Miss Eliza's Book Review - Charis Cotter's The Swallow

 

The Swallow by Charis Cotter
Published by: Tundra Books
Publication Date: September 9th, 2014
Format: Kindle, 322 Pages
Rating: ★★
To Buy

Polly and Rose live next door to each other. Polly's house is too full of people and her macabre tastes make her long to see a different kind of person, one who is no longer alive, ie, a ghost. Rose's house is the opposite of Polly's and is always empty and Rose has the dubious ability to see ghosts. The two soon strike up an unlikely friendship and Polly is right jealous of Rose's "gift." Yet maybe there's a reason she can see ghosts? There's a tombstone behind their houses with Rose's name on it... perhaps Rose herself is a ghost? One thing is clear, there is something strange going on and Polly thinks that the two of them need to get to the bottom of the spooky goings on; because one of them might be a ghost.

If you've ever thought, wow there really needs to be a middle grade version of The Sixth Sense set in 1960s Toronto, then I have good news for you! If on the other hand you're looking for a story that isn't predictable like, oh, anything ever done by M. Night Shyamalan, look elsewhere. The main problem with The Swallow is that everything is so obvious. It's not like there was one of two things that surprised me. Oh no. Every. Single. Thing. Was. Expected. It's like Cotter has no ability to dissemble. She can't hide her story structure, and she certainly can't hide her big reveals. From the second Polly went into her attic I knew that there'd be a secret passage, because I'd read C. S. Lewis's The Magician's Nephew. Yeah, you didn't do a good job of hiding where that attic came from Cotter, much like everything else.

But as to each reveal, they were delivered exactly when you'd expect it. There was no flow to this story, no chance for surprises. It felt as if Cotter sat down and wrote the most rigid structure she could to tell her story, with each reveal carefully placed, and when she went from outline to prose not one thing was allowed to vary from that outline. I felt at times as if the book was more a rigid structure of steal that had words around it then an actual narrative. You could feel the story gripping the spine trying to be a real book. A good author transports us and makes us not see the craft behind the work. Cotter pulled back the curtain on the wizard and showed us that writing isn't magic, it's labor intensive, and not just for her, but for us as readers as well. The only positive that can be said for this book is that it was a short read so the pain was quickly over.

Though what is most aggravating to me is that this could have been a unique story! We have the 1960s, we have the ghostly aunt/doppelganger, vintage shoes, creepy pictures of Rose and Winifred dressed alike, and yet it felt like it could be happening right now because none of these interesting aspects are delved into or exploited for the benefit of the story! Instead we get two girls, Polly and Rose, who are just as annoying and whiny as any kid today with no sense given to us readers of how they fit into their time to better explore the sixties. They are completely unlikable in the beginning, and even if you grudgingly like them a little later, the jeopardy they get placed in is so badly contrived that they are never able to rise up and save the book. In a true sign that shows how utterly commonplace everything about the book is, the girl's voices are basically the same. If it weren't for their different situations and the little label saying who's head we're in, I doubt you could tell which girl was which.

As for the ghosts. Well, I have problems with them. First, let's take the ghosts as a whole, and I won't talk about how thick Rose is, we'll just accept that as a given. The ghosts seem to have been given stupid characteristics, like the ability to eat and touch so that we wouldn't know that Polly was dead all along. Oops, I hope you hadn't planned on reading this book, because yeah, spoilers! Though with Cotter's writing if she'd been allowed to write the book's blurb, well, she would have signaled you into that twist in just those few short sentences. Since when can ghosts eat? Like seriously, I think this would be the number one thing on my "things ghosts can't do list." Haunt, yeah, move objects, yeah, give me nightmares, yeah, eat my food, NO! Also more specifically, Winifred is like the worst developed ghost ever. She's angry and crazy and remorseful and a loving sister? Yes, people can be a cornucopia of different personality traits, but, you know what? It has to be explained. Just having her go from crazy to contrite, it doesn't work.

But what I really want to know is was this book a teaching moment? So many of the reviews and blurbs talk about how this book will help kids with concepts like grief and acceptance. If this book was written to tell a rigidly plotted story and it just happened to help with grief and acceptance, well, I'm ok with that. On the other hand, if this book was written just to teach kids about these concepts? NO! I am not a fan of the "teaching moment." I want learning to be a byproduct of reading not the be all end all. Plus, when did everything have to be made "improving" for children? All literature had to teach them lessons. All toys had to be educational. WTF people! How about literature is there to teach kids the joy of reading? And how about toys being there to grow their imagination? I loved toys but I was slow to books. If I had read this book as a kid, it would have put me even more off reading, it's middle grade meh.

Miss Eliza's Book Review - Sarah Waters' Fingersmith

 

Fingersmith by Sarah Waters
Published by: Riverhead
Publication Date: October 1st, 2002
Format: Paperback, 548 Pages
Rating: ★★★
To Buy

Sue Trinder has grown up in Lant Street. She has never left the slummy Borough of London, and has never wanted to. She has lived her entire life in the care of Mrs. Sucksby, who makes her living farming babies. Sue was the only baby that ever mattered to Mrs. Sucksby. They live with Mr. Ibbs, who makes his living in the roundabout manner or taking in dubious goods through the back door and sending it out the front in a slightly different form. The rest of the household is made up of Mr. Ibbs' invalid sister and John Vroom, a man with a love for dog skins, and his simple girl Dainty. This is Sue's world entire.

One day an acquaintance, known to all as Gentleman, arrives with a plan, to make their fortune using Sue. Mrs. Sucksby has always told Sue that she would be the making of them all and now she has her chance. Gentleman has been posing as an artist, Mr. Rivers, for a Mr. Lilly, who lives out west in the Thames Valley. Mr. Lilly has a niece, Maud. Maud is where their fortune will be found. Gentleman has been seducing the isolated girl but has hit a brick wall. Maud's maid, who was the chaperon, has taken ill and now Maud isn't allowed in the presence of Gentleman. Gentleman has decided to fix that. By installing not only a new chaperon, but one that will help him pursue his interests with the Maud, it is a win win situation.

They will compromise Maud, throw her in an insane asylum, and split her vast fortune and live like toffs. What could possibly go wrong? In a world where there are plots within plots, games within games and you don't know who's playing who, there are a lot of ways this could play out... and perhaps it won't be to everyone's liking.

This was an amazing book, if you only read the first part. Divided into three parts, each subsequent section downgraded it a full star, and some might say downgrading only one star per section is generous, seeing as after the first section Waters has shown us she is capable of so much more. But for some reason I think being overly long and taking the narrative straight into "I don't care land" is a staple of true Victorian writing, or Victorian-esque in this case. Like Wilkie Collins' The Woman in White, which Fingersmith strongly emulates, it overstays it's welcome. Looking back onto the other Waters book I've read, The Little Stranger, I realize now that that book really did have the perfect ending. You weren't sure what happened and it ended a bit mysterious. If Waters had done that with this book, ending on a cliffhanger and being all mysterious, I would have been blown away and ranked it up there with some of the finest short fiction with the likes of Shirley Jackson.

Waters does an amazing job of capturing the seamy side of Victorian London. Sometimes you're reading about other times and think, now that would be a nice place to visit. Not here, not this world. And I think that's what makes the world of the book so real. You feel as if this is probably the most accurate description you've ever read of this time period. It's filth and dirt, it's creaking corset stays on a large woman who never washes herself and the secrets she hides within her bodice. Maud's penchant for gloves, though not of her own doing, at least is some kind of barrier to the grotesques that are discussed. But even they are tainted. Yet it's the unrelenting depravity and filth combined with characters who you don't just dislike, but who have nothing good or nice ever happen to them that wears you down in the end. Sure a little history of Victorian pornography is well and good, but after awhile, you say enough is enough. This book grinds you down, and in the end, you are relieved that it is done.

But the single biggest failing of the book is the repetitive storytelling. By having two different narrators with Sue and Maud, we see the exact same events twice. With part two I was almost skipping pages going, ok, read this all already from Sue's point of view, let's get to the part where we left off with Sue so that I get to the forward progression of the narration. Though once we move forward, it's back to Sue, and back to the ending of part one! We have learned so much from Maud that it is painful to then have to live through Sue's excruciatingly slow journey to learn all that we now know. One step forward, two steps back. That cliffhanger to end part one... it will blow you away. Yet it is soon nullified and made pointless by all the other twists and turns and cliffhangers that come after it. The impact is lost in the dragging narrative. It got to the point where it was like watching M. Night Shyamalan's The Village, I kept not only waiting for the next not really shocking twist, but I got good at predicting what it would be, and in the end you really didn't care. So, by all means, read this book, just don't read past part one... you'll thank me.