People are disappearing.
When Lleyton Quinn is arrested in connection with a missing woman, he insists he knows nothing about it. He’s wrong. Soon he comes to realise that he is intimately entwined in the whole mystery. And when the female detective who arrested him pleads for his help, he is dragged to the centre of a phenomenon that could change everything. This is more than just missing people. The very fabric of society is being slowly unstitched by an unknown seamstress, and Lleyton has been chosen to pick up the threads. Before it’s too late. Before he disappears too…
This book is an intriguing blend of crime-thriller and science-fiction. Comic, dark and surreal in places, the story is based in the near future, in a world not too dissimilar from our own. Rich in thought-provoking concepts, this novel touches on all aspects of humanity, culminating in an evocative new theory about the nature of our world. This is fiction… that promises to teach you something.
The Turning is the sort of book that would might well accrue a stack of personalised rejections and offers to consider the writer’s next book when sent out on submission to mainstream publishers and agents. It is so very nearly excellent: but because of the author’s inexperience in both writing and editing it doesn’t quite reach the mark.
I can sympathise with Mr. Newell, because he makes the same sorts of mistakes that I make in my first drafts: we both over-write, we both use cliché, and we both like to hammer our points home and then some. The difference is that I then try to edit all those mistakes out, whereas Mr Newell seems content to leave them standing.
Overall, then, an impressive attempt which is let down by a lack of skilled editing. It’s a shame, as beneath all the extraneous stuff Newell’s writing is bright and pacey and engaging, with a light humour which reminds me a little of Harlan Coben’s Myron Bolitar novels. Newell shows real talent and potential, and if he pays much more careful attention to his editing skills in future projects he might well go far. I read sixty-six pages out of two hundred forty-two to find my fifteen mistakes: however, I will almost certainly read this book right to the end and so I recommend it, despite its faults.
When Tommy Davidson is found with his throat cut, his brother Andrew’s shock turns to thoughts of vigilante retribution. Known villains, including the person indirectly responsible for the death, begin to disappear. Thanks to the efforts of one of Cairnburgh’s cleverest lawyers, each has managed to evade justice. But not any more. Meantime, rape victim Rhona Kirk starts a new life in Dundee but finds it difficult to shake off her past. As DCI Jack Carston tries to find what links the various missing persons, he’s aware of his own darker impulses and of an empathy between himself and the vigilantes. His investigation becomes a race against time and against the pressure of darkness.
The jumbled and dull back cover copy for The Darkness is no indication of the quality of the text of the book itself: I found a lot here to keep me interested, and would like to see what happens to Bill Kirton’s work when it is passed through the hands of a competent and demanding editor.
The problems I found—a tendency to exposition, a lack of clear characterisation, a couple of clichés and a few punctuation problems—are all fixable because the underlying writing is strong, clear and fast-moving. Kirton has a raw talent which gives an edge to this book that most writers will never achieve: if he focuses on revising his next text to a higher standard I can see him doing very well indeed.
I was particularly harsh with Mr. Kirton in my judgement of his book but despite that, I read twenty-four of his three hundred and thirteen pages. If I had found this on the slush pile, I would almost certainly have asked to see more: as it is, I am going to cautiously recommend this book despite its flaws.
It’s the summer of 1879, and Annie Fuller, a young San Francisco widow, is in trouble. Annie’s husband squandered her fortune before committing suicide five years earlier, and one of his creditors is now threatening to take the boardinghouse she owns to pay off a debt.
Annie Fuller also has a secret. She supplements her income by giving domestic and business advice as Madam Sibyl, one of San Francisco’s most exclusive clairvoyants, and one of Madam Sibyl’s clients, Matthew Voss, has died. The police believe his death was suicide brought upon by bankruptcy, but Annie believes Voss has been murdered and that his assets have been stolen.
Nate Dawson has a problem. As the Voss family lawyer, he would love to believe that Matthew Voss didn’t leave his grieving family destitute. But that would mean working with Annie Fuller, a woman who alternatively attracts and infuriates him as she shatters every notion he ever had of proper ladylike behaviour.
Sparks fly as Anne and Nate pursue the truth about the murder of Matthew Voss in this light-hearted historical mystery set in the foggy gas-lit world of Victorian San Francisco.
The author is currently living in San Diego with her husband and assorted animals, where she is working on Uneasy Spirits, the next instalment of her series of historical mysteries set in Victorian San Francisco. Go to http://www.mlouisalocke.com to find out more about M. Louisa Locke and her work.
Maids of Misfortune is competently written and clicks along at a pretty good pace, once you get over the frequent blocks of exposition which stand in your way. There are a few clichés to interrupt the flow, which could easily be remedied; and a couple of places where a more modern idiom intrudes on an otherwise Victorian world.
It’s a light, bright read which can’t be taken too seriously: and in the end it was this frothiness which let the book down for me. I couldn’t quite believe in any of its rather flimsy characters; the situations which they found themselves in were just a little too sanitised and lacking in depth to fully catch my attention; and despite the author’s evident skill I found her main character almost scarily cheerful, and longed for her to reveal a darker side.
Despite my reservations, though, I read ninety-three pages out of three hundred and twenty-nine, and might well dip back into this book. It is well above the average of the books that I read for this blog, and consequently I’m happy to cautiously recommend it to you.
Trenda, a young Pomo woman, lives in 1791 in the Valley of the Moons, which will become known as Sonoma Valley, California. Everything is alive, and all is holy. It is a perfect world with harmony and beauty between man and nature. Trenda tells her own story about being a shaman, seeing the future in her dreams, and learning to help heal her people. Eventually, she must leave home to marry Yosomo, a Miwok from the tribe by the sea. She is both happy and sad. When the Spanish come and destroy her perfect world, Trenda is separated from Yosomo. Treated like animals, they are forced to work. Trenda longs to be reunited with her husband and wants only what any human wants: to be free in the world she loves.
Constance Kopriva lives with her husband of thirty-three years in Sonoma, California, a forty-five mile drive north of San Francisco. They now own a few acres that long ago were part of (General) Vallejo Rancho. Obsidian shards and arrowheads, stone pestles, and mortars found on their land are evidence that early native people once lived there. After taking a class about Sonoma history and hearing a different version from a Pomo descendent regarding the Spanish conquest of early California, she was inspired to tell this story, We Were Not Lost.
We Were Not Lost should not work as a book. At times it reads like a Hollywood cowboys-and-indians script with its talk of “many moons” and “pale faces”; despite the writer’s obvious preference for a stereotypical, stilted writing-style I found several instances where a more contemporary language intruded; and at just fifty printed pages long it is no more than an over-long short story printed in book form. The author clearly doesn’t know the correct use of “lay” vs. “lie”; and I found some of the final sequences rushed and unbelievable. But you’ll notice that I mention the book’s final sequences: and that’s because I read it all in just one sitting.
Despite its problems, this story is clean and sparse and engaging. Not only it is fast-paced and vivid, it’s also a remarkably clean text with very few minor errors. And although I have my misgivings about the stereotypical view it gives of the people and events it portrays, I did enjoy it.
If I were the author I would strongly consider rewriting it with the aim of making it far less stereotypical. I would strip out the Hollywood-movie phrasing and replace it with a language which was less likely to set people’s cliché-alarms clanging; and I’d extend the story to include sub-plots, and to introduce more shades of grey into the central story: at present it’s very much “white equals bad, Pomo equals good”, and this means that the story is predictable and lacking in depth.
So, the writing is flawed, the storytelling lacks subtlety and texture; and yet I read it right to the end. For that reason I recommend it, but with reservations (and no, that’s not a pun). I hope that this author continues to write because despite my reservations I think she could eventually become very good, if she gets the right guidance and advice.