savage_book_review's Reviews (328)

My podcast feed and socials have been clogged up with episodes and posts about Napoleon recently, due to the release of the new biopic about him, so I figured I'd come at the subject from a different angle and read a book by one of my favourite historical fiction authors about his wife. No, not the one you're all thinking of... his second wife, Marie Louise, Archduchess of Austria, Empress of France and Duchess of Parma. 

When Josephine cannot provide the Emperor with the son and heir he needs, he looks to the marriage mart of European royalty for a replacement. The omens are not great when he settles on the great-niece of the last Queen of France. His sister Pauline also has designs on the throne, dreaming of imitating her Egyptian heroine, Cleopatra, and ruling as a sister-wife to her powerful, erratic brother. And then there's the ever-present elephant in the room... But of course, women, wives and wedlock all come second to Napoleon's thirst for absolute power...

This is the second book I've read about a Hapsburg Empress in as many months... I'm thinking I need to expand my historical research from the Tudors a bit, because the Hapsburg women so far have been quite fascinating! I'm certainly taking their fictional stories with a pinch of salt, but they are definitely a gateway to new and exciting reading material for me. In this case, I was particularly struck by the parallels and contrasts between Marie Louise and her great aunt, Marie Antoinette. 

However, I was disappointed by how little we actually got to know Marie in this book. Given the title, it would seem appropriate that she is the main character. But the narrative shifts between three perspectives; Marie's, Pauline's, and that of Pauline's Haitian chamberlain and staunch support, Paul. With Pauline being bold, brash and pretty outrageous; Paul's voice being that of an underrepresented group, and Napoleon taking up all of the room in every scene he's in, the docile, agreeable, dutiful Marie gets rather lost. I've only just finished the book and I can only really tell you two things I thought about her; she deserved the happiness she found with her second husband (even if this book does mess around with their tineline a bit for dramatic effect), and it would appear she was a lovely mother. Otherwise, the emotional impact of her character was minimal. 

Likewise, I felt that Pauline was only brought forward to be the shocking foil to Marie's stability. From the author's notes, it would appear that she probably was somewhat like this, but I'm unclear on how much liberty the author has taken simply to provide a layer of entertainment? Exaggeration? Ridiculousness? To her character. 

It's odd; I can see the story the author was trying to convey through the eyes of these three people, but equally I can't quite put my finger on how she's actually managed to move the narrative from A to B; the characters drown out the overall plot for the most part. While the writing does flow, it feels like we barely skim the surface of events and so it's quite hard to ground yourself in place. 

I really enjoy most of the other works by this author (her book about Madame Tussaud is a particular favourite), but this one just doesn't have the same effect or depth of feeling of her previous novels. I wouldn't not recommend it, but there's just nothing that hooks me in or makes me desperately want to read it again.

The last of the Rokesby series, we find the youngest son, Nicholas, summoned home urgently by his father. The reputation of a lady dear to their hearts is under threat, and everyone knows there's only one way to save her.

This book suffers from a similar issue to the later Bridgerton books - the protagonist has always been the younger brother, so for the majority of the previous books he has been some way in the background. You know he exists, but that's about it. So the author has to take quick steps to establish his character as an adult in the first pages of the book. She's absolutely successful at it - indeed, I'd say this is probably the best introduction I've read of Quinn's to date - but at the same time I do wonder why she continues to choose that same set up again and again. If it were me, I'd have been making the siblings closer in age, setting the stories closer together in the timeline and fleshing all of the characters out as the series progresses.

This one is probably the lightest on plot and development; as with all her books it does flow, but the change from friends to lovers is almost glossed over in here. It's just not got the same oomph. Although the idea is that they realise they're made for eachother, I would say the story overall actually gives me more of the vibes of the marriage of convenience between friends that the characters are so worried about at the outset. Sure, there are feelings there, but they're not in the same league of romantic feelings displayed in the other books. It's comfortable rather than passionate. 

I think I'd have been more interested to see what the author would have come up with if Georgianna  had stuck to her guns and refused to salvage her reputation. The story could still end with the same HEA, but given that she's given us someone incredibly independent and forward-thinking, I think she deserves better than the convenient escape route. 

The characterisation has also lost a lot of its spark since the first book of the series. The friendships between the Rokesbys and the Bridgertons are still there and still lovely, but it's missing the rapid back and forth that gave the series its zing. However, I absolutely love the way Violet Bridgerton is written in this book - you can see the development of the matriarch of the Bridgerton clan, whilst alsongetting the warm fuzzies of seeing her at her happiest with Edmund and the start of her huge family. And while she is slightly more 'proper' than Edmund's sisters, she can definitely still hold her own! And baby Anthony, Benedict and Colin are so cute!!!

Sweet, simple, easy to read, but not my favourite.

Returning to the links between the Rokesby and Bridgerton families, this book tells the story of Poppy Bridgerton, a cousin of Edmund Bridgerton and so second cousin to the protagonists of the original series. While out exploring, she finds herself kidnapped by pirates (or privateers, as they are properly known) and left at the mercy of the ship's captain, who might just be more than he seems.

I have to firstly say that the setting at the beginning of the book made me smile; I've not long been to Charmouth! So it was incredibly easy to picture the beach, the cliffs, the caves etc. and Poppy wandering along. But even if I hadn't been there, the images invoked by the author almost have an Enid Blyton-esque feel to them, particularly when you add smugglers into the mix. However, I'd say about 75% of the story takes place in a single room; the captain's quarters on the ship Infinity. As you would expect, this quite severely limits the exploration of setting, but nevertheless compliments the plot. Because of this static scenery, I was able to visualise the story more as a stage play in my mind. 

When you do leave the ship, however, the author demonstrates her ability to allow her reader to feel as excited and transported as her characters. Poppy's exploration of a foreign land is portrayed in such a way as to make you feel like you're right there with her, seeing this new culture for the first time and not always fully understanding the tour guide who waxes lyrical about the buildings, architecture, history and so on. 

Poppy is certainly a strong character, fairly typical of the modern yet era-appropriate women Quinn writes. However, she doesn't come across as such a 'distinct' character as some of the other girls; her concern for her reputation is referred to throughout, which does become a little tedious. The flirty trading of insults is lighthearted and a little funny, but it just doesn't quite hit the mark in the same way as the brotherly/sisterly banter familiar from the other books. 

I also wasn't as enamoured with the development of the characters' relationship in this book; because of the limited setting, there's actually very little for their relationship to be 'hung' on and effectively feels like it's only come about because of the forced proximity. I just wanted a bit more from that strand of writing.

In some ways, the plot reminds me of a farcical comedy - the repeated kidnappings being a major highlight of this. Except there aren't that many laughs and it's taking itself just a little too seriously to properly work. I'm just not sure that the plot couldn't have developed a lot more to give the story more depth and substance. As it is, it feels very single stranded and, while readable, not overly enjoyable. 

It's not terrible, but I have read better.

I now realise I've been suckered in a bit by the fact these are labelled as Bridgerton prequels... the first one (and clearly the last one too) has an obvious tangential link, but the series as a whole is definitely focused on the Rokesby family. While it doesn't matter a whole lot if you like the author generally, it is a classic case of the publishers rebranding books off the back of the success of the TV series. Fortunately, all I wanted tonight was some easy reading, so I'm not as worried about it as I might have otherwise been.

This one does revert to type and feels a bit more formulaic and trope-heavy than the previous books. It's just as chilled reading-wise, but somehow comes across as having had less thought put into the overall story. Amnesia, fake marriage, one bed and miscommunication abounds, but the overall plot feels based on quite thin foundations. I therefore didn't find myself enjoying this one nearly as much as book 1.

Similarly, the characters don't feel as developed. Our leading lady, Cecilia, starts off with a promising backstory and a familiar streak of modernity, but this is quickly diminished. While she is not simple subservient housewife material, she does lose her sparkiness and transforms into a more conventional period character. And her decisions to not impart certain information just drives me mad. Edward Rokesby is a little more rounded out and I generally liked his soft-in-the-centre character, but again there just isn't enough depth to them for me. 

To me, the most impressive part of this is actually the backstory - set during the American War of Independence, it gives the reader something of an idea of the conditions and geography of the place, and an insight into what the soldiers' experiences might have been like. It's not overly detailed, and it does only explore one small corner of the conflict, but it's a decent introduction for someone who knows pretty much nothing about that era. 

There is certainly nothing "wrong" with this book and it is an enjoyable read, but nor is there anything that really hooked me this time around.

Billed as the first Bridgerton prequel, this book tells the story of Billie Bridgerton who, if I've got my family tree right, should be Anthony, Benedict, Colin, Daphne et. Al's paternal Aunt. Raised by liberal parents, she is commonly seen riding astride about the family estate, wearing breeches, and doing a better job of running the place than her father or his steward. Lifelong friends with the middle sons of the titled family next door, she can see herself perhaps one day accepting a proposal from one or the other. As long as she doesn't have to have much to do with the oldest brother and heir to the Rokesby fortune, George...

I bought this (and the others in the Rokesby series) on a whim, purely because they are described as prequels to Bridgerton. After reading that series, I had middling expectations; I just hoped for a gentle, happy, easy read in that familiar style. And actually, my expectations have been far surpassed; this is certainly my favourite Julia Quinn book to date. It doesn't take itself too seriously, the characters and  relationships launch themselves off of the page and it's probably the most relatable. In some respects, I feel like it's the closest match in tone to the Bridgerton TV series; all of the Georgian grandeur you'd expect, brought right up to date to give a 21st Century audience the ability to understand their 18th/19th Century counterparts.

The constant back and forth between the three principal characters; Billie, George and Andrew, is an absolute joy to read. It's pitched perfectly; part banter, part good natured teasing, part flirtation, and the energy sparks from it with no effort from the reader whatsoever. And best of all it doesn't tail off - the bounce it brings to the prose is sustained and effective from beginning to end. 

Similarly, the romance element is there all the way through, but it's kept quite subtle until fairly late on in the story. Now, it doesn't take a genuis to work out what happens partnership-wise, but it's quite a nice gradual realisation and development,  rather than the 'thunderbolt' that quite often annoys me. As for the spice, it's fairly minimal and I'd say less detailed than a lot of the Bridgerton novels.

I loved the examination of Billie's character and the fact that she isn't a typical debutante. I'd say that Eloise in the TV series pulls quite a lot of characterisation from Billie (although not the breeches, at least not yet!) as that independent streak is definitely a shared trait. While I'm not entirely convinced that there were many aristocratic families that would have countenanced a daughter or wife acting as Billie does, I did enjoy the fact that it seems giving your children a long leash to discover themselves appears to be a Bridgerton family tradition rather than a reaction from Edmund (and Violet) to a restricted childhood of their own. 

I was planning to put this in the local book swap when I finished, but have 100% changed my mind and it'll be going on my bookshelf as soon as I can make some space!

Each of these women have books aplenty written about them. They are amongst the most famous women, not only of the Tudor period, but probably in all of English history. And yet because Anne died when Elizabeth was not even three years old, there is a general assumption that mother's influence on daughter was extremely limited, if not non-existent. However, expert historian Tracy Borman has taken the time to examine this and produce a work that weaves the lives of these women together in a clear, concise and fascinating way.

Although the book does only provide an overview of the events of Anne's rise and fall, and Elizabeth's time on the throne, it is clear that the point of the narrative is not to be a straight, dry timeline of events, nor is it meant to be a simple biography. It is of course more difficult to provide a view of Anne as a mother, given that she was a Queen at a time where royal children were placed into their own established households very early on. But through small snapshots granted by eyewitness accounts, paintings, letters and even the royal accounts, Borman easily convinces that the 'goggle-eyed whore' was in fact as much of a mother as she could be. As you would expect though, it is much harder to bring their stories together at this early stage. Instead, it is when Elizabeth takes centre stage that this book begins to fulfil its aims.

While Elizabeth is only known to have spoken publicly about her mother twice during her lifetime, Borman illustrates in great detail the subtler nods to Elizabeth's affections for Anne, and with her words sets out an extended Boleyn family tree who found favour at Elizabeth's court. I would say it is a shame that an actual Boleyn family tree wasn't included though - given how many people have similar names, it might have made it slightly easier to establish who was who. There are also the wider circle of people, kept close because of their knowledge of Anne, and in one case because of their relationship to one of Anne's supposed lovers. Likewise, there are the motifs, heraldic symbols as mottos lifted from Anne, and the items that may have passed from mother to daughter. Far from being two very separate entities as in most works, this gives the impression that Elizabeth almost idolised her mother, in private at least.

Equally, it also addresses the question of why Elizabeth did not do as her sister did and remove the taint of bastardy from herself at the first opportunity, and publicly try to rehabilitate her mother's memory. Ultimately, simply by being the Queen Regnant she proved to be was enough to kick start that process all by itself. 

This book definitely spoke to me as a reader and an avid Tudor history fan, but while all of the above is true it did still feel a bit like the premise was based on quite a thin foundation, and the author had had to pad things out a bit with details of the family. I mean, as much as it's lovely that Elizabeth appeared to favour her Boleyn relatives over her Tudor ones, equally if you were in that position isn't it more than likely that the first people to find favour, either by genuine means or as a way to placate the money-grabbers, would be your family? And why would she need to favour her Tudor brethren? They're already doing pretty well for themselves. I will concede that the author does stress that Elizabeth did seem to favour those who showed loyalty, but I'm not sure that it illustrates the bond between mother and daughter specifically.

I wouldn't normally comment on this, but I feel it's warranted in this case. Having now read it, I do regret paying full price for this book. £25 is a lot for quite a short history book, and doesn't compare favourably with other, much more detailed and chunkier hardback tomes that are priced similarly. It does feel like you're paying something of a premium for the author's name and the subjects, and not getting quite as much as you'd hope for in return. But cost of living crisis and all that! 

Would certainly recommend to any Anne/Elizabeth fans out there as a supplemental read, once you know their stories.

In a backstreet cafe, regular customers visit for expertly made coffee, the staff who have become friends and the opportunity to step away from their daily lives. But there's an extra offer available in this place; if you sit in the right seat, you can travel in time for a few moments to right a wrong, say the words you meant to say or look upon the face of your loved one in happier times. As long as you follow the rules and finish your coffee before it gets cold.

A beautiful yet simple premise, with clearly defined rules to prevent things becoming outlandish, this is a cosy, comforting read. Essentially the story is comprised of four vignettes, all tied together by the cafe and its staff. And yet, each story comes together to add something to the whole cast of characters, giving it something of a 'found family' vibe. 

Each person who chooses to take the trip does so for reasons that are so understandable and relatable; I'm sure most of us have wished that we could time travel for at least one of the reasons they have. The fact that it's so gentle - no-one is looking to profit from it, there's no scores to settle or ugly selfishness in here - is just lovely, and the fact that there's no complicated explanations or justification for why you can time travel just in that seat, in that cafe actually makes the whole thing more believable and 'real'; I could be easily convinced you could stumble across this cafe in a city backstreet somewhere. 

Unfortunately however, I do think something has probably quite literally been lost in translation. The plot feels like it should read almost poetically, and something tells me in the original Japanese it probably does, but the prose in English is quite clunky, giving it an 'amateur writer' feel. There's a lot of telling rather than showing, and in places it can be quite hard to follow the thread of the action. Likewise, some of the characters come off the page far better than others, but I can't say that I felt like I could picture or grasp onto any of them fully. The book does speak to its audience, and I can imagine if you are an 'emotional' reader this will hit you right in the feels, but for me there was just something lacking in the sensitivity of the writing (whether from the author or the translator I can't quite tell) that detracted from the overall effect.

I understand that this is an adaptation of a stage play written by the author, and I can definitely see that working; the piece absolutely comes across like it would suit the visual performance format of the theatre, and would probably have a more visceral impact on the audience if well acted and produced. 

One to make you think and feel, and leave a warm glow in your insides on a cold and rainy day.

The second in the 'Five Crowns of Okrith' series, this story follows the second surviving Dammacus sister, Rua, as she remains behind at the Northern Court with its new King, Renwick, the Witchslayer, to counter a new threat and learn to deal with the darkness inside her.

As with book one, this is everything you'd expect from a standard romantasy book, so if you're looking for groundbreaking, probably best to go elsewhere. But for a continuation of an easy reading, reliable, engaging story, this checks all the boxes. It does get off to a bit of a slow start, but this improves as you settle in, aided by the writer's clear style - she uses each scene to illustrate the development of relationships between her characters, rather than to draw focus to action-packed moments, so while it's not a pacy book, by the end you feel can feel the characters' feelings with them, even if you don't like them that much. 

I say that last specifically about Rua. Apologies for the obvious comparison, but she comes across to me very much like Nesta in ACOTAR; grumpy, moan-y and with no idea how to see past her own woes. But, where Nesta has been given a beautiful redemption arc, the depth for Rua is missing. It's odd, because while everything flows well and it doesn't come as a surprise, her self-discovery feels like a simple plot contrivance rather than actual development. I believe she could be a much stronger character with further time and energy put into her, but as it is the story definitely works, just not as well as it could. On the other hand, I feel like Renwick's character is fully fleshed out and I love the little twists he brings to the tale.

I am beginning to see Okrith and the Courts more as the series progresses, and the worldbuilding and description in this book make the Northern Court camp in particular a lot easier to picture. But overall I would say that, while certain settings  are drawn out to the level of detail they deserve, it is still quite hard to immerse myself fully into the land and imagine myself within the story. 

I did enjoy and am happy to continue the series, but don't think it'll be for a while as my library service doesn't carry the rest... ☹️

Considering how long I've been waiting for this book to arrive at the library, it couldn't have made a more timely appearance. An overview of the First World War for a young adult audience, this book tells the story of the conflict through tales of people who were there. While well known names of course appear, the author also takes the time to bring to light stories of the ordinary folk, the men and women who laid down their lives in Flanders Field and beyond.

As with his book on WW2, I was struck by the fact that the whole conflict is included. So often we focus on this 'World' War as a fight over what is essentially miles of territory in France and Belgium. So I find it incredibly refreshing that the author has taken the time to rectify that assumption, explaining about the war on the Eastern Front, the involvement of nations not directly linked with either the Allies or the Central Powers and the naval battles. I won't say there's anything in here I wasn't vaguely aware of, but equally it goes into enough detail that it's expanded my understanding of certain elements, even if it hasn't taught me everything I need to know. 

The author does a sterling job at weaving in the words of his subjects to bring them (back) to life in the narrative. The work is written with sensitivity and care for all those mentioned; there's no revelling in victory or defeat; it really is about seeing different aspects of the war through their eyes. And yet there's no shying away from the sad fates of many - in broad terms the author describes the horrors of the trenches in a way that immediately invokes the realities of the conflict; the dead everywhere you look, the foul nature of the living conditions in the dugouts etc. and yet he manages to not overwhelm the reader with needlessly shocking depictions. Then on a more personal level, he matter-of-factly states that a featured person passed away the next day, yet because of the style it doesn't feel heartless. 

Although I do appreciate that lots of events take place concurrently, I did find the timeline of this one harder to follow as it's not quite in chronological order. In one chapter you might work through to half way through 1915, then at the start of the next you're back in 1914 again. As ultimately the book is made up of a series of vignettes from various perspectives, I wonder if a slight rejigging of things to keep things truly chronological might have made it an easier read. 

This one does feel more balanced than the Second World War book in the same series; the respect each side had for the other as evidenced by the various temporary truces etc. mean that it's a lot harder to paint the simplistic black and white narrative of 'Us good, them bad'. There are moments where certain individuals are painted in unflattering lights, but even these seem truer to life rather than caricatures. Although there is one moment where his tone feels like he's setting up a 'boo, hiss' pantomime villain rather than making a serious point, which only resulted in an eyeroll and an 'I wondered when he'd make an appearance' from me. It's not entirely necessary, but at the same time it's factually correct and forms an important part of the story of how the next 30 years develop...plus it's an obvious segue into the WW2 book.

Needless to say, in the morning I will remember them. 🌺

I'll be totally honest, when I first looked at this I was pretty sure I wouldn't enjoy it. But actually, it's another one of those terrifying dystopian novels that, if you squint, isn't actually that outlandish at all. Imagine that every woman you know is prevented from working, every girl's education is limited to basic maths and home economics (no reading or writing), and every female is limited to speaking just 100 words per day on pain of electrocution. How do you even begin to start fighting back?

The plot feels like quite a slow burn; it's certainly not an action packed storyline, but even within the fairly domestic setting there is something about the way this is written that keeps you engaged. In my opinion, it's actually the stories of the main character's oldest and youngest child that really cry out to you as a reader; seeing a teenage boy influenced into 'drinking the Kool-Aid', not just through peer pressure but through educational indoctrination and media bias feels so real and relatable, particularly considering the issues the US are currently experiencing. And the instinct to scream at the unfairness of a little girl suffering a nightmare and not being able to call out for her mummy  then celebrating when she wins an award for saying the fewest words in a day... it's heartbreaking. 

The book reads like the author looks at those of a religious persuasion and is genuinely perplexed at how their beliefs lead to such fanatical behaviour.  Now, clearly that is not reflective of every person of faith, but the author has done a very good job at illustrate the 'extreme' end of Christian conservatism in the US (at least, it's recognisable from a Brit's POV!) It's also a great social commentary on the importance of using your voice when you can; vote when you have the opportunity, stand up for your rights and the rights of others and take an interest in current affairs, politics and the world around you so you can try to make a difference, rather than getting stuck in a situation you don't like without ever having said a word.

This book is very much the author writing ehat she knows; her accreditation as a neurolinguist is stated in the 'About the Author' section. While it does make for interesting reading, at the same time her knowledge does shine through in the use of technical jargon and other elements. As it is quite a niche field of interest, it does make the book a little hard to follow in places and a little 'mad scientist-y' in the resolution. But overall it's still a very readable and understandable book.

I was also slightly disappointed by the ending. I appreciate that the story is told from one character's perspective, but that does mean that the denouement isn't witnessed firsthand and so the key scene is actually just referred to in a vague conversation between two characters. After that slow build, it would have been nice to see the outcome firsthand . 

Pleasantly surprised by this!