Book Bingo Nine – Double Bingo and BINGO – Row Six Across completed.

BINGO!.jpg

Literary and Romance

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It’s the end of April, and another Book Bingo week with Amanda and Theresa. This time, I am ticking off two squares as another double bingo week, but also, I have a complete bingo with the sixth across row, as seen below:

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Row Six:

Literary: Zebra and Other Stories by Debra Adelaide – AWW2019

Crime: All the Tears in China by Sulari Gentill – AWW2019

Historical: The Familiars by Stacey Halls

Romance: Northanger Abbey by Jane Austen

Comedy: Best Foot Forward by Adam Hills

Northanger AbbeyRomance was one that I wasn’t sure how I would fill, as it is not a genre I read often or gravitate towards. Rather, I prefer the romance to be subtle and to happen alongside the core story, and where the characters have much more to them than it feels like many romance novels do. So, in my quest to read as much Jane Austen as possible this year, and books inspired by Jane’s works, I chose Northanger Abbey.

Northanger Abbey is the first of Jane Austen’s novels to be completed for publication in 1803, but the last published in 1817. It is a satirical look at the Gothic novels of the time, and the coming of age story of Catherine Morland, wishing for happiness and morality over money and wealth like other young women of her age. She loves to read and seeks others like her as friends. On a sojourn to Bath with family friends, she meets Henry Tilney, and Isabella Allen, and becomes friends with Isabelle, visits with the Tilneys and is eventually forced home after a series of misunderstandings. At the core is Catherine’s growth and understanding of real life, which is vastly different to her novels. At the same time, she has fallen in love with Tilney and they eventually marry on the final page.

Jane Austen Reading Challenge 2019

The romance in this novel is subtle, and develops slowly and cautiously alongside friendship, novel reading and ideas of class and acceptability of marriage. The subtlety of the romance allowed the characters to grow for themselves and not be pushed into a certain way of thinking by other characters. Of course, there are misunderstandings that led to the desire to correct things and set things straight, but at the same time, because it is subtle, it worked well and that’s why I enjoyed it.

ZebraLiterary

 

For this category, I chose a book sent to me by Writing NSW to review for their blog. Zebra and Other Stories by Debra Adelaide. In this book, there are many short stories, from different perspectives and about different things – a more in-depth review is here. But this classifies as literary because it simply has that feel to it, and when I think about it, these stories don’t have a distinct genre – sometimes literary fiction does, but sometimes not. Sometimes, they just slot into general fiction but because the strength of the stories are driven by the characters, rather than the plots, which are written so subtlety, that at times, they do not become clear until the end, which makes them powerful and intriguing.

Moving forward, I have about eight months left to fill the bingo card, and some are going to be harder but that’s part of the challenge, and sometimes, the review books just easily slip into a category, sometimes I have to seek one out.

Until next time!
Booktopia

The Flatshare by Beth O’Leary

the flatshare.jpgTitle: The Flatshare

Author: Beth O’Leary

Genre: Fiction

Publisher: Quercus/Hachette

Published: 23rd April 2019

Format: Paperback

Pages: 394

Price: $32.99

Synopsis: A quirky love story from a fresh new talent. The MUST READ book for 2019

‘The new Jojo Moyes … This has all the ingredients of Me Before You‘ COSMOPOLITAN

‘Funny and winning … a Richard Curtis rom-com that also has its feet firmly planted in real life. A real treat’ Stylist

Tiffy and Leon share a flat
Tiffy and Leon share a bed
Tiffy and Leon have never met…

Tiffy Moore needs a cheap flat, and fast. Leon Twomey works nights and needs cash. Their friends think they’re crazy, but it’s the perfect solution: Leon occupies the one-bed flat while Tiffy’s at work in the day, and she has the run of the place the rest of the time.

But with obsessive ex-boyfriends, demanding clients at work, wrongly-imprisoned brothers and, of course, the fact that they still haven’t met yet, they’re about to discover that if you want the perfect home you need to throw the rulebook out the window…

~*~

When it comes to rom-com movies and books, I find that I enjoy the clever ones, and the light-hearted but real ones – where the characters have unapologetic flaws, and are quite human, or that almost satirise the traditional elements of romance in a fun way. I like it when it does so in a way that the tropes are present, yet can sometimes be revealed for how silly they are and this leads to the romance having more oomph for me, where the lead characters don’t have to change for the other, have their in jokes and are shown to be human.

Movies that come to mind that do this are the Bridget Jones films, and several English ones – where sacrifice might be made yet not at the expense of losing a sense of oneself. So when I received a copy of Beth O’Leary’s book, The Flatshare, I was intrigued as to how a rom-com between two people who don’t meet until well into the book (let’s face it, this was inevitable from the get-go, but when it happened, it was no less amusing) would happen. But happen it did.

When Tiffy breaks up with her boyfriend, Justin, she has to move out – and when she sees Leon’s offer on Gumtree – a flatshare where she has it nights and weekends, and he has it in the day – she jumps at the chance. And so begins a strange friendship, where Tiffy and Leon communicate through a series of Post-It notes as they navigate the strange life they lead – sharing a flat but not knowing each other.  At first, the notes are awkward requests, as they try to negotiate terms and space – and each chapter is told alternately – one by Tiffy, the next by Leon, each chapter revealing something about each flatmate, and unfurling a growing friendship, that becomes cheeky and eventually, flirty.

It has the humour of good British  movies like Love Actually, Bridget Jones and a fast paced wit that comes from Gilmore Girls, yet is a uniquely formed story and cast that all have their own strengths, and flaws – and the way that they all come together when someone needs help is lovely – it has a real feel of family and friendship to it, and I felt that having Tiffy and Leon’s relationship grow from awkward strangers to a friendship, and eventually, to love, gave the book a realistic and well-rounded feel that many readers will relate to.

Interview Tanya Bretherton The Suicide Bride

suicide bride

  1. Welcome to The Book Muse Tanya, it’s a pleasure to have you here.

Thank you very much for having me.

  1. You’ve written two true crime books about Australian crime – what drew you to this genre, and these cases?

As a reader, I am a big fan of crime stories, particularly those that seek to explore the darker side of human nature.  As a writer I am attracted to the true crime genre because it provides a very dramatic backdrop to tell deeply personal stories.  Loss, tragedy, heartbreak and desperation are all there – both before the crime is committed and they are present in its aftermath as well.  Both The Suitcase Baby and The Suicide Bride begin with true crime events, but they unfold as personal stories.  Crime stories, in some way or other, are always stories about families and secrets.

  1. Can you give a brief explanation of the term suicide bride for my followers who may not have read the book yet?

I began the journey of writing the book by examining at one horrible true crime event in particular. In January 1904 in the inner-city suburb of Newtown in Sydney, two young brothers discovered the bodies of their parents in the family home.  Thirty-two-year-old Alexander Sly murdered his wife Ellie, with a cut throat razor, and then killed himself.  Their four children, all under the age of eight (Bedford, Basil, Mervyn and baby Olive) were orphaned.

As I began to explore the social and economic context in which the crime was committed, I discovered to my horror that this was not the only case like this.  In the late nineteenth century there were many cases of husbands who planned their own suicide and factored the murder of their wife as part of that act (hence the term ‘suicide bride’).  In the year of 1904 alone, there were murder-suicides attempted and committed by husbands in every single month in every state of Australia. The cases all shared some remarkable and macabre similarities with the Sly murder-suicide case.

  1. What was it about the Sly case in particular that you found interesting, and why?

It is hard to imagine a family story more tragic than that of Alexander and Ellie Sly.  I had to know what happened to the children.  As a researcher, I have studied child protection and from what I knew about trauma and its long-term impacts, I knew the outcomes for the children in this case were not likely to be good.  I wanted to know how a child’s life might unfold in the wake of something so tragic and at a period in history which had a reputation for being very tough on children.

During the research process I also discovered something unique about the Sly family.  I don’t what to give too much away, but there is a twist in the book which I think readers will find as fascinating as I did.

  1. Was it hard trying to determine what really happened with limited resources and evidence for the Sly case, and in turn, the fate of the children, and where did these challenges arise from?

I undertake a lot of research before I even start to write a true crime book, because I want to see if there is enough material to sustain both a big picture account of the event, and a personal story as well.  I was well down the research road before I decided that there was enough viable material to write The Suicide Bride.  With this book I had the unusual situation of having too much material, so I had to make decisions about which stories I was going to focus on, which characters were going to play the leads, and who would play the minor roles.  In the end, those choices came down to decisions of the heart not the head.

  1. When writing true crime, what are the most important, or most informative sources for you, and why?

I tend to write social history and life history narratives disguised as true crime stories.  For this reason trial transcripts, inquest documents and those resources that might traditionally form the foundation for a true crime account play a lesser role in my research process.  I do a lot of genealogical research for my books, as I think there are powerful discoveries to be made in uncovering how deeply a crime event impacts loved ones and how long it reverberates down through a family.

  1. Do you find looking at these crimes from a sociological perspective rather than a criminology or criminal investigative perspective gives a different insight into the crime? What do you think the differences are?

There is no doubt that sociology deeply influences both how I analyse true crime events and how I write about them.  In sociology, a lot of emphasis is placed on understanding the roles we play in collective settings, social norms, and the labels that we use to categorise people.  I think this is important because it gives us a deeper understanding of the really complex context that underpins crime. In exploring murder, for example, law and order perspectives consider the question of motive: why would person A kill person B?  I think sociology can help fill the bigger canvas of ‘why?’ by asking what is the social, the economic and the familial context for ‘why’.

  1. What sparked your initial interest in true crime stories in particular, and do you plan to look into further cases that we might not know much about, or that might not have been solved?

I think my interest in the true crime genre goes way back to childhood.  We didn’t have many books in our house when I was growing up, but my Dad was an avid reader of murder mysteries.  So almost every book in our house had a dead body in it – that probably had an impact on an early reader!  To this day I write stories that have a twist in some way or other, and if I don’t find that twist, I will abandon a subject as a possible book and move on to another case.

Yes, I definitely have a number of books planned!  I always like to select cases that have not had a lot of exposure to date.  I am developing two more Sydney-based true crime books at the moment.  Both of these books will also deal with issues of women and crime.

  1. Do you think we will ever find out why Alicks Sly committed the murder-suicide and left four children orphans?

The murder suicide of Alicks Sly and his wife made national news.  It was a big story at the time.  Alicks Sly was a local spiritualist and medium who believed he could communicate with the dead.  He saw visions and heard voices.  The family were also profoundly poor as well.  All of this absolutely fascinated the public at the time, and retrospectively we continue to reflect on the different ways in which this crime can be viewed.  Was Alicks mentally ill?  Was there a pattern of violence in the home prior to the final tragic incident?  I think the same questions that investigators were asking about the Sly case in 1904, we are still asking about murder-suicides that occur today.  We might draw a clinical set of conclusions as to why this kind of crime occurs, but this analysis will always fall short in the face of something so tragic and heartbreaking.

  1. How often do you find living descendants of the families involved to talk to about the cases, and what are the ethical issues you navigate when you encounter them?

To date, I have chosen historical true crime stories that are very old.  This means there aren’t any relatives (still living) who were directly impacted by the tragedies.

  1. Are there any legal issues or obstacles you face when looking into these old crimes, and like the previous question about ethics, how does it affect the outcome of your book?

I purposefully select cases that I know won’t present me with the kinds of ethical dilemmas that will disrupt the writing process.  I want to be able to write unencumbered by those responsibilities.

Any ethical questions I face during the writing process tend to be more abstract and relate to writing in the spaces of grey that exist between rigid depictions of good and evil. Can a person be a villain and a victim at the same time?  Can a criminal act ever be a noble choice?  I hope that I offer up enough evidence to the reader, that they get to decide.  I want them to make the moral call on the crime, the criminal who committed it and how they feel society should have handled what happened.

  1. Finally, what do you hope writing about these crimes does to help society and possibly those who have links to those involved, and can this have a positive impact on crime solving?

I think true crime stories are often written as psychological portraits, and this plays an important role in helping us to understand the pathology that can underpin some criminal behaviour.  But there is also a wider social and economic context for crime.  Putting moral questions about crime and criminals aside for a moment, people who commit crimes may be labelled criminals, but they are also people looking for solutions.  We may not agree with their approach to problem solving, we may even abhor it, but understanding what drives people to commit crime remains important and conflicted terrain for us all to reflect on.  In both The Suitcase Baby and The Suicide Bride, a criminal act resulted from absolute desperation.  The people in those stories were looking for solutions.  They made unthinkable choices, terrible choices.  In the end what they found was not a solution at all.  Their choices also created even more heartbreak for the people they cared most about.  I can’t claim that my books have any impact on the field of criminology, nor the methodologies we use to catch criminals, but it is fascinating terrain to work with in terms of character and story.

Thank you for joining me on The Book Muse, Tanya and good luck with your future projects.

The Bad Mother’s Book Club by Keris Stainton

the bad mothers book clubTitle: The Bad Mother’s Book Club

Author: Keris Stainton

Genre: Fiction

Publisher: Trapeze/Hachette

Published: 23rd April 2019

Format: Paperback

Pages: 266

Price: $29.99

Synopsis: This book club only reads wine labels – the laugh-out-loud novel from ebook bestseller Keris Stainton

Since moving to the Liverpudlian seaside after her husband’s career change, Emma Chance’s life consists of the following: long walks on the beach (with the dog), early nights (with the kids) and Netflix (no chill).

Bored and lonely, when Emma is cordially invited to the exclusive cool school-mums’ book club, hosted by Head of PTA and footballer’s wife, Jools Jackson, she thinks her luck may finally be about to change. She soon realises she may have made a grave mistake when she realises it’s all about books, and less about wine and gossip – but it’s always better to stick things out, isn’t it?

Or not.

After a few months and a few awkward moments involving a red wine on white carpet accident and a swear-word incident involving Jools’s daughter, Emma is ungraciously kicked out of the book club. Exhausted and exiled, she decides it’s about time she fights back against the shame and humiliation. Enlisting the help of some similar-thinking mums, Emma sets up her own book club – no cleaners, polite conversation or reading required: this is the BAD MOTHER’S BOOK CLUB.

 

~*~

 

Living near Liverpool after moving for her husband’s new job as a football manager, Emma Chance finds herself in a new environment to navigate – school parking politics, the PTA and managing to be herself whilst at the same time, putting a good face forward for her husband as he works with the footballer husband of Jools Jackson, who invites Emma to her exclusive book club. However, this book club turns out to be more than what Emma bargained for, and an incident involving Jool’s daughter sees her kicked out. So with fellow mum’s – Beth and Hanan – they start their own book club – The Bad Mother’s Book Club as they all try to navigate school, being a mum and the delicate politics of the PTA and surviving Jools – that is, until something Jools has been trying to hide comes out and she finds that letting Emma in is only going to help her.

In a refreshing story about female friendship, this novel combines light-hearted elements and humour with the struggles that we don’t always want others to see, but that we can’t always hide and eventually, need to ask for help with. It is not depressing, though has a few moments of gravitas that hit home that anyone can be vulnerable and imperfect – but it shows that these moments are okay because whoever we are, we all have them.

It is a great read for anytime – for sitting at home, a holiday or just a touch of light reading – there are many layers in this book to be enjoyed and it is nice to see imperfect characters of all types who acknowledge their flaws and where characters are allowed to be themselves and have concerns, and talk them out without being dismissed. Between mystery appointments and school, the women of the book club, Emma Beth and Hanan must also manage to find a way to raise their children and ensure each child is not ignored. For Emma, this means doing whatever she can to help her son settle in at school, ad watching him struggle, whilst her daughter, Ruby, pushes herself with more work and stress than Emma first realises until each family joins together for a trip for a school project and barriers are broken down and they come together to help each other – another element of the book I enjoyed, showing that everyone is different and has a different path, but no matter what these differences in race, gender or sexuality, friendships can be formed through common bonds of parenthood and hobbies – in the case of this novel.

I enjoyed taking a break from my usual hefty reading in historical fiction, fantasy and literary fiction to explore this world, where friendship is the key to the story, and it is something that we need more of for all readers – whatever their age or gender, and wherever they are at their stage of life.

The Suicide Bride: A Mystery of Tragedy and Family Secrets in Edwardian Sydney by Tanya Bretherton

suicide brideTitle: The Suicide Bride: A Mystery of Tragedy and Family Secrets in Edwardian Sydney

Author: Tanya Bretherton

Genre: True Crime/History

Publisher: Hachette

Published: 23rd April 2019

Format: Paperback

Pages: 315

Price: $32.99

Synopsis: From the author of the acclaimed THE SUITCASE BABY – shortlisted for the Ned Kelly and Nib awards – comes the chilling story of a charlatan, a murder-suicide, and a family tree so twisted that it sprouts monsters.

Whenever society produces a depraved criminal, we wonder: is it nature or is it nurture?

When the charlatan Alicks Sly murdered his wife, Ellie, and killed himself with a cut-throat razor in a house in Sydney’s Newtown in early 1904, he set off a chain of events that could answer that question. He also left behind mysteries that might never be solved. Sociologist Dr Tanya Bretherton traces the brutal story of Ellie, one of many suicide brides in turn-of-the-century Sydney; of her husband, Alicks, and his family; and their three orphaned sons, adrift in the world.

From the author of the acclaimed THE SUITCASE BABY – shortlisted for the 2018 Ned Kelly Award, Danger Prize and Waverley Library ‘Nib’ Award – comes another riveting true-crime case from Australia’s dark past. THE SUICIDE BRIDE is a masterful exploration of criminality, insanity, violence and bloody family ties in bleak, post-Victorian Sydney.

~*~

I’ve only read a few true crime books, and the last one I read revolved around the last woman hanged in New South Wales – Louisa Collins in 1889. A mere fifteen years later, a spate of suicide brides would crop up in Sydney – women who were murdered by their husbands, and the husbands would later commit suicide. In the case explored in Tanya Bretherton’s new book, a husband a wife died, but also, four children were left parentless, orphaned and their fates were left to the state, which in the early twentieth century was a lot less caring than it is today, especially towards orphaned children like Mervyn, Bedford, Basil and their sister, Olive, who at the time of her parents deaths, was ill in hospital.

2019 BadgeThe lives of Alicks and Ellie Sly were taken with a razor, at the hand of Alicks – and nothing was left to help the children, apart from any money left over from the sale of all their possessions to pay off any debts, and then money would be given to orphanages for the care of the three boys, whilst Olive was adopted and given a new name, a new identity, and nothing much is heard about her after that happened. Her brothers went sent to Catholic orphanages, and as Tanya recounts, each had a very different experience and reaction while staying there, resulting in very different outcomes in their later lives as a result of the violence they had seen early on in their lives.

Tanya Bretherton looks at the circumstances surrounding the deaths, and the evidence and records that are available, and at the way society at the time dealt with the deaths and aftermath, particularly in regards to the children, and finding guardians, and paying off debts to them, and the sad fact that Alicks and Ellie had nobody come forward to mourn, or help with the children – much of their debts were paid off with the sale of their few possessions, and charity took care of the rest. Throughout the book, the stories of the children are woven throughout as Tanya tries to uncover what really happened – using the historical timeline and gazing at it through a sociological lens and the social implications of this within Edwardian society, and the importance placed on funerary rights and debt over the welfare of young children.

Where did Alicks get the idea to kill his wife, and then himself? This is a question that remains unanswered, as does the why scenario. Without any suicide note, the true motives of Alicks will likely never be known. We can only guess at why he committed the murder-suicide in 1904. Maybe Alicks had debts he couldn’t pay and saw no other way out. Maybe knowing someone, the church, would step in to help. Perhaps he assumed family or neighbours would step up. Or maybe his motives were much more nefarious, and he didn’t care what happened to his sons and daughter. Tanya Bretherton doesn’t appear to have uncovered any criminal links or issues beyond debt they owed. Yet it is the not knowing that suggests it could be more than the idea that only debts were owed, and because there is little, if any, evidence to suggest why this happened.

As we can only speculate, as Tanya has done, perhaps it was a combination of things: debts, societal pressures, and a combination of the age old debate of nature versus nurture: where the brain functionality of a person is determined at birth, or whether the way we are raised has an impact on who we become and what we do. Having studied some sociology, I like to think its a combination, that neither one nor the other can inherently determine the actions one will take. Of course, there is always the element of choice in these scenarios. What i found fascinating about this is that there are no definitive answers – given the policing and forensic processes of the time, a lot less notice would have been taken of compromising the evidence and crime scene. So we may never know the truth, but there were many suicide brides in the months surrounding this case, including one case from the same family, a sibling of Alicks weeks or months later. The Sly family appeared to have many secrets throughout the generations,  and at least two of the brothers thrived quite well, and not much is known of Olive after her adoption. So for their father and relatives, were they predestined to kill, or did something awful happen to each Sly man to make the commit the crimes? This is where the nature versus nurture argument becomes tricky, because the nature of the family based on the murder-suicides would suggest a proclivity towards crime not really seen in the kids – at least, not violently. Nurture however, takes a look at how they were raised, first in the family and then the orphanage where it sounds like they weren’t nurtured in the way one might expect a child to be cared for. Which suggests that how we turn out is a combination of nature, nurture, our experiences and unique character – perhaps the younger children were able to adjust at a faster or easier rate than the oldest boy. What is certain though, is that we will never know all the answers, and the book, and my analysis is just mere speculation based on what we have present.

The Seven or Eight Deaths of Stella Fortuna by Juliet Grames

7 OR 8 DEATHS.jpgTitle: The Seven or Eight Deaths of Stella Fortuna

Author: Juliet Grames

Genre: Fiction

Publisher: Hodder and Stoughton

Published: 23rd April 2019

Format: Paperback

Pages: 438

Price: $32.99

Synopsis: A perfect book club and holiday read that crosses from mountainside Calabrian villages in the early 20th century to Hartford, Connecticut after the immigration boom and will appeal to fans of Elena Ferrante, CAPTAIN CORRELLI’S MANDOLINALL THE LIGHT WE CANNOT SEE and BROOKLYN.

When I tell you Stella Fortuna was a special girl, I hope you aren’t thinking small-town special. Other people would underestimate Stella Fortuna during her long life, and not one of them didn’t end up regretting it.

Hundred-year-old Stella Fortuna sits alone in her house in Wethersfield, Connecticut, crocheting blankets and angrily ignoring her sister, Tina, who lives across the street. Born into abject poverty in an Italian village, Stella Fortuna’s name might mean Lucky Star, but for the last century, her life has been defined by all the times she might have died. Up until now, Stella’s close bond with her sister has been one of the few things to survive her tumultuous life, but something has happened, and nobody can understand what it might be. Does the one life and many (near) deaths of Stella Fortuna have secrets still to be revealed, even to those who believe they are closest to her?

By turns a family saga, a ghost story, and a coming-of cranky-old-age tale, Juliet Grames’s THE SEVEN OR EIGHT DEATHS OF STELLA FORTUNA lays bare the costs of migration and patriarchal values, but also of the love and devotion that can sustain a family through generations, in a sprawling 20th century saga of a young woman with a fire inside her which cannot be put out.

~*~

Books with this kind of title seem to be a kind of trend right now – The Seven Lives of Evelyn Hardcastle, The Seven Husbands of Evelyn Hugo (by different authors), and now The Seven or Eight Deaths of Stella Fortuna by Juliet Grames, which covers one hundred years of a life that begins in a Calabrian village, and finishes the story in Hartford, Connecticut. Stella Fortuna’s many near death experiences are a mystery – how she survives being eviscerated, being crushed by a door, bleeding out and many other near misses including fate intervening to ensure she does not board a ship that goes down at sea with no survivors, to the final almost death as a very old woman. So what causes them? Does her name – Stella Fortuna, which translates to lucky star suggest something more than just pure luck? Is there something keeping her from dying, like a ghost?  Throughout the novel, there is the sense that something is always going to coming, with long lulls that lead into each near death – some very long ones that whilst interesting, perhaps could have been divided up or shortened for ease of reading. However, I can see why each chapter was the length it was as well, so it did work for the story, but page breaks are always nice, so you know when you can set it aside temporarily and come back to find out what is going to happen.

Each event is intricately written – with the reminders of each previous near death forming physically and emotionally for Stella and her family as they see her through her life and deaths, especially her sister Tina, with whom her relationship is constantly changing. At the heart of this rather unique and highly unusual novel is a family saga of immigration, life and death, and secrets that family keeps or questions that do not always have an answer.

I read this in over the course of four hours – so it is engrossing and intriguing, but I’m in two minds about it. On one hand, it is not one I am likely to revisit – despite the intriguing storyline, there were times when I felt like too much was happening to lead up to the death, and perhaps things could have been condensed. I felt like the first births of her children meandered a little, and then the rest were a brief run down to fit them all into the story. For me, whilst a very good chapter, this was one area where I felt some more balance between each child would be useful. However, I can also see that some of them were to play a more significant role towards the end than others, and that is why more time was spent on them.

My other thought it that this is the kind of book that someone might need to read a couple of times to fully appreciate it and understand – to peel back the layers, so to speak. Given there are many books like this out there, I may not have the chance to revisit this one and take everything in for a second time, but I do believe there is an audience out there for this book.

A work of fiction, it is written as though by a relative, a grandchild of Stella, who is never truly identified as Stella recounts her long life and all the strange and intricate events to her as a family history, so it almost reads as a biographical piece throughout. The flow was good – maintained by very little intrusion of the person putting Stella’s story to paper, apart from the beginning and end, where the story is introduced and concluded.

I hope other readers enjoy this book and find something interesting in it.

Eliza Rose by Lucy Worsley

Eliza Rose.jpgTitle: Eliza Rose

Author: Lucy Worsley

Genre: Historical Fiction

Publisher: Bloomsbury

Published: 1st June 2018

Format: Paperback

Pages: 368

Price: $14.99

Synopsis:The captivating debut children’s novel from popular television historian Lucy Worsley is an exciting and charming glimpse behind the scenes of the Tudor court.

I would often wonder about my future husband. A knight? A duke? A stable boy?
Of course the last was just a wicked fancy.

Eliza Rose Camperdowne is young and headstrong, but she knows her duty well. As the only daughter of a noble family, she must one day marry a man who is very grand and very rich.

But Fate has other plans. When Eliza becomes a maid of honour, she’s drawn into the thrilling, treacherous court of Henry the Eighth …

Is her glamorous cousin Katherine Howard a friend or a rival?

And can a girl choose her own destiny in a world ruled by men?

~*~

The Tudor years were fascinating, grim and violent, and the stories that are told don’t always reveal everything that happened behind the scenes of court – but rather, what Henry VIII wanted people to see and how the court projected itself. Eliza Rose Camperdowne – a fictional character who will become caught up in the intrigue and deception of court under two queens – Anne of Cleves and Katherine Howard, whose untimely fate concludes the book. Eliza’s world is changed when a marriage falls apart and she is sent away to train to be a lady in waiting, and then assigned with her cousin, Katherine Howard to become ladies in waiting to Anne of Cleves. Yet over the years of that marriage, the king, Henry, is taken with Katherine and divorces Anne to wed Eliza’s cousin.

What follows is the court and its intrigues seen through the eyes of Eliza, as she watches rules being broken, where for some, this can have harsh punishments, but for others, seems to have very few consequences until it is too late. Woven throughout is Eliza’s desire to break free of tradition as much as she can – and marry for love, not duty, as she has been trained to do her entire life.

In this sense, Lucy shows the headstrong, and feminist ideas of women throughout the ages, even though they may not have had the words to describe it, the feelings were still there for some of them. She effectively contrasts this with the demure women like Anne, and those who cling to tradition, like Katherine, but who use their wiles and some trickery it seems to reach the goals they have been aiming for: to marry King Henry VIII and become his queen. Katherine was wife five of six – the second to be beheaded for adultery, so the charges went. And after her death, fears are that Eliza could be tainted and tarred with the same brush and she must find a way to change her fate.

Filled with powerful women of all kinds and personalities, the male characters for the most part, are not heavily present in this book, but where they are, they definitely have an impact on the story and its outcomes. All the necessary characters perform their roles really well and it is a great historical read for those interested in Tudor history.