From the moment Kimberly woke up she knew she had to be dreaming. Or worse…. Where was she? Middle age felt like the edge of a cliff and she hadn’t decided whether or not to jump. She’s about to learn what lies ahead in this transition, if only she can find the courage.
Heart-warming, irreverent and funny, “IN SEARCH OF THE MENOPAUSE RANCH” shares the intimate lives of women who’ve been devoted mothers, caretakers, workaholics and loving wives. But now what? As time seems to stand still, Deborah Vaughn takes us on a journey of self-discovery through encounters with the Goddess and the lives of each woman as they discover what’s missing — what they almost forgot about themselves, their world and their gifts.
“I loved this book! Men, women, ancient history, the church, witches, inquisition, Gods and Goddesses—everything you wanted to know about how you got to where you are and what you can do about it. What will we do with our menopausal zest? How can we change our immediate worlds for the better—one woman, one town at a time?
Read this book— well researched, fascinating in its portrayal of history we never learned in school. All women will recognize themselves or others they know in the characters found at the Menopause Ranch. Laugh, weep, and then apply its lessons in your life. A great experience!”
Nikki Marie Welch, M.D.
Women in your middle years, what would you give to be whisked away from the cares of your daily life (by such colorful Spirit Guides as Belladonna Morose and Mea Culpeppa); to be taken to a magical realm where you’d discover the secrets of the ages that women have known since the world was new? Fortunately, to gain all the warmth, humor and wisdom of this special women’s retreat, you only have to read Deborah’s captivating novel, IN SEARCH OF THE MENOPAUSE RANCH.
Kris Neri, award-winning author of NEVER SAY DIE and the Tracy Eaton mysteries.
Deborah Vaughn attributes her straight-talking honesty to her Indiana roots. Life has been an instructive detour as an aspiring actress on Broadway, a minion in the corporate jungle and loving wife for 23 years. It was on a road trip with her sister where ‘IN SEARCH OF THE MENOPAUSE RANCH’ was born with the message that every journey in life is unique and special, just like every woman. Parts of it maybe unplanned and a bit bumpy, but by mid-life we have the skills, the talent and the guts to pave our own way.
As is often the case with the books I review here, the back cover copy of In Search of the Menopause Ranch doesn’t provide a good indication of what the book is about: in it, menopausal women arrive mysteriously at a place with beautiful scenery and perfect catering, they share the stories of their lives, and are given some dodgy information about medical science and the gift of menopause. It’s an easy-enough read and it has the potential to be amusing: but the characters are thinly-drawn and homogenous and are often used as little more than vehicles to deliver information to each other; the information provided seems biased-to-wrong; and I find it quite unbelievable that not one out of all the women who appear at the ranch chooses to share a positive, affirming moment in their lives. Instead, they all share stories of unhappiness and exclusion, and while I’m sure that there are plenty of women who experience life in this way, I know that there are plenty more who do not. The people who feature in this book are a dreary lot, with their stories of sexism and misogyny, and I found it impossible to empathise with any of them despite my own menopausal trials. The women who work at the menopause ranch are no more finely drawn: they talk of the gift of femininity and the joy that is missing from contemporary life: but far from empathising with them I wanted to strangle them for their patronising, superior attitudes and their insistence that the women who had been transported to the ranch should follow their schedule without motive or explanation.
It’s an easy enough read, and is not at all demanding: it has the usual mix of punctuation and grammar problems; it’s often confusing; and it makes all sorts of claims about research, medicine and menopause which I suspect are based more on opinion than on fact. I read twenty-five of this book’s two hundred and seventy-two pages, but that relatively high page count owes more to my lenient mood when I was reading than to the appeal of this book.
There’s no filter on Joan Lerner’s angry, grieving, hopeful heroine. Her emotions bubble just beneath the surface and regularly boil over. Among Us Woman is a sometimes wondrous, often painful labor of love.” – Steward O’Nan, author of the acclaimed novel, Songs for the Missing
“Plotting reminiscent of Susan Isaacs… with the extras of lush interiors, savvy design tips and elegant meal presentations. Lerner confronts controversial topics in her debut novel but she lightens the mood with eye candy.” – Linda Ellis, author of Death at a Dumpster
“Interior Designers will be especially taken with Joan Lerner’s novel, grounded as it is in her expertise. Joan, a past president of NJASID, who then served on the national board of directors, has written a gripping story of three women with differing design careers which provide important contexts for the fast moving plot. –Ria E. Gulian, ASID, CID, Past President NJASID
Joan Lerner tackles some tough women’s issues in her new novel Among Us Women. The three women who share the novel’s pages are very different but hold common ground with which most of us can identify and relate. The author’s insight is compelling and her conclusions thought-provoking. I liked it; you will too.” – Jean Kelchner, author of Backstage at the White House.
An exerpt from Among Us Women, was published in NEWN, New England Writers Network. “An excellent example of set piece scenes. There is plenty of conflict, emotion and motivation.” – Liz Aleshire, (1949-2008), author of 101 Ways You Can Help: How to Offer Comfort and Support to Those Who Are Grieving (Sourcebooks 2009)
This provocative novel is built on the overlapping stories of three women whose professional, marital, political, religious and sexual lives echo social controversies; feminism, abortion, AIDS, of the decade following the mid-eighties. One becomes pregnant through IVF and opts for single motherhood when her homosexual husband deserts her. Another is born again and believes her salvation lies in saving unborn babies intended for abortion. The third, a black feminist has an abortion when her white married lover tells her to “get rid of it.”
I found punctuation errors throughout Among Us Women, and a marked inconsistency in Ms Lerner’s use of punctuation—check out the back cover copy which I’ve reproduced above to see some of the problems which are typical of this text. Ms Lerner could have avoided this particular problem by employing the services of a good copy-editor because punctuation problems can be corrected: but a lack of competence when it comes to writing can’t be dealt with so easily, and that’s where this book really failed.
While this book isn’t the worst I’ve read for this blog, it does need a lot of work. It’s set in the late 1980s, and the tone of the text reminds me of the slew of books which appeared after The Women’s Room became such a success. It’s dated, and badly, but that’s not the only problem: the dialogue is turgid and unbelievable and chock-full of exposition; there is no characterisation to speak of; and that lack of characterisation makes it very difficult for the reader to care for any of the characters, or to identify with the situations those characters find themselves in. And all this adds up to an unappealing heaviness of tone.
Ms Lerner has chosen a complicated point of view for this book: her three main characters speak in turn, telling their own sides of their overlapping stories. Establishing three distinct voices in one novel takes a skilled writer: Tess Stimpson does it beautifully in The Wife Who Ran Away, but Ms Lerner fails to make it work in this book. Often the only way I could work out which character was driving the narrative was to check with the chapter headings. It’s my view that novel-reading should be a pleasurable experience and not a confusing or difficult one, and this lack of clarity is a significant failure.
The author struggles with transitions, lurching from one event and location to another without pause or redirection; she often slides from one tense to another and back again, sometimes within a single paragraph; and the text is infused with a determination to somehow be worthy which, coupled with the issues that are discussed in this book leads to a slow, dull read.
I read fifteen of this book’s three hundred and fifty nine pages, and find nothing to recommend here.
HE WAS RIGHT.
The Discovery of Socket Greeny proved rather tricky for me to review. It’s confusing, inconsistent, the characters behave bizarrely for little apparent reason, and there are many instances of heavily overwritten text: but the writer’s voice is strong and compelling, and despite the book’s flaws I enjoyed this quirky read.
It does need work. While the text is clean enough some editing is still required: there are several places where the text could be significantly tightened, particularly in the many dream-like sequences (there’s a distinction between “atmospheric” and “poncey” which I suspect this writer is not yet fully aware of); the word “essence” is horribly overused; and the writer really needs to learn how to avoid constructions which make his sentences laugh-out-loud wrong. For example, on page twenty-eight we find this:
Mom waited at the office door. She pushed her hair behind her ear, it fell back, and took a deeper breath than usual.
I can tell what the author meant; but he’s written that Mom’s hair was breathing, which doesn’t work at all. If that were the only example of this particular grammatical stumble that I found in the book I would be more forgiving: but there were several, and each one made me wince. Mistakes like these add up quickly and have a very detrimental effect on the reader’s enjoyment of the book. It’s the sort of thing that a good editor would spot: and I can’t help thinking that if Mr. Bertauski had worked with a good editor, I would be recommending this book to you now. I read thirty-seven of two hundred and sixty-eight pages and am rather disappointed that this particular book couldn’t show itself off a little better.
K. Mathur’s vivid descriptions bring the college and its students to life. Immensely pleasurable and thought provoking.
When longtime friends Binaifer and Louella meet Shalini Dyal at Gyan Shakti College, Gyan full knowledge and Shakti full strength, a true friendships that transcends cultural and religious backgrounds is born. Louella is a Christian, Binaifer, Parsi and Shalini, a Hindu.
“To me the book is a mixture of history, cultural information and a lovely story all rolled into one.”
– Sarah, UK
“I was in a style trick about my college days after reading about the three friends from different backgrounds.”
“Khoty has written a beautiful story… I dare anyone to read Never Mind Yaar and not come away with some insight.”
– Rita’s Book Reviews
This writer has a lively and individual voice and handles her male characters quite well: they are all distinct and believable, and work well together. Her female characters aren’t so finely drawn, however, and the writer’s tendency to head-hop makes the scenes in which they appear jumbled and confusing. It’s a shame, as there’s something I like about this writer’s voice: but the writing wasn’t clear enough for me to be to recommend it.
There was a scattering of punctuation problems; and Never Mind Yaar would be much easier to read if the paragraphs were indented; but for me, the overwhelming problems with this book are the writer’s tendency to overwriting, and the lack of clarity in her prose. I’d like to see what Ms Mathur could achieve once she gains a better understanding of point of view; and once she learns how to edit more ruthlessly, with clarity and pace in mind.
I was also disappointed by the slowness with which the story developed. I read fifteen of this book’s two hundred and thirty-two pages and no real conflict had been established by then: all I knew about the story is that it takes place in a university with a grumpy administrator, and that the young women who have just arrived are pleased to be there.
A quicker start to this book would grasp the reader’s attention, and make them eager to read more. If this were combined with a crisper, cleaner prose style this book might well have great promise: as it is, it’s a slow, confusing read which gives just the smallest hints that with a little more guidance this writer might do right rather well.
When Bruce Dinkle takes up the cause of eating only local food, his zeal badly exceeds his judgement. After alienating his family by enforcing a strict locavore and urban agriculturist lifestyle, he abandons them by bicycle on a quixotic quest to learn where food comes from. He quickly becomes enmeshed in a small Michigan farming community where he goes to work for a large crop farmer, meets a sagacious veterinarian, and falls for a randy goat lady, all part of a sprawling cast of characters who enliven this often hilarious, mix of food, family, sex, and a little violence down on the farm. Think Michael Pollan meets James Herriot and Carl Hiaasen.
James W. Crissman is a veterinary pathologist and former large animal veterinarian. He is the author of a 1998 Pudding House Publications chapbook, Jailbait in Holy Water, and has won numerous prizes for his poetry. His short story, Wallhangers, won the 2007 Dirt Rag literature contest. Root Cause: the story of a food fight fugitive is his first novel. Jim and his veterinarian wife Jill live on a small farm in central Michigan where they’ve grown three children and much of their food for more than twenty years.
“We know there is tragedy and drama in obsession, but sometimes we forget that there can be something wonderfully comic in it, too. James Crissman reminds us of this with Bruce Dinkle, the richly weird protagonist of ROOT CAUSE, who sacrifices everything from family to dignity in his effort to find the right way to live. He is Don Quixote for our time — silly, misguided, and just maybe absolutely necessary.”
Keith Taylor, Creative Writing Coordinator, University of Michigan and author of If the World Becomes so Bright.
There is much to like about Root Cause: its characters are reasonably well-drawn, the premise is interesting, and it’s full of black humour which is quite delicious at times. But all these things are overshadowed — not to a great degree, but enough to be significant — by problems which could easily have been fixed with a rigorous edit.
There were a few typos and punctuation errors: Mr. Crissman is over-fond of commas; and he is prone to overwriting and to writing complex sentences with long words when simpler and shorter would be better. Many of the pages that I read were given over entirely to exposition, and to telling the reader what was happening and how the characters felt, rather than showing us the nuances that makes reading so much more rewarding.
The story didn’t actually get going until page seventeen, which is far too late: and by that time I’d already been lectured at several times as Mr. Crissman banged his point home and then repeated himself, just to be sure we got it. Scenes which should have been sharp and pacey (for example, pages twenty six to twenty nine, if anyone’s counting) felt rushed and flat, and were unsatisfying as a result.
These points are not minor but they could be addressed by a ruthless rewrite. It would vastly improve this book which, despite all the flaws I’ve listed, has great potential. I came so close to recommending it but decided not to because there are so many issues with it: but I’m convinced that beneath all the clutter there’s a good novel here, from a clever writer who is bound to get better. I read thirty pages out of this book’s three hundred and eight. Mr. Crissman mighth like to read Alice Monroe and Carol Shields so that he can see what to aim for: and I look forward to watching his talent develop in the years to come.
Set against the turbulent backdrop of the Hundred Years’ War, I SERVE chronicles the story of Sir John Potenhale. A young Englishman of lowly birth, Potenhale wins his way to knighthood on the fields of France. He enters the service of Edward, the Black Prince of Wales, and immerses himself in a stormy world of war, politics, and romantic intrigue.
While campaigning in France, Potenhale developed an interest in Margery, a spirited lady-in-waiting with a close-kept secret. He soon learns that Sir Thomas Holland, a crass and calculating baron, holds the key to unlock Margery’s mystery and possesses the power to overturn all of his hopes.
When the Black Death strikes Europe, however, Potenhale realizes that the fiercest enemy does not always appear in human form. Seeing the pestilence as a punishment for the sins of his generation, he questions his calling as a knight and considers entering the cloister. Margery or the monastery? Torn between losing his soul and losing the love of his life, he finds friendship with a French knight who might-just possibly-help him save both.
I read very little historical fiction: it’s a genre I’ve never really developed a liking for, with the exception of the wonderful books by Elizabeth Chadwick, whose novels I adore. I’m always very aware of my lack of appreciation of this genre, and so when I review historical fiction I always try to overcome my personal feelings and judge the text on its merits, and not my own biases. I Serve: A Novel of the Black Prince only reinforced my lack of interest in the genre, I’m afraid. It had the usual sprinkling of errors in punctuation; but my overwhelming feeling with this book is that it lacks authenticity.
There were several reasons for this. The author has included a handful of details which don’t ring true: for example, an out-of-breath horse is described as having “heaving withers”: as withers are a horse’s shoulders that seems very unlikely to me; and a character snaps “a single blossom” from a broom plant: brooms have lots of tiny pea-like flowers on each branch and a single one wouldn’t take much snapping nor would it be at all impressive.
Then comes the dialogue. It’s stilted, overly formal, owes more to the movies of Errol Flynn than to history, and it really interferes with the authenticity of this text. Add to this frequent bouts of exposition, a tendency to over-write, some repetition, and a pace that at times feels draggingly slow and at other times hurried, and I’m surprised that I read as far as I did. I reached page forty four of this three hundred and sixty one page book, and wasn’t sorry to put it aside.