francesmthompson's reviews
896 reviews

I bought and read Nightwood after reading heady reviews by T.S. Eliot and Jeanette Winterson - both of whom offer their thoughts and impressions in the Preface and Introduction respectively. I also read that it was essential reading for anyone interested in the over-indulgent 1920s in Paris and the USA. Both Winterson and Eliot refer to a second (or third) reading of this book being essential and maybe I will again one day, but the first reading has peculiarly left me just as impressed as I am disappointed.

While there are lessons to be learned (about today's society as much as yesterday's) on every page, their medium is often a little waffling and off-topic. I found myself craving "action" in a way I don't usually when a book is this well written. And when the action came it was more often than not delivered by other people (Nora and the doctor) in rambling late night conversations shrouded in unrelated but almost relevant lengthy metaphors and digressions.

There is no doubt in my mind that Barnes was a literary revolutionary of her time and her bang-on-target character assassinations are expert to a fault (one went on for three pages!); I also adore how intelligently and unapologetically she wrote a story about a lesbian love triangle in the 1920s and yet the book was never banned and was only gently censored by the author prior to it being published in its full version in 1955. There is also much to be learned in this book from a story-telling perspective, as the woman at the focus of all the tragic attention - Robin Vote - never takes on the form of main narrator.

I look forward to my second reading...

My review will echo many of the observations made by others in relation to the disorganised and repetitive structure of this book. I also struggled with the first half being a little too aggressive and narrow-minded. That said, the Choose Yourself principle is one that I became deeply moved and inspired by having already half-adopted such an approach to my life in recent years. There is no doubt that Altucher has a way of encouraging and installing great pride and practises in people and this should be applauded. I will definitely be taking away some lessons and will be challenging myself to execute some of the Daily Practises he swears by. I recommended this book for anyone needing an extra nudge into a freelance career or a new entrepreneurial adventure. Choose Yourself!

Wonderfully readable if a little obvious and a little over-wrought in places. Some lovely use of language, pages of tender description and plenty of turmoil to chew on. There were unexpected revelations, but I felt a lot of the build up wasn't quite given the explosive conclusion or revelation it was leading to. A definite recommendation for a beach read - you never feel like you're wasting time reading Maggie O'Farrell.

While not Grisham's finest work, he does well to portray and pay tribute to the tragedy that is the death penalty. I read this because I'm currently working on my own "mystery/crime thriller" idea and I needed some guidance on pacing, tension and how to weave fact into fiction. This book delivered on all those fronts. His books are always so easy to get swallowed up in and I sped through the 450+ pages. I would have liked some more insight into some of the characters, but the ones who are "full-bodied" - Boyette, Flak, the two mothers Reeva and Roberta - were strong enough to carry the story. Read if you are interested in the shocking ins and outs of the death penalty in some US States, but don't expect a balanced argument for or against; Mr Grisham, like me, is by all accounts very much against.

A collection of first person narratives as told to Craig Taylor, an adopted Londoner whose introduction to this book is one of the smoothest and sweetest openings I've read in a long time.

Lengthy, varied and honest the stories told capture the best, the worst and that undeniable pull of London that so many feel. While it definitely plays on a few (admittedly much-loved stereotypes) like the London Cabbie or the immigrants who make London so colourful there are more than a few too often unheard voices. My personal favourites were the scenes so vividly painted at Spitalfields fruit and veg market, Sarah's story from young Greek boy to wild-spirited woman and the young East Londoner who tries to improve relations between the Bangladeshi and white pensioners in his area. Highly recommend to those who love, hate or are fascinated by London... Thank you Craig Taylor!

One of the finest novels I've read in many months, if not years. A Tale for the Time Being alternates between two narrators; troubled Japanese schoolgirl Nao and novelist Ruth (i.e. the author herself) who is struggling to complete her next work. Instantly intrigued, I dove into the story of Nao and Ruth thinking it would reveal the intricacies of two very different and yet curiously connected characters. It did this, but also opened up to tackle and tame many timeless philosophical questions while also dealing directly with some of recent history's world-altering events including the Japanese tsunami and September 11th.

As a writer and novelist-in-progress, A Tale for the Time Being spoke to me on a deep personal level, so much so I'm considering buying a paperback version just so I can hold in my hands and touch with my fingertips the many words I highlighted on my Kindle. Without wanting to reveal too much, I was as moved by Nao's struggle as a teenage school girl in modern day Tokyo as I was witnessing the understated relationship between Oliver and Ruth, which shadows the author's own marriage - names, background, and I assume, warts and all. Well-researched, well-balanced and extremely well-written, A Tale for the Time Being oozes with originality, risk-taking and soul soothing. I feel this novel will help me write better, which I hope comes across as the worthy praise I feel the story and author deserves.

Quick to get going and slow to let the real issues at hand sink in, reading Howard's End was a joy - and I say that as someone who often lets "the classics" intimidate her into avoiding them completely. But E.M. Forster deserves all the praise that has been thrown at him over the last century because this story of three families who straddle the social spectrum in early 20th century England, is effortless to read, delightful in terms of language and yet extremely effective at educating and enlightening the reader about issues that persist in British (and other) societies. A special mention should also go to the humour that reaches out to you as you read this novel - never let laughter (through Forster's fine, fine characterisations and gentle observations about people) be underestimated as the finest communication tool in a writer's armoury to build trust, promote engagement and see an interested party through to the last page.

Howard's End has much more to offer a reader keen to read the classics but reluctant to come up against pages of description and slow moving story lines. If you read one "classic" piece of British literature this year, make it this one.

I was desperate to give this five stars. Its so sumptuous and sensual with its language, poignancy and heartache in places that I cursed myself for not reading it sooner. And yet like a erratic lover, this sweet indulgence seemed to over-stretch itself and the pages would blur into one another and I'd lose myself a bit, missing key moments in the plot and glazing over too subtle character traits. It can't be denied, however, that I did enjoy this story that was unexpectedly rich in historic detail and despite the book and film's high profile, there were many unanticipated sub-plots. I'm also grateful to the author and story for highlighting many aspects and events in the Second World War that I was previously unaware of. It made me really think about the thousands and thousands of stories that I haven't yet heard about this well-documented and discussed war that changed the landscape of the world beyond recognition.

I still wish I could have given it five stars, not because of the pleasure in highlighting all five stars in this review, but because I was so eager for the warm, solid embrace it promised me at the beginning to stay with me until the end but like the English Patient, it got lost somewhere in the desert.

Neil Gaiman is one of the most popular, talked about and applauded modern fiction authors online (which is key for me as I also try to connect with readers via the Internet). For that reason I've been meaning to dip into his books and find out what all the fuss is about for some time now.

And I do get it. But.

That's my teaser for this review. Now, here's the long version:

I get it because in The Ocean at the End of the Lane Gaiman is a quick and natural storyteller, moving the plot and the people along swiftly. He begins by teasing the reader that-something-momentous-happened-in-the-past, then he whisks them back to the beginning and introduces us to the people we need to know better, highlighting their quirky character traits and pulling on the reader's greatest weapon to empathise - nostalgia. Before you know it mysteries are unravelling and peculiarities of a sci-fi nature are popping up out of nowhere. There follows high-energy action scenes and tension building "how are they going to get out of this?" scenarios that suspend belief in a way reminiscent of Harry Potter.

Which is fantastic... except this is just not my cup of tea. While there are huge chunks of lesson-learning prose that I could quote to highlight how good an observant writer Gaiman is (and many other reviewers have done this), it's fair to say that I just don't really like the YA or sci-fi genre and because this book dips into both I personally found some of the action and plot development a little clunky for my liking and I imagine it took me much longer than most to get to that point when I am able to do some serious belief suspending.

However, have I added this to my "to-read-to-my-future-children" list? Yes, absolutely and I look forward to doing so.