Maria Slozak
Delighted by the inclusion of the dog's voice! I'd have loved more of this endearing quirkiness in an otherwise dependably competent mystery with a range of sharply, slyly observed characters I was rather relieved to leave behind on finishing.
Delighted by the inclusion of the dog's voice! I'd have loved more of this endearing quirkiness in an otherwise dependably competent mystery with a range of sharply, slyly observed characters I was rather relieved to leave behind on finishing.
Added to listOwnedwith 1 book.
I've found a new historical mystery series to enjoy. Set in 1920s India, The Bangalore Detectives Club was a pure delight for someone like me who prefers the cosier side of mysteries yet craves authentic historical detail and a vibrant, multi-facetted setting.
The sleuth is a young Indian wife determined to study mathematics, supported by her new(ish) husband, a doctor. Through them, a picture emerges of a new and exciting vision both gender relations and for their colonised country, while always keeping the story on a human, compassionate, and sweetly humorous scale. Even the - for me - unusual circumstance of instantly picking out the villain ("it can't be this easy," I thought; "this must be a red herring." ) barely impacted my enjoyment. I absolutely loved the three-dimensional characters and the dynamics of their interactions, the searching social and political commentary, and the deft writing - all treated with a light touch, a lot of heart, and passionate caring.
I've found a new historical mystery series to enjoy. Set in 1920s India, The Bangalore Detectives Club was a pure delight for someone like me who prefers the cosier side of mysteries yet craves authentic historical detail and a vibrant, multi-facetted setting.
The sleuth is a young Indian wife determined to study mathematics, supported by her new(ish) husband, a doctor. Through them, a picture emerges of a new and exciting vision both gender relations and for their colonised country, while always keeping the story on a human, compassionate, and sweetly humorous scale. Even the - for me - unusual circumstance of instantly picking out the villain ("it can't be this easy," I thought; "this must be a red herring." ) barely impacted my enjoyment. I absolutely loved the three-dimensional characters and the dynamics of their interactions, the searching social and political commentary, and the deft writing - all treated with a light touch, a lot of heart, and passionate caring.
A fairytale-style fantasy that hints at more darkness than it delivers, this was a mixed experience for me. For example, rather than the enemies-to-lovers relationship described in the cover synopsis, we have a brooding, secretive love interest in a rather enderingly fluffy take on the gothic tradition, including the narrative absenteeism. The plot and character-building take a backseat to the creation of an atmospheric world (nominally set in 1824), the latter cinematically rendered yet with a magic system that seemed rather random and inconsistent to me.
As for the main character, it felt really nice to have YA heroine who is naive and reasonably ignorant instead of a worldweary know-it-all. Admittedly, she is extraordinarily lucky: everything she needs tends to fall into her lap the moment she requires it, whether information, a magical object, or a job opening. It is one of the reasons that there story often lacks tension and unpredictability, or a clear purpose. Even the villainy read as more theatrical than menacing to me, so when the plot climax occurs it was a side element that stole the show for me, leading into a rather touching scene and then a clever wink of an ending. I enjoyed that!
A fairytale-style fantasy that hints at more darkness than it delivers, this was a mixed experience for me. For example, rather than the enemies-to-lovers relationship described in the cover synopsis, we have a brooding, secretive love interest in a rather enderingly fluffy take on the gothic tradition, including the narrative absenteeism. The plot and character-building take a backseat to the creation of an atmospheric world (nominally set in 1824), the latter cinematically rendered yet with a magic system that seemed rather random and inconsistent to me.
As for the main character, it felt really nice to have YA heroine who is naive and reasonably ignorant instead of a worldweary know-it-all. Admittedly, she is extraordinarily lucky: everything she needs tends to fall into her lap the moment she requires it, whether information, a magical object, or a job opening. It is one of the reasons that there story often lacks tension and unpredictability, or a clear purpose. Even the villainy read as more theatrical than menacing to me, so when the plot climax occurs it was a side element that stole the show for me, leading into a rather touching scene and then a clever wink of an ending. I enjoyed that!
Short stories are not my preferred type of fiction, so as a reader I feel I am not often able to do them justice. I therefore expected to dip in and out of this slim volume over a longer period. Instead I found myself drawn into one after another over a single afternoon, and had to stop there in order to absorb what I'd read before contunuing (next day).
Palestinian writer Samira Azzam's stories, translated by Ranya Abdelrahman, are written in a simple style that makes them appear, at first glance, almost dreamily impressionistic. But there is no literary detachment, no self-amused whimsy. The characters flow from a pen inked with the blood of a painfully compassionate heart. The incidents are told in a vivid, honest, direct manner; several keep playing on repeat in my mind as I write this. The conclusion of The Passenger took my breath away with its gently humorous, emotional truth about being an empathetic human being. Another Year, which resonated on a personal level although my situation bears absolutely no resemblance to that of refugee families forcibly parted from each other, brings a lump to my throat and tears to my eyes even now. This collection, Out of Time, is a heartopener, my favourite type of book.
Short stories are not my preferred type of fiction, so as a reader I feel I am not often able to do them justice. I therefore expected to dip in and out of this slim volume over a longer period. Instead I found myself drawn into one after another over a single afternoon, and had to stop there in order to absorb what I'd read before contunuing (next day).
Palestinian writer Samira Azzam's stories, translated by Ranya Abdelrahman, are written in a simple style that makes them appear, at first glance, almost dreamily impressionistic. But there is no literary detachment, no self-amused whimsy. The characters flow from a pen inked with the blood of a painfully compassionate heart. The incidents are told in a vivid, honest, direct manner; several keep playing on repeat in my mind as I write this. The conclusion of The Passenger took my breath away with its gently humorous, emotional truth about being an empathetic human being. Another Year, which resonated on a personal level although my situation bears absolutely no resemblance to that of refugee families forcibly parted from each other, brings a lump to my throat and tears to my eyes even now. This collection, Out of Time, is a heartopener, my favourite type of book.
Considering how central Christie remains in the mystery genre it always seemed odd to me that of the many books and articles written about her so few have bothered to try to delve beyond myth, rumour, and gossip. Refreshingly, Worsley's sparkling biography does. As importantly, she explores Christie's life and career choices in their social and political contexts, which creates a wonderfully layered narrative. Among the highlights is Worsley's sensitive and sober unfolding of the much-sensationalised disappearance, in which she lays bare the actions and evasions of those with a stake in preserving their own reputations at the cost of damaging a victim's credibility.
I do feel the second half of the biography loses steam ; it also falls into the common habit of painting a subject's older age in a tone of melancholic decline. Also, while racist elements and negative portrayals of Jews do get mentioned, it seemed to me in a scattered fashion. I would have liked to see a section devoted to an investigation of the longevity of some of these attitudes in and outside her work, especially as in so many ways Christie appears to have fashioned herself into, and relished being, a modern woman.
Considering how central Christie remains in the mystery genre it always seemed odd to me that of the many books and articles written about her so few have bothered to try to delve beyond myth, rumour, and gossip. Refreshingly, Worsley's sparkling biography does. As importantly, she explores Christie's life and career choices in their social and political contexts, which creates a wonderfully layered narrative. Among the highlights is Worsley's sensitive and sober unfolding of the much-sensationalised disappearance, in which she lays bare the actions and evasions of those with a stake in preserving their own reputations at the cost of damaging a victim's credibility.
I do feel the second half of the biography loses steam ; it also falls into the common habit of painting a subject's older age in a tone of melancholic decline. Also, while racist elements and negative portrayals of Jews do get mentioned, it seemed to me in a scattered fashion. I would have liked to see a section devoted to an investigation of the longevity of some of these attitudes in and outside her work, especially as in so many ways Christie appears to have fashioned herself into, and relished being, a modern woman.