Caz Tallis is living her dream, restoring rocking horses in her London workshop.
When shabby but charismatic Joe and his dog turn up on her roof terrace, she is reluctantly drawn into investigating a rock star’s murder from three years before — an unsolved case the police have closed.
Somebody is prepared to kill to prevent it being reopened. Caz needs to find out who, but is her judgement clouding as she falls in love?
Lexi Revellian really can tell a story, with an enviable economy of effort, and this book deserves to go all the way. Excellent stuff.
Elspeth Cooper, author of The Wild Hunt
Great characters, great story, pacy lucid style.
Lexi Revellian has a lovely light touch, she’s quick to get to the action, the premise on which she bases Remix is interesting, and her prose rolls along nicely: but all this is overshadowed by a series of basic errors which slow the pace of her work and bounce the reader out of the text, and distance them from the story — which is exactly what writers should try their hardest not to do. This is especially irritating in the case of Ms Revellian, who shows such promise: if she could learn to eradicate such problems from her writing her work would automatically jump up a couple of notches, and if that happens I can see her doing very well indeed.
So, what were the problems I found? The usual suspects, I’m afraid. There were a few instances of inconsistent punctuation, a random capitalisation or two, a few contradictions and some sentences which didn’t quite make sense in the context in which they appeared, which made me wonder if they were lone survivors from an earlier draft. All these things distracted my attention from the text, which is a bad thing: but these things could easily be fixed and they didn’t worry me too much: if they were the only problems with the text they wouldn’t be enough to put off an interested agent or publisher, and they didn’t stop me reading. But two issues kept on popping up, and I found them really troublesome: and they’re much more serious than the other things I’ve listed, as they are likely to be deal breakers for some readers.
Ms Revellian has a fondness for hammering her point home with big chunks of exposition. I understand that sometimes the reader needs to be told things; and that a properly-placed piece of exposition can up the stakes and keep the pace trotting nicely along: but that’s not how Ms Revellian uses exposition, and so the overall effect was to slow the pace to an unacceptable degree.
What I found more troubling was her characters’ lack of proper emotional depth. It meant that I simply couldn’t understand why they often acted as they did, and consequently I didn’t believe that the story would have unfolded the way it did.
For example, the book’s heroine, Caz Tallis, wakes up one morning to find a stranger sleeping on her roof terrace and barely questions it; before we know it she is inviting him in for coffee. Does this character have serious problems in social situations? Is she unaware of how to react to events outside the norm? I couldn’t believe this point and judging by some of the less-favourable reviews Ms Revellian’s work has received on Amazon, I’m not alone. I’m not convinced that anyone could make a living restoring rocking horses (although I understand that this is a hobby of Ms Revellian’s, which is perhaps why she chose to write about it); and [ tiny spoiler alert! ] as Joe turns out to be living under an assumed name, because under his real identity he has been declared dead, I don’t see how he could have completed all of the paperwork required to bring a stray dog back from France, nor why he would have tried to do so bearing in mind the risk of discovery inherent in such an act.
Overall then, a flawed book from a writer with potential. I read 32 pages out of 266 and hope that Ms Revellian resolves these two main issues in her future works, so that I can enjoy them more.
Playwright Stefan Lanfer has penned a vital new book on the struggles of dads-to-be.
When a woman prepares for motherhood, other women guide her on her way. Not so a dad-to-be, who gets pats on the back, corny jokes, or vague assurances he’ll do fine. Until now, his best hope was by-moms-for-moms baby books–a gap filled by Stefan Lanfer’s The Faith of a Child and Other Stories of Becoming and Being a Dad, in which the author chronicles his own journey to, and into fatherhood, lending a comforting and humorous peek into the vagaries and joys of being a dad.
According to Lanfer, “When my wife was pregnant, I was STRESSED out, and the guys around me were no help–until, just in time, I hosted a group of dads at our home. I fed them dinner, and they fed me their stories.” As he listened, says Lanfer, “I got inside the head space of a dad, and, finally, I felt ready.”
To pay forward this gift of stories, Lanfer shares his own in The Faith of a Child. To dads-to-be, Lanfer says, “If you want tips, tactics, and advice for childbirth and parenting, you’ve got dozens of choices. But, if you want real stories that actually let you picture fatherhood, The Faith of a Child is for you.
The Faith Of A Child is composed of a series of vignettes from Lanfer’s life with his wife and, eventually, two small children. He writes in blank verse, which I didn’t find particularly successful: his writing is neither tight enough nor lyrical enough to shine in this form (to see blank verse working well, read Sharp Teeth by Toby Barlow, a book I adore). And while he presents this as a book of stories to prepare men for fatherhood I’m not convinced that fathers will find the stories collected here at all useful: most are without any real resolution or message, and far too personal to Lanfer to inspire or instruct anyone else.
It’s a shame, as there are occasional glimpses of beauty: for example, the title story is touching and rather lovely. But the few gems there are are muddied by Lanfer’s rather unfocused style, and they’re hidden among a lot of other stories which only invoked a reaction of “so what?” from me, I’m afraid.
A reasonable effort, then, let down by a lack of clarity and focus. While I think it’s wonderful that the author finds his family life so compelling, he really needs to look at his stories with a harsher, more critical eye in order to recognise which are worth working on and which should be kept as a private, more personal record. I read thirty-two pages out of one hundred and fifty-five.