Posts tagged victorian
Posts tagged victorian
Characters: ***** (5 stars)
Character Development: **** (4 stars)
Plot: *** (3 stars)
Writing: *** (3 stars)
Overall: *** (3 stars)
Review by Morgan
(Let it be hereby stated that I read an advanced reader’s edition of The Quick, which may still be waiting on final edits.)
When a friend and colleague of mine at the bookshop insisted that I read The Quick the moment she finished it, I knew right away that I would have lots to say about this debut novel. It’s one of my favorite kinds of story, in one of my favorite settings, but there are a few twists which caught us both off guard. The Quick is a complex novel with a Victorian setting, a Gothic atmosphere, and a sweeping narrative. It’s also a monster story of sorts. I would have been utterly puzzled to realize – a hundred pages in – that there was some serious slaying to come, had my friend not mentioned her similar surprise. Neither the title nor the package revealed much about this book’s nature from the start. Since I have the galley and not the finished product of the book, I can’t help but wonder how heavily Random House intends to advertise the supernatural bent. On the back of my copy, it only says: “An astonishing debut novel of epic scope and suspense that conjures all the magic and menace of Victorian London”. Well, there’s menace aplenty and a grim sort of magic alongside what I can only call the “creature aspect” (to avoid spoiling too much). I was held in suspense once I finally got engrossed in the story, but it took me much longer than usual to immerse myself in Owen’s writing. As for the “epic scope,” I suppose that the many intertwining narratives and the multiple main characters prove that statement to be true.
The Quick starts out in Aiskew Hall, one of those large and drafty mansions in the English countryside which set the scene for so many sprawling novels. James and Charlotte are very young children when we first meet them, orphaned after their father’s death, and subject to uncertain futures. The scenes about the children’s games and fears were picturesque and I was charmed by their environment. I guess Lauren Owen grew up in an old Yorkshire boarding school, and her descriptions are excellent. From the secret passages indoors to the gardens outside, Aiskew Hall is a wonderful location. It’s too bad we don’t get to read more about it, as soon enough the setting switches to London.
Oh, Victorian London. So many distinctive tales have tramped up and down your streets – Dickens spin-offs have strolled alongside grisly horror stories. Sassy steampunk heroines now follow the same footsteps as eccentric detectives. There’s no real shortage of Gothic mysteries or supernatural horror crammed into that city’s ever-expanding boundaries of fiction, and I’m not sure if The Quick added anything too terribly new to the landscape. But there’s such an extensive literary heritage to late 19th century London that I do understand the appeal in borrowing the city’s peculiar brand of storytelling magic. While she doesn’t really break any new ground by setting her debut novel around a mysterious gentleman’s club in the darker parts of London, Owen does have a talent for creating atmosphere. I read the book over a couple of dreary late-November evenings and I was surprised every time I stepped outside to see neither hansom cabs nor top hats. I’m still keeping an eye out for ragamuffin pickpocket children (often my favorite characters in these sorts of books). When James and Charlotte experience the bustling hubbub of city life for the first time, their confusion and awe made the disorienting metropolis seem immediate and real.
After graduation, James moves to London and gets rooms with an eccentric friend-of-a-friend. He tries his hand at writing poetry, then moves on to plays after they see a production by some bloke named Wilde. Christopher Paige is lively and dashing while James is more of a reserved, respectful sort of fellow. Their personalities clash nicely and as their friendship deepens we get an entertaining glance at life in London for gentlemen with money enough to make society’s expectations the most pressing of their problems. It took a while, but eventually I found myself absorbed into the details of domestic issues and witty banter.
Right as their story started to get really interesting, though, Part II of The Quick introduces an entirely new point of view and style. I felt marooned and disoriented to be suddenly presented with The Notebooks of Augustus Mould in Chapter Six, and not only because the heading reminded me a little of The Secret Diaries of Adrian Mole by Sue Townsend (a very different sort of book indeed, though equally British). At this point, Owen started to take a Dracula-esque approach to her narrative. By treating the excerpts from Mould’s notebooks as an active component of the story, and by using shifts in perspective to take the plot in an entirely different direction, the novel introduces four or five new plot lines and main characters.
A threatening presence causes gossip in London, haughty idealists take charge of a secret society, a little girl learns why some streets are off-limits, and a shared tragedy brings two unlikely friends together to face an evil which is damned difficult to kill. As the story progresses we do come to understand how everyone will eventually interact to create a high-stakes confrontation, but I spent half the book trying to find connections rather than giving my full attention to the plot. Much in Stoker’s style, Owen uses her structure to show how menace can unite people and affect a great many lives. I do wish she had brought the different groups of characters together earlier on, though, especially since the men and women themselves were distinctive and their interactions were downright fun to witness. The pacing was stilted at times, which detracted from the strong descriptions and appealing aesthetic. In the second half of the book, I found some redemption when the many different threads eventually did come together to propel us towards an exciting conclusion. The focus was just a little off – too many influences from the genre’s long history were vying for attention – and I felt that the novel couldn’t quite contain its own scope.
The author has borrowed an awful lot from her literary predecessors: The Quick contains distinctive elements of Dickens, Stoker, Shelley, Poe, Anne Rice, and Robert Louis Stevenson. The editor’s note which came with the galley mentioned that Lauren Owen started out writing fan fiction of Harry Potter and Buffy the Vampire Slayer as a teenager. Push through the slow start and clunky narrative shifts to where the action begins, and you’ll see how Joss Whedon has made his mark. Even though I had a hard time getting comfortable with the balance between the book’s Victorian style and its eventual supernatural standoffs, I had a great time with each of those aspects in their own way. Some characters seemed straight out of Great Expectations, what with their moral qualms and social hardships. Others were gunslingin’ badasses with tragic pasts. I was happy to read about violent little kids and a mysterious occult library, though there were times when I wondered if I should be reading two different books instead of this one.
Now that I’ve finished reading The Quick, I’m intrigued to see what sort of reaction it will get once it’s released into the wild. I think there’s some strong writing and great characters, and while the premise isn’t particularly original it was interesting and fun. The target demographic of readers is difficult to define, though. You’ll need to have an appreciation for Victorian sensibilities in order to get through the first half of the book, but you can’t be too picky about style or easily annoyed by clunky narrative structures. On the other hand, it might appeal to readers of dark and violent Gothic adventures like The Haunting of Alaizabel Cray – tense stories which don’t rely too heavily on historical realism – but the language might make the pace drag on for fans of that genre. I happen to be right in the middle of that spectrum and did enjoy The Quick. Anyone picking up the book will find it necessary to suspend their judgement and expectations along with their disbelief. If you can do that, then the interesting descriptions; absorbing atmosphere; and memorable characters will keep you reading right through to the book’s mysterious ending.
If you liked that show “Ripper Street,” I think you’ll feel right at home in The Quick. If you were enchanted by Erin Morgenstern’s novel The Night Circus (Rosie and I reviewed it here) you will probably enjoy it, too. The Quick is less stunningly magical than The Night Circus was, but I think the characters were more believable and the personal relationships were handled better. I read books for the atmosphere more than anything else, and I’m happy I stuck with The Quick. You can definitely tell that it’s a first novel, and I hope that Lauren Owen will develop a style which is more distinctly her own as her writing progresses. I will absolutely be keeping an eye out for any of her future work, and I hope she continues to write darkly aesthetic stories which transport us to a more mysterious time and place.
Characters:**** (4 stars)
Character Development:*** (3 stars)
Plot:***** (5 stars)
Writing:*** (3 stars)
Overall:***1/2 (3.5 stars)
Review by Morgan.
Age Range Recommendation: Ages 14 and up. (Frightening ideas and some graphic violence.)
Hello my poor neglected readers. I had fully intended to review The Haunting of Alaizabel Cray in time for Hallowe’en, as it is one of my favorite scary books of all time, but alas I was figuratively drowning in school work, literally drowning in tea, and quite unable to form coherent sentences until now. However, November is an appropriately creepy month – especially here in Scotland where it gets dark by four in the afternoon – and the novel does indeed take place in November, so I’ll review it now.
The Haunting of Alaizabel Cray has a slightly deceptive title; it suggests a ghost story about a young woman with a strange name. In fact, the book is less about a single haunting and more of a full-on supernatural onslaught in an alternative-history Victorian London.
The main character is a seventeen year old “wych-hunter” named Thaniel Fox, and he is one of those teenage protagonists blessed with an ability to perform any task a thousand times better than his adult counterparts. Thaniel and his mentor in wych-hunting Cathaline (in anticipation of your questions: No, not a single character in this novel has a normal name) stalk and destroy immensely terrifying creatures called wych-kin who roam the streets of London. London itself is different than it was historically in Victorian times: in an act of steampunk warfare the Prussians have bombed it from their airships roughly thirty years before our story takes place, and in certain parts of the city the wych-kin roam about unchecked. When stalking a cradlejack – a monster who steals and eats babies, infecting anyone it bites – Thaniel comes across a traumatized girl his own age with amnesia. This is Alaizabel Cray, and she is possessed by a cranky, super evil old wych. The story centers around Thaniel, Alaizabel, and Cathaline as they learn about Alaizabel’s past and realise that much darker forces are at work than the monstrous wych kin who are growing in numbers too ghastly to think about.
Some readers may be confused by the extremely varied ratings I’ve given each aspect of this novel. The writing and character development of this book aren’t too excellent, you can tell that the author was still in his early twenties when he wrote it and his style hasn’t been perfected yet. He overuses certain words, like “clotted” and “lacquered,” to remind the reader how very dark and scary his version of London can be. As for the characters, each person is unique and fascinating but sometimes they are a little too perfect. With the single notable exception of Artemis Fowl (by Eoin Colfer), no teenager could believably be so proficient in this many fighting techniques, magical applications, and generally bad-ass skills as Thaniel. He’s a likable character, levelheaded and cool, but when I first read this book I was fifteen years old and even then he seemed a little unrealistic. The same goes for Alaizabel Cray; she is sweet, clever, brave, and sympathetic every time she speaks or acts, and it doesn’t quite add up. Were I possessed by an evil spirit, I’d be grumpy and tired. The minor characters are more believable, they each have their own strengths and foibles which round out the cast quite nicely.
Despite Wooding’s occasionally questionable writing, the plot in The Haunting of Alaizabel Cray is one of the best I’ve read in YA fiction. He doesn’t just center around the relationship between Alaizabel and Thaniel, he writes a twisting, high-stakes tale which encompasses all of Victorian London from the police, to madhouses, to aristocratic cults, to beggar kingdoms, to serial killers. The wych-kin themselves are each described in spectacular detail; there are new creatures the reader learns about in nearly every chapter and each is grosser and more sinister than the last. Scrawny cradle-robbers with needle sharp teeth; the drowned splashing noises of the Draugs’ footsteps as they stalk their victims, the air growing cold and salty as they approach; the terrifying spectre which fills Alaizabel’s entire bedroom as it looms in darkness over her bed: this is the stuff of nightmares. Once you have read The Haunting of Alaizabel Cray, you will never look behind yourself more than twice when walking at night, no matter what you might hear in your wake, for fear of getting devoured by Rawhead – the invisible stalker who only strikes on the third glance.
Chris Wooding has invented horrors I couldn’t even dream up myself, and I am notorious for screaming in my sleep from night-terrors. The wych-kin are truly traumatizing, but the villainous humans aren’t much nicer. The mysterious Fraternity – that dark cult which causes Alaizabel to become possessed as they carry out a nefarious scheme for power – is made up of corrupt policemen, cruel wych-hunters, and one truly nasty doctor who controls the city’s insane asylum. Their rituals are creepy and completely immoral, and although Wooding’s writing style sometimes detracts from the story he is extremely talented at inventing and describing magic in an original but comprehensible manner. The system of wards and summoning in the novel is unlike anything I’ve ever read and I was impressed by his inventiveness.
With the Fraternity and wych-kin for antagonists, those characters who remain in the moral middle-ground are evil enough themselves. Devil-boy Jack, a psychic little boy with his eyes sewn shut, has absolutely no qualms about letting his friends die for the sake of a plan. And he’s one of the kinder anti-heroes. Stitchface is one of Wooding’s greater creations. He’s a serial killer who drives a hansom cab at night, wearing a woman’s wig over his mask: a gaping face sewn together from the skin of prostitutes he murders. Yup, Stitchface is one of the good guys; the villains and monsters are way more horrifying than your regular psycho killer. Hence, my age recommendation of fourteen and above. “Not a bedtime book for those of a nervous disposition,” wrote The Times in its review of Alaizabel Cray, and I would have to agree. Read this book if you want to be terrified, and if you don’t mind feeling entirely on edge when walking home at night, because you’ll soon be counting the number of times you look over your shoulder and jumping at every noise.
So, why should you read The Haunting of Alaizabel Cray, even though the writing is a bit iffy? The setting is vivid, the plot is engaging, it features one of the best duels I’ve ever read, and the story is entirely unique. It being a Young Adult novel, one could probably finish it in an evening, and that would be a November night well spent. It’s an atmospheric novel, perfect for this time of year when the nights are long and the weather dreary. Go and read it quickly, before November is over!