manuscript by the deadline,” he inter­ rupted in a cold, no­nonsense voice. The warmth it held a few min­ utes before was gone. I felt myself getting smaller by the moment, shrinking into the hard IKEA chair.

“That’s tomorrow,” I said softly.

“Yes, tomorrow.”

“And if—if she can’t?”

He pressed his lips into a thin line. He had a sort of wide mouth

that dipped in the middle, expressing things that the rest of his face was too guarded to. “How much time does she need?”

A year. Ten years.

An eternity.

“Um—a—a month?” I asked hopefully.

His dark brows shot up. “Absolutely not.”

“These things take time!”

“I understand that,” he replied, and I flinched. He took off his

black­rimmed glasses to look at me. “May I be frank with you?” No, absolutely not. “Yes . . . ?” I ventured.

“Because Ann’s already asked for three deadline extensions,

even if we get it tomorrow, we’d have to push it quickly through copyedits and pass pages—and that’s only if we get it tomorrow— to keep to our schedule. This is Ann’s big fall book. A romance, mind you, with a happily ever after. That’s her brand. That’s what we signed for. We already have promotions lined up. We might even have a full­page spread in the New York Times. We’re doing a lot for this book, so when I prodded Ann’s agent to speak with her, she connected me with you, her assistant.”

 I knew that part. Molly Stein, Ann’s agent, wasn’t very happy to get a call about the book in question. She thought everything had been going smoothly. I hadn’t the heart to tell her otherwise. Molly had been pretty hands­off with my ghostwriting gig, mostly because the books were part of a four­book deal, this being the last one, and she trusted that I wouldn’t mess up.

Yet here I was.

I didn’t want to even think about how Molly would break the news to Ann. I didn’t want to think about how disappointed Ann would be. I’d met the woman once and I was deathly afraid of fail­ ing her. I didn’t want to do that.

I looked up to her. And the feeling of failing someone you looked up to . . . it sucked as a kid, and it sucked as an adult.

Benji went on. “Whatever is keeping Mrs. Nichols from finish­ ing her manuscript has become a problem not only for me, but for marketing and production, and if we want to stay on schedule, we need that manuscript.”

“I—I know, but . . .”

“And if she can’t deliver,” he added, “then we’ll have to get the legal department involved, I’m afraid.”

The legal department. That meant a breach of contract. That meant I would have messed up so big that there would be no com­ ing back from it. I would’ve failed not just Ann, but her publisher and her readers—everyone.

I’d already failed like that once.

The office began to get smaller, or I was having a panic attack, and I really hoped it was the former. My breath came in short bursts. It was hard to breathe.

“Miss Florence? Are you okay? You seem a little pale,” he ob­ served, but his voice sounded a football field away. “Do you need some water?”

 I shoved my panic into a small box in the back of my head, where everything else went. All of the bad things. The things I didn’t want to deal with. The things I couldn’t deal with. The box was useful. I shut everything in. Locked it tight. I pressed on a smile. “Oh, no. I’m fine. It’s a lot to take in. And—and you’re right. Of course you’re right.”

He seemed doubtful. “Tomorrow, then?”

“Yeah,” I croaked.

“Good. Please tell Mrs. Nichols that I send my regards, and I’m

very happy to be working with her. And I’m sorry—is that a cactus? I just noticed.”

I looked down at the succulent, all but forgotten in my lap as my panic banged on the box in my head, lock rattling, to get free. I—I thought I hated this man, and if I stayed in this office any longer, I was going to either throw this cactus at him or cry.

Maybe both.

I jerked to my feet and put the succulent on the edge of the desk. “It’s a gift.”

Then I gathered my satchel and turned on my heels and left Falcon House Publishers without another word. I held myself to­ gether until I stumbled out of the revolving door of the building and into the brisk April day, and let myself crumble.

I took a deep breath—and screamed an obscenity into the per­ fectly blue afternoon sky, startling a flock of pigeons from the side of the building.

I needed a drink.

No, I needed a book. A murder­thriller. Hannibal. Lizzie Borden—anything would do.

Maybe I needed both. No, definitely both.

       

            

Revenge of the Librarians - Tom Gauld

 This is the first time I have ever reviewed a book of cartoons. It may not be the last if I can get hold of some more collections by Tom Gauld! I suspect though that because it has a very readerish, authorish, librarianish,  bookish theme it held immense appeal for me. But, bear with me, for as it’s a first I am considering how best to review a book of cartoons - I can’t talk about the plot or the narrative or the characterisations, can I? I can say that I laughed out loud on occasions. There’s wit and humour of an intelligent kind, subtle on occasions, obvious on others. But pervading many of these cartoons was an understanding of the states that both reader and writer find themselves in, a perception of how the bookish mind works. There are several references to the pandemic and how that impacted upon the literary mind. And there are specific book and author references.

 For example Kafka’s Metamorphosis. 

Some delight in a visual approach, for example the road signs for a Gothic novel.

I defy anyone not to find something to chuckle in this book and I could continue showing my favourites. But this is a book to dip in and out of from time to time. It’s very uplifting. And that brings me neatly to one of my favourite cartoons in the book. It’s entitled “Coming soon! Classic novels with added positivity… “

Sometimes there’s not a lot to laugh about currently in the world at the moment. A book like this provides a little light relief, a little merriment. Perfect for bibliophiles.

My thanks to Canongate Books for a gifted copy. 

All That’s Left Unsaid - Tracey Lien - Blog Tour

  In order for your heart not to break completely you need to call upon your inner Buddhist and allow the concepts of karma and reincarnation to soothe through the harrowing events that engulf Ky and her family.

Whilst on the surface this book may present as a murder mystery it’s much more than a Whodunit. To a degree that aspect is secondary to the main thrust which deals with grief, family and friendship but also the plight of Vietnamese refugees relocating to Australia.

The dynamics of the family situation are dealt very realistically here Ky’s parents remain resolutely Vietnamese and seem to resist any absorption into Australian society and culture to the extent that they don’t even learn to speak English. There’s always a sense of confrontation between Ky and her parents but the older, more mature Ky can begin to see the motivation of her mother and father.

The nub of the story revolves around the untimely murder of Ky’s younger brother, Denny, who has seemed to be a fine, upstanding, young student until the fateful night when he is violently murdered. Returning home to Cabramatta from Sydney for the funeral Ky propels herself into her own investigation using her journalist background. She seeks to discover the answers that the police have failed to find.

Seeking the truth is one thing, where you find it is another. Grief invariably produces a sense of guilt and blame and  this novel sees Ky examine her past and her present to determine whether she could have changed the course of events. 

The story is not just told from Ky‘s perspective. We travel back to the past to see Ky’s friendship with Minnie and the list of witnesses Ky has extracted from the cooperative police officer offers not just some salient points in the investigation but some fascinating characters. The characterisations are well honed and believable. The interaction between the key players is poignant at times, The dialogue honest and relevant.

It’s not an easy read and at times it was depressing. I was actually moved to tears towards the end of the book when the adult Ky and Minnie were talking. Considering this is a debut novel it’s quite impressive in its concept and execution. The writing is crisp and perceptive, the narrative well paced. 

My thanks to HQ stories for a copy and a place upon the blog tour.

Tracey Lien was born and raised in southwestern Sydney, Australia. She earned her MFA at the University of Kansas and was previously a reporter for the Los Angeles Times. She lives in Brooklyn, New York. All That's Left Unsaid is her first novel.

The Invisible - Peter Papathanasiou - Social Splash

 I remember musing at the end of my review for Peter Papathanious’s debut novel The Stoning that I would  enjoy more of George Manolis. Looks like I’ve got my wish! And how!

An enigmatic prologue that seems to be steering the reader into believing that the worst has happened to Lefty, the titular ‘invisible’, leads into a reacquaintance with Manolis and the aboriginal Andrew Sparrow from The Stoning. An incident that profoundly affects Manolis sees him take some extended leave back in his native Greece and it is here, folks, that the story really starts!

We learn that Lefty, an old acquaintance of Manolis, has disappeared and his off grid life has made him impossible to trace for the local police. Manolis goes undercover to try and determine what has happened to the somewhat reprobate Lefty and in doing so uncovers a web of intrigue and some, frankly, eye-opening practices both inside and outside of the law. And I’ll say no more. I am determined to stay at the bottom of the spoiler of the year league table!

Papathanasiou is a natural storyteller. The plot and characters fuse together seamlessly, cemented by a well paced narrative that has the reader turning the pages trying to use the clues to piece together what has on might have happened. A generous catch of red herrings perplex Manolis and the reader alike as the truth seems to elude until almost the end. With skilful characterisations Manolis isn’t sure who to trust and neither was I. I think I suspected everyone except George, who can do no wrong in my eyes!

We’re treated to a Greece we may not recognise. No tourist tropes but a wilder, more perilous land with bears and snakes. It’s a slow, burning story, not a stylised, white knuckle ride thriller, it’s more real life in some ways. Manolis is challenged by his undercover status and it almost appears that he is gong to be unsuccessful in his quest for the truth. I suppose the conclusion and final denouement offers a more thriller/crime flavour for it has a twist hard to predict and the circumstances shifts the balance a little. I’ll admit I was a little bit “No way!

Was The Stoning a fluke success? No. Certainly not. Papathanasiou has the makings of a fine series here.He proves he’s not going to be slave to the formulaic by placing Manolis on a different continent in this second novel. He is not afraid to subtly explore some political and sociological issues. In The Stoning he asked us to consider the plight of refugees and indigenous people, gender and sexuality. In The Invisible he asks us to reflect again on the displacement of migrants from unacceptable regimes, political or economic, and he opens our eyes to some jawdropping practices from a, hopefully, older Greece.

I look forward to more from Mr. Papathanasiou . Thanks to Corinne Zifko at MacLehose Press for a copy of the book and the spot upon the blog tour.

Major Labels - Kelefa Sanneh

 

This is an ambitious work aiming to offer a history of popular music in seven genres. The seven genres being rock, R&B, country, punk, hip-hop, dance and pop. Whilst it doesn’t really achieve that because it doesn’t go back far enough to really examine the genesis and full development of popular music it’s an impressive body of work. I think what struck me is that age and location play a big part in an individual response to music. This writer describes music from the time that he became aware of popular music. For somebody like myself, who is considerably older and living in the UK, the overall view of music  and its genres is probably quite different. I also felt that in some ways the book was overlong  and therefore might present as more of a niche read than a mainstream book. I also thought that the attention given to each genre was not as well balanced as it might have been. The section on hip-hop was probably the longest and it may be sour grapes on my part because it’s not a genre I particularly enjoy although the writer is passionate about it! And the book seems to be very much his view of popular music in his native USA. Somebody undertaking a similar project in the UK would come out with a very different book I feel. But whatever criticisms I may have overall are completely outweighed by the completed experience of reading this book. It’s intellectual, the research is impeccable and it comes across as very thorough. And that’s no small achievement given the breadth of the subject. I learnt a lot particularly about different types of dance music. And there’s a lot of history here that interesting. I used the term history but much of it was happening in my lifetime!

Music is a unifying experience whatever the genre. It’s also a very subjective thing. People find it hard to be objective. If you have a favourite musician you can seldom stand to hear them criticised particularly at the adolescent stage of life. 😉 So for anyone with a passing interest in music there’s plenty in this book to interest and challenge your thinking. But at the end of the day it is one persons view which brings me back to music being subjective. I’m glad I read it and I’m sure I will return to it from time to time just to check on something here, something there.

My thanks to Canongate books for sending me a copy.