I was given this novel by the author as a member of Rosie Amber’s Review Team #RBRT in return for an honest review.
I gave Connectedness 4* out of 5*
TO THE OUTSIDE WORLD, ARTIST JUSTINE TREE HAS IT ALL… BUT SHE ALSO HAS A SECRET THAT THREATENS TO DESTROY EVERYTHING
Justine’s art sells around the world, but does anyone truly know her? When her mother dies, she returns to her childhood home in Yorkshire where she decides to confront her past. She asks journalist Rose Haldane to find the baby she gave away when she was an art student, but only when Rose starts to ask difficult questions does Justine truly understand what she must face.
Is Justine strong enough to admit the secrets and lies of her past? To speak aloud the deeds she has hidden for 27 years, the real inspiration for her work that sells for millions of pounds. Could the truth trash her artistic reputation? Does Justine care more about her daughter, or her art? And what will she do if her daughter hates her?
This tale of art, adoption, romance and loss moves between now and the Eighties, from London’s art world to the bleak isolated cliffs of East Yorkshire and the hot orange blossom streets of Málaga, Spain.
I enjoyed reading Connectedness. Although it is the second novel in the ‘Identity Detective’ series that features Rose Haldane, journalist and identity detective, who reunites the people lost through adoption, it can be read as a standalone novel. In Connectedness the story revolves around the protagonist, successful artist, Justine King, who discovers her life is, and has been, a web of lies and secrets. She is vulnerable and haunted by incidents that happened in her younger days as a student. The suspenseful plot is revealed through a clever blend of her past and present and has a steadily growing pace after an intriguing prologue.
There are numerous layers to this book, details that are cleverly drip-fed throughout to reveal many themes: of sadness and distress, memories, anger, grief, familial love, discovery, loss and regret.
The characters are well rounded and portrayed to evoke sympathy and understanding in the reader. Both the internal and spoken dialogue add to their credibility.
It is obvious the author has researched the art world that is the basis of the story. Research that adds to the character of the protagonist who uses her emotions, her fears, her pain, both consciously and unwittingly, when producing her work. There is a wonderful sense of art being part of both the human condition and the environment around us,
The descriptions of the settings of contemporary Filey in Yorkshire, Malaga in Spain in the eighties and London are evocative through the use of all the five senses and give a wonderful sense of place. At times I felt I was travelling alongside the protagonist in her journey of discovery.
And the denouement is poignant and satisfying.
Just the one reservation, and I’m sorry to say this, but I don’t like the title. If I hadn’t been intrigued by the book description and if I hadn’t loved the cover on first sight, I wouldn’t have chosen Connectedness. It doesn’t mean anything to me. Suffice it to say I’m glad I did choose this book.
This is the first book I’ve read by Sandra Danby It won’t be the last. The idea of the story itself is intriguing and she has a sensitive yet powerful writing style that I have no hesitation in recommending to readers who enjoy contemporary and women’s’ fiction.
About the author:
Sandra Danby is a proud Yorkshire woman, tennis nut and tea drinker. She believes a walk on the beach will cure most ills. Unlike Rose Haldane, the identity detective in her two novels, ‘Ignoring Gravity’ and ‘Connectedness’, Sandra is not adopted.
I was given Finding Max by the author as a member of Rosie Amber’s Review Team #RBRT in return for an honest review.
I gave this book 4* out of 5*
Five-year-old Max is abducted from a playground on a hot summer day while his brother, Gary, has his back turned. Seventeen years later, Max returns to Gary’s life in a serendipitous twist with a disturbing tale to tell. As they learn to love and trust each other, they must outwit and outrun the nefarious Quinn, who seeks to re-abduct Max for his own evil purposes. Killing Gary and his new girlfriend, Jean, to get them out of his way is just part of his plan. Will they escape? And when all is said and done, will Max and Gary ever truly be freed from the shackles of guilt and pain from the past? Amid the gritty, harsh landscape of New York City, Finding Max explores those areas of society we seldom like to look at—homelessness, hunger and sexual abuse—with profound delicacy, brutal honesty and compassion. This thrilling novel will keep you reading long into the night
Finding Max is an intriguing and powerful novel; a cross genre of psychological thriller and mystery. It’s a dark plot that is threaded through with themes of violence, abandonment and sexual abuse but these are juxtaposed and balanced by themes of courage, loyalty and love. I liked the writing style of this author and it’s obvious there has been a great deal of research into the deep-seated trauma of childhood mistreatment and cruelty. Darren Jorgensen treads a fine line but it’s done with sensitivity and skill. The reader is taken into the inner lives of the two main characters, two brothers, Guy and Max and their past and present lives.
On the whole all the characters throughout are well-rounded and believable. Both Guy and Max are multi layered. They are portrayed, individually, as damaged by their history but in different ways, Max, by his abduction as a child, and Guy, by his belief that he failed his brother by his neglect and inability to stop the abduction. But, as in all good writing, both are also depicted to grow and change as the story progresses. This transformation is helped by the introduction of Jean, Guy’s new girlfriend. I wasn’t sure, at first, by this character but eventually realised her purpose to the plot; she is an emotional go-between – having a strong impact on both brothers in the short time span
The antagonist, Quinn, is interesting; a psychopathic murderer who is shown to have a disturbing, unnatural love for Max. He stalks him, desperate to reclaim him and dangerously bitter by his belief that Guy and Jean have taken Max away from him. It’s a strong, well written portrayal of an adversary.
I deliberated over some of the dialogue; I’m not convinced by it, especially that of Max. The inner dialogue, on the whole, is excellent, revealing the horror, the terror, the power of the mind and it gives understanding to some of Max’s irrational behaviour and need to hide, to run away. But the spoken dialogue he is given doesn’t always ring true; there is a sophistication there that feels wrong for this naive character. And, without the dialogue tags, it is occasionally difficult to discern who is speaking, Guy, portrayed as an educated and socially competent man, or Max.
The description of the settings: Guy’s office, the shelter where he is based as a social worker, and his apartment; the way homelessness on the streets is shown, give a brilliant sense of place. I could see the world the characters move around in.
Besides my thoughts on the dialogue, I had only a few reservations. Firstly, I felt that the pace of the plot was slowed down, in places, by the unnecessarily introduction of issues not particularly relevant to the story, Secondly, I was never quite sure about the coincidence of Max walking into the drop-in centre where Gary is based. But, for the sake of the plot, I accepted it as possible.
I think it also should be said that there are explicit details of child sexual abuse some readers may find upsetting.
Although Finding Max is a standalone novel it is open- ended and could lead to a sequel.
On the whole this is a powerful and absorbing read. One I would recommend in particular to readers who enjoy a dark physiological crime genre
The Crime and Coffee Festival beckoned me to Cardiff Library to solve the mystery of writing and publishing. The workshop: Cut, Slash and Perfect promised to reveal more about the writing and traditional publishing journey. As I passed the crime scene tape surrounding the bookshelves, I did wonder if any authors had been lost during the cutting, slashing and perfecting process. I went undercover to find out more about traditional publishing. Would I need an agent, and would I need a sharper pair of scissors?
Authors, Judith Barrow and Thorne Moore, chatted with the editor, Caroline Oakley, of Honno Pressabout publishing. The entertaining chat provided food for thought for all authors who wish to publish their work. As I listened, I captured some of the main points and discovered what makes editors cut and authors cry. The panel put me at ease, and I was able to remove my disguise as an indie author.
Introducing Caroline Oakley who is the editor at Honno Press
Caroline has worked in general trade publishing for over thirty years and has edited a number of award winning and bestselling authors. Caroline works for, Honno Press, an independent Welsh Women’s publisher in Wales.
Clues from the Editor
Caroline gave a balanced overview of publishing
Big publishers only work through agents.
Agents often have useful contacts within the publishing world and deal with the contracts. Care must be taken when selecting an agent because, as in all businesses, there are inefficient, self –styled experts, with little experience, out there. Google and search for those authors who write in your genre to find out the names of the agents who deal with your kind of book before submitting. You can approach independent and smaller publishers with or without an agent. Find out what this kind of publisher wants before approaching them. Research their website; look at the work of the signed authors. Take your time to select the appropriate one for your genre; consider how much advance that publisher pays, the amount of royalties for sold books you will get, your rights (such as audio and foreign rights for your work) and the terms and conditions of your contract. You must read the small print!
Don’t get disheartened with rejection letters sent to publishers. Hope your manuscript reaches the publisher at the right time (by this I mean that it’s not a miserable Monday morning for them, or they’ve not had a quarrel with a partner or their family – or they’ve not had a week of wading through a pile of “not very good” manuscripts before they get to yours)– it is subjective.
Indie publishing has its challenges, but it gives you more control and you get all the profit. The Indie author deals with every element of the process; from the writing to choosing the cover, the blurb formatting, publication and marketing. Traditionally published authors also are expected to promote and market. Indie publishing is time- consuming but as I said before, they do have complete control over their work.
Whichever publishing route you choose, you must get yourself an editor! Although time-consuming (and sometimes devastating!) you must go through the cut, slash perfect process. A good editor will identify gaps, things that possibly don’t work in your writing, mistakes such as change of dates of characters’ birthdays or colour of eyes in different parts of the book, errors in time scale etc.. But will not tell you what to do, only point out those mistakes and suggest changes to make your work stronger.
It is advisable that every author, whether self-published or traditionally published, has a website, blog and social media accounts.
Judith Barrow has published four books with Honno Press. She writes historical family saga fiction. She has also self-published books and a collection of short stories of the minor characters in her trilogy.
What did Judith say about her publishing journey?
I love working with Honno Press. The staff are friendly and accessible. As a writer you learn what you can and cannot get away with. I have built up trust with the editor who I know has had a long and professional career in all genres. And, although Honno Pressalso organises the front cover for the books, they have allowed me input to the final decision .
Working with Honno Press provides me with quality, professional editing. I cry every time, I get the editor’s comments, but I know, in my heart, it makes the work better. An editor will read your book line by line and give an overview. A good editor will ask the right questions but will not give you the answers. When you edit your work, you must keep your own voice.
I do not send my very first draft to an editor and probably have about ten revisions. I ask my friend, who is an author, to give me an honest opinion on anything I have doubts about. I am also a member of a writing group and we email sections of our books for discussion. But do, avoid too much input from too many sources into your work as it can confuse you – have a small trusted network of writers. Believe in yourself! The cut, slash and perfect stages involves a first general edit, as many more detailed edits then necessary to get the writing to its best, a line by line edit to weed out any noticeable mistakes and then a proof read by the publisher’s proof reader. Finally, it comes back to me for a last read to make sure all is correct. I do like this final stage; it does make me feel as though I have control over the end product to some degree.
Thorne had published three books with Honno Fiction and writes domestic noir and psychological fiction. Thorne has self-published and works with two publishers.
What did Thorne say about publishing?
She has self-published short stories in order to market a published book. The different publishers are relevant to the books promoted. Regardless of how the books are published, the author must have a good editor.
A writer needs an editor to stand on the mountain and look down on your work. During the writing process the author becomes too absorbed to be objective. Through the feedback from the editor, you learn to write. The editor will locate your common mistakes then you will avoid these in subsequent drafts.
You do need a small critical group of friends who will give you constructive criticism.
Don’t worry about the reviews. Jane Austin has plenty of one star and two star reviews on Amazon.
Don’t give up! I was rejected by Honno at first. In an interview with Thorne, she told me about the trials and tribulations of her publishing journey. This story of Thorne’s publishing journey will be published very soon.
A good editor is key to success for all authors: traditionally published and self-published need a good editor. A good editor will identify gaps in your work and ask the right questions. My editor forced me to ask lots of questions about my book and rework sections. I learnt a great deal about my writing through this process. As a self-published author I have involved a professional editor, beta readers and other authors. One must be careful of making new mistakes in a new edit – it is expensive to pay for all the various stages of the edit. I understand the security of working with an independent publisher who provides an editor. The indie author has greater control of the book but must complete all stages of the process including the book cover and the marketing. In the end, all clues pointed towards the importance of a professional editor during the publishing process. No matter how many times the author sharpens the scissors to cut, they still need an editor and dosh to pay for quality. Clearly, this wasn’t an open and shut case and more investigation needed to be completed.
Clue of the Day
Caroline suggested the market for the unreliable narrator in all genres will change. Like fashion in clothes, fashion in books also changes. No one knows what will be the next ‘in thing’ for novels.
The title, A Hundred Tiny Threads, is taken from a quote by Simone Signoret (the French actress of cinema and a writer in her later years. She died of cancer in 1985 at the age of 60. The full quote is, “Chains do not hold a marriage together. It is threads, hundreds of tiny threads, which sew people together through the years. “
A Hundred Tiny Threads is the story of the parents of protagonist in the Howarth trilogy, Mary Howarth. I thought I’d finished with the characters when the last book ended. But something niggled away at me until I realised that until their story was told; their lives explained, the narration was incomplete. The story takes place during a time of social and political upheaval, between the years 1911 and 1922. It’s set in Yorkshire, Lancashire and Ireland at the time of the Suffragettes, the first World War and the Uprising in Ireland.
I knew the years I wanted to cover so one of the obvious difficulties was the timeline. I needed to make sure that those characters, already existing in the trilogy, fitted correctly into those decades. And the two main characters, Winifred Duffy and Bill Howarth, are already fully formed, rounded characters in the previous books so I wanted to show how the era they had grown up in; the environment, the events, the conditions, had shaped them, moulded them into the characters they’d become.
I actually wasn’t going to write a trilogy. The first of the three books is called Pattern of Shadows
I’ve often told the story about how I discovered that the first German POW camp in the UK was a disused cotton mill in Lancashire. And how, because of my memories; of the noise, the colours of the cloth, the smell of grease and cotton when my mother worked as a winder in such a mill, I wondered what it would be like for those prisoners. I imagined their misery, loneliness and anger. And I wanted to write a story about that. But research in a local history library; finding sources of personal accounts of those times, from ex-prisoners, the locals and the guards of the camp, proved that it wasn’t quite as bad as I had imagined. There were times of hope, of love even. So then I knew I needed to write the novel around a family who lived in the town where the camp was situated. Who were involved in some way with the prisoners.
The trouble was that once the story was told there were threads that needed picking up for the sequel, Changing Patterns
And after that book was completed I realised that there would be repercussions from the actions of the characters in the first two stories that would affect the next generations. And so I wrote Living in the Shadows
It’s been hard to let go of some of the characters, especially the protagonist, Mary. But in a way I’m still staying in their world. When I’d sent A Hundred Tiny Threads to Honno , my publishers, for the final time, I wrote and Indie published an anthology of eight short stories called Secrets.
These are the stories of some of the minor characters in the trilogy. At least three of these are crying out for their life stories to be told. I’ve already started on two of the characters: Hannah Booth, the sour mother- in- law of Mary’s sister, Ellen, who appears in Pattern of Shadows, and on Edith Jagger’s tale; the woman who becomes the gossipy and sharp-tongued next-door neighbour of the protagonist, Winifred, in the prequel and previously in the trilogy.
As is often the case, how we finish up in life is shaped by our past. And both women have a dark secret.
Perhaps, all along, I knew I was not going to walk away from these characters. Perhaps they knew they wouldn’t let me.
I was given an ARC of Lindisfarne by the author in return for an honest review.
I gave this book 5*out of 5*
Six months after the viral outbreak, civilised society in the UK has broken down. Vicky and her group travel to the Northumbrian island of Lindisfarne, where they are welcomed by an existing community.
New relationships are formed, old ones renewed. The lucky survivors adapt, finding strength they didn’t know they possessed, but the honeymoon period does not last long. Some cannot accept that the rules have changed, and, for just a few, the opportunity to seize power is too great to pass up. Egos clash, and the islanders soon discover that there are greater dangers than not having enough to eat.
Meanwhile, in the south, Brian Doyle discovers that rebuilding is taking place in the middle of the devastated countryside. He comes face to face with Alex Verlander from Renova Workforce Liaison, who makes him an offer he can’t refuse. But is UK 2.0 a world in which he will want to live?
I have been an admirer of Terry Tyler’s work for a long time; I like her style of writing, I like the way she builds her characters and her sense of place in all her novels.
I’ve read the first of the Project Renova Book Series: Tipping Point. And, although, this genre is not usually my first choice, I read it purely because it was written by this author. I wasn’t disappointed. Here’s my review: http://bit.ly/2um9Fcq. And I enjoyed my interview with Terry Tyler: http://bit.ly/2uzbsef.
When I started LIndisfarne I was anxious to learn what had happened to the characters in Tipping Point. But also I wondered if the story would be as strong as in the first book.
It was. It is.
I don’t give spoilers (if I can help it) in my reviews so here are my thoughts:
I love the way the story is told; each chapter is given over to individual characters. Not only do we see situations through their perspective, we learn – through their voice/their internal dialogue – about them. And we also see the actions of the other characters from their points of view, and their opinions on that action. It gives so many extra layers to the plot at different times.
There is one exception to this style of writing; the chapters around a character called Wedge. Thoroughly evil chap. His part in the book is told from the third person point of view.I liked this; it distances the reader from him yet we still know what he’s thinking, hear his internal dialogue… follow his actions. I’ll say no more.
The author brings the characters to life through their actions and mannerisms but one of her greatest strengths is through their dialogue; each character has their own way of speaking.There was no doubt whose voice I was reading even without dialogue tags. I especially enjoyed reading Lottie’s chapters; the sense of how she’s grown from a young teenager in the first book to young adult in this one is fascinating … and all in eighteen months.
I always say that this author has a knack for descriptions. Lindisfarne is no exception. The beauty of the island parallels the destruction of the mainland and the building of UK2. I could picture each setting as the characters moved around in them.
There is one story line that I had an uneasy feeling about – when my fears were realised I felt that satisfaction a reader gets when they think something will happen and it does but also a great sadness that it has. To get that connection with any character shows strong writing on the part of the author
There is also another intriguing sub plot line threaded throughout that follows one of the characters from Tipping Point: Doyle. I have a feeling we will hear a lot more of him in Book 3.
I said at the beginning of this review that I have always loved this author’s work but, for me, this is Terry Tyler’s best novel yet; strong characters, strong dialogue, strongest writing, strongest plot; so I can’t recommend it highly enough. But I would advise reading Tipping Point first. This is a trilogy (looking forward to the last! book).
Hmm, having read and reviewed as constructively as I could, I’ve realised I have extolled all the virtues of Lindisfarne without any negative or any ‘to think about’ points. I do have one; I would love to see these books in real life book shops – the covers alone would make them stand out. Any chance?
Terry Tyler is the author of fifteen books on Amazon, the latest being ‘Tipping Point’, the first book in her new post apocalyptic series. She is proud to be self-published, is an avid reader and book reviewer, and a member of Rosie Amber’s Book Review Team.
Terry is a Walking Dead addict, and writes for one of their main fansites. She lives in the north east of England with her husband, and is still trying to learn Geordie
I have written four novels and each has been independent – different settings, different characters, different themes – but I have begun to feel the allure of keeping a story going, beyond the last page of a book. I have written short stories that accompany my novels, but I’ve never yet been brave enough to take on a whole series. That is what Judith Barrow has done, with her Howarth Family trilogy, covering the decades from the Second World War to the late sixties, and she has completed it now with a prequel, A Hundred Tiny Threads, covering the early decades of the 20th century. I am hugely impressed.
Pattern of Shadowsis the first of the Howarth family trilogy. Mary is a nursing sister at Lancashire prison camp for the housing and treatment of German POWs. Life at work is difficult but fulfilling, life at home a constant round of arguments, until Frank Shuttleworth, a guard at the camp turns up. Frank is difficult to love but persistent and won’t leave until Mary agrees to walk out with him.
Sequel to Pattern of Shadows, Changing Patterns is set in May 1950, Britain is struggling with the hardships of rationing and the aftermath of the Second World War There are many obstacles in the way of Mary’s happiness, not the least of which is her troubled family. When tragedy strikes, Mary hopes it will unite her siblings. Will the family pull together to save one of their own from a common enemy.
The last of the trilogy, Living in the Shadows is set in 1969. There are secrets dating back to the war that still haunt the family, and finding out what lies at their root might be the only way they can escape their murderous consequences.
And so to the prequel: A Hundred Tiny Threads: Winifred is a determined young woman eager for new experiences. When her friend Honora – an Irish girl, with the freedom to do as she pleases – drags Winifred along to a suffragette rally, she realises that there is more to life than the shop and her parents’ humdrum lives of work and grumbling. Bill Howarth’s troubled childhood echoes through his early adult life and the scars linger, affecting his work, his relationships and his health. The only light in his life comes from a chance meeting with Winifred, the daughter of a Lancashire grocer.
For the record, in my opinion, this is a great book, that places two people in the midst of some of the most earth-shattering and horrifying events of the early 20th century but shows it all through their very individual eyes, coloured by their own uniquely troubled situations. And, of course, knowing how it ends in the following trilogy adds a piquant regret to the tale.
Judith, like me, has lived in Pembrokeshire for many years and, like me, came here from a distant galaxy long ago and far away – Well, Yorkshire in her case and Bedfordshire in mine. Here, she tells how she came to Pembrokeshire.
We found Pembrokeshire by accident.
With three children under three, an old cottage half renovated and a small business that had become so successful that we were working seven days a week, we were exhausted. David, my husband, thought we should get off the treadmill; at least for a fortnight.
Pre-children, cottage and business, we always holidayed in Cornwall. But we decided it was too far with a young family and an unreliable van. We’d go to Wales; not too difficult a journey from Lancashire, we thought.
Once that was mentioned, David was eager to see Four Crosses, near Welshpool, where his grandfather originated from.
‘We could stay there,’ he said.
‘But the children will want beaches,’ I protested. ‘And I’ve heard Pembrokeshire has wonderful beaches.
We agreed to toss a coin and Pembrokeshire won. We’d call at Four Crosses on the way home.
I borrowed books on Wales from the library and, balancing our 8-month-old twins, one on each knee, I read as much as I could about the county. It sounded just the place to take children for a holiday. We booked a caravan and, when the big day came, packed the van to the hilt with everything the children would need, remembering only at the last minute, to throw a few clothes in for ourselves.
It took 10 hours.
In 1978 there was no easy route from the North of England to West Wales.
We meandered through small lanes, stopping for emergencies like much needed drinks, picnics, lavatory stops and throwing bread to the ducks whenever our eldest daughter spotted water. I’d learned to keep a bag of stale bread for such times.
The closer we were to our destination the slower we went. In the heat of the day the engine in our old van struggled; we needed to top up the radiator every hour or so. For the last 50 miles we became stuck in traffic jams.
We got lost numerous times.
All this and three ever-increasingly fractious children.
We arrived at the caravan site in the middle of the night so were relieved to find the key in the door.
The owner, a farmer, had given up and gone home.
I woke early. Leaving David in charge of our exhausted and still sleeping family, I crept out.
The sun was already warm; a soft breeze barely moved the leaves on the oak tree nearby. Skylarks flittered and swooped overhead, calling to one another.
Although the caravan was one of four in the farmer’s field, we were the only people there. It was so quiet, so peaceful.
I walked along a small path. Within minutes I was faced by a panorama of sea. It seemed so still from the top of the cliff, but the water blended turquoise and dark blue with unseen currents, the horizon was a silvery line.
Faint voices from two small fishing boats carried on the air.
The sandstone cliffs curved round in a natural cove. Jagged rocks, surrounded by white ripples of water, jutted up towards the sky.
I fell in love with Pembrokeshire.
I’d always liked living so close to the Pennines. The moors, criss-crossed by ancient stone walls, were glorious with wild rhododendrons in summer, heather in the autumn. Even when brooding under swathes of drifting mist or white-over with snow, I was happy there.
But Pembrokeshire has a powerful glory of its own.
Within months we’d thrown caution, and our past lives, to the wind and moved here, much to the consternation of our extended family; as far as they were concerned we were moving to the ends of the earth.
“I swore that I would never go home, but in the end, I had no choice. I had to confront what happened. And them too. It was going be icky. And totally scary.”
Carol Prentice left Wheatley Fields to attend university in Manchester and not once did she return in four years. Her beloved father visited her whenever he could, but then he passed away and it was up to her to sort his affairs.
She could have done this from a distance, but a woman can run to the far corners of the earth, but, in the end, she can never escape herself
She had to come home: There was no other choice.
Taking a job at a bookshop for the duration, she befriends Steve – an older man who looks like a wizard and who knows everything in the world.
Carol quickly encounters the demons that forced her to leave in the first place – including Toby, the raffish local villain, with whom she shares the most horrifying of secrets and whose very existence means evil and mayhem for everyone around. Especially the lovable Steve.
Carol finds herself in the middle of a war between the two men: A war which can only have one victor.
Soon, she wishes she had never come home. But by then it was too late. Much too late.
I‘ve had A Shiny Coin For Carol Prentice on my TBR list for ages but other books kept pushing it further down the pile. What a mistake! I was hooked from the word go (something to do with the fact that the protagonist was wearing a ‘satanic wedding dress, with layers and layers of blue and black lace – with Doc Martins’ ) Brilliant! I so wanted to dress as a Goth when I was younger and never had the courage.
Anyway, enough; this is about Mark Barry’s powerful story of, revenge, conflicting love, heartbreak, great friendship, empathy and strong characters.
This is yet another book that I read while ‘doing domestic trivia’ (though cooking a meal can be a problem – ironing while reading is easy-peasy) I read this book in one session.
I don’t give away spoilers in my reviews and it would be too easy with this book. And, anyway, I think the book blurb says enough
The characters are multi-layered, rounded characters and, for me, are either loved or hated in equal measure (hated Toby Gifford and his mates with a vengeance, loved Carol and Steve.)
The dialogue is so suited to all the characters, though initially I found Carol’s habit of interspersing her language with ‘like’ a little irritating I soon got used to it; it fits her personality. Fascinating internal dialogue from Carol as well; I always had a slight unnerving feeling she could be an unreliable narrator but she won me over time and time again. And I love the interaction between her and Steve, it so emphasises the growing and enduring unusual friendship.
It’s an intriguing plot that caught me unawares in places. And I loved that, even though I was in no doubt Carol would triumph in the end, there were a few ‘wobbly’ moments… and, sadly, one casualty. I’m saying no more!
And great to see a male author write from the perspective from a female protagonist. I can’t remember when I read another book with that angle.
This is a book I could read again and enjoy just as much. Without any doubt whatsoever I recommend A Shiny Coin For Carol Prentice to all readers.