15.01.25
This was better than Ralph's Party but it was still poorly written (can't an item of clothing be described without naming its brand?) with a lot of unquestioned assumptions about what makes a family. Lots of babies, apparently, which, well, yeah, taken literally, it is. Oddly for a novel of this type, found family, while valuable, came much further down the value chain than blood relations, even if those relations failed you.
06.01.25
New year, old favourites. This was a middling-to-good Heyer. The dialogue in particular was a masterclass - every character had a distinct way of speaking that reflected their personality and the effect was reliably entertaining. Yet the novel was overlong and portrayed gender-based behaviours that are discomforting to a modern reader (the hero occasionally resorts to what we'd regard as domestic violence) - although, as usual, the hints at gay characters were sympathetic.
These are novels I got partway through - in some cases, halfway through - but didn't manage to finish. A couple just weren't very good but with most I simply lost interest and preferred to spend my reading time on something more compelling.
In alphabetical order by author:
I've also not been able to finish anything by Joanne Harris, John Marrs or Maggie O'Farrell.
29.12.24
The three Klune books I've read this year (see also The Extraordinaries and Wolfsong) are different in many ways - but all are gently humorous queer fantasies emphasising the power of found families. Which is, of course, a lovely message, but this particular story was rather like being bludgeoned with a rubber kitten - sweet and annoying at the same time.
52%
21.12.24A glance through my reviews shows how much I love many of Heyer's books but this wasn't one of her best. Unfocused and lacking the usual vivid characterisation and witty dialogue, it's clear that Heyer's heart and mind weren't really in the right place for this late-in-life offering.
17.12.24
This was a 'by numbers' Christmas cash-in (literally - the structure was based on an Advent calendar) that was almost self-aware enough, in the usual Stevenson style, to pull off. But not quite - it lacked the passion to be anything other than a gimmicky read - although I liked the determined portrayal of the festive Australian summer.
11.12.24
Talking cats! Comedy villains! What a shame the premise was better than the execution. It just all seemed so half-hearted - it needed more action, more conflict, more coherent plot, more character development, more humour - and less pointless paragraphs of nothing. And how disappointing (spoiler) that the main character gave up villainy before he even got started.
60%
08.12.24If you confuse this with the Georgette Heyer novel of the same name, you'll get quite a shock. I'm not generally a horror fan but I enjoyed the way this ramped up from 'disaffected daughter reluctantly returns home' to full-on blood sacrifices before the fires of Hell. The wry tone was well judged and the structure engaging, but what's with the annoying trend for omitting conjunctions and gerunds? ('Julia read the sentence, shouted at her Kindle in frustration. She didn't like it, took her out of immersion.')
02.12.24
The trouble with this novel was the uneasy mix of paying homage to Austen/Gaskell and the 21st-century turns of phrase and sensibilities of the characters. It worked best when it interrogated class assumptions, using a light yet skewering humour, and not always taking the easy way out. But the main character was unlikable (and not in the 'Emma' sense) and many conversations and actions were just unconvincing.
25.11.24
This was delightful - in fact, not just full of delight but brimming over with many and varied delights. The worldbuilding, the humorous dialogue, the nods to other fairy tales all just worked, and at no time did phrasing make me cringe, which is unusual, frankly. Was it too saccharine? Maybe. Did it end too abruptly? Certainly. But what fun!
21.11.24
First of all, the murdered person does not solve their own murder (because she's, yer know, dead). Other examples of the many annoying things about this book are the endless punctuation errors, the wimpy, undeserving 'heroine', a plot and structure that made no sense, and the tiny village with its own two ambulances (complete with assigned paramedics), police station (complete with assigned detective who can't even find the cannabis farm), solicitors' practice, walk-in doctors' surgery, iPhone store and Oxfam shop.
17.11.24
All the buckles were swashed in this well-written, well-researched feminist adventure. With its vivid historical and fantasy world building, interesting characterisation and enough humour to balance out the violence and grit, it makes other books seem rather lame. I mean, what's the point of a novel unless it stars a badass female pirate?
43%
13.11.24
I was really looking forward to reading this sequel but it started out muddled and confusing and didn't stop being muddled and confusing. The annoying characters, boring romance and lack of explanation of what on earth was going on didn't help. And so much more could have been made of the 'villain' idea. How disappointing.
05.11.24
I maintain that Heyer was one of the best authors of the 20th century and isn't taken seriously because she wrote romances. This is a particularly delightful example, with sparkling dialogue and the usual strongly drawn characters (except, oddly, for the love interest, who was a bit of a bore).
30.10.24
You wouldn't want to meet any of the horrible, entitled characters in this book (especially the sanctimonious 'main' character) but that's OK, because nobody actually behaves like them in real life. It was all tedious telling and not showing, with no real emotional engagement. And it didn't actually address the ultimate point - even if (spoiler) the cash was not ill-gotten, the rest of the estate probably was.
29.10.24
No realistic people were harmed in the making of this novel.
24.10.24
Moriarty's tenth novel is about to come out so finding the only other one I hadn't read in the library was serendipitous. This was a fun yet surprisingly complex read - a woman forgetting the last ten years was almost like time travel but it cleverly stopped short of 'young her undoes the mistakes of older her', examining all the implications. Talking of mistakes, I enjoyed it all the way up to the ending(s), which were hugely disappointing, considering what had gone before.
58%
21.10.24
Fair play to Stevenson for tackling that difficult 'second in the series' with so much meta energy. His decision to continue with the trademark self-referential elements livened up the old 'murder on a train' cliche, but the characters and plot were still too confusing and I don't think I'll remember much about it.
