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EXSILIUM (Roma Nova Thriller #11)
8.0
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Exile – A living death to a Roman AD 395. In a Christian Roman Empire, worshipping the...
Alternative Historical Fiction
Whichever Way The Road Leads (The Eastman Saga #1)
8.0
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Meet Jesse Eastman, a young man from a powerful and wealthy American family. When he joins a group...
Historical Romance
Operation Tulip (WW2 Secret Agent #3)
Book
Holland, 1944: Undercover British agent Nancy Callaghan has been given her toughest case yet. A key...
WWII Historical Fiction Holland Romance
The Immigrant Queen
Book
Hated as a foreigner, despised as a woman, I became First Lady of Athens Aspasia falls...
Historical Fiction
Zuky the BookBum (15 KP) rated The Witchfinder's Sister in Books
Mar 15, 2018
<i><b>I think now that to be close to someone can be to underestimate them. Grow too close, and you do not see what they are capable of; or you do not see it in time.</b></i>
<i>The Witchfinder’s Sister</i> is based on true life witch hunter Matthew Hopkins that grew to fame during the English Civil War around East Anglia, hunting and killing “witches”. This book isn’t non-fiction, it’s fiction based around non-fiction! I love these sorts of books that create their own stories from something that was very much real. Not only does it make for good reading, they also bring in some true history facts, so you’re being educated on the subject as you read.
High praise goes to Underdown for this novel. I feel like historical fiction can be hard genre to get right, and considering this is a <i>debut</i> novel, I’m amazed at how well put together and beautiful this has turned out to be! I love reading historical fiction, every once in awhile, and this is the sort of book that keeps my love for the genre burning.
The writing in this novel was haunting and beautiful. Nine times out of ten, it was exactly as you would have imagined the 17th Century to be, but I felt there were a few slips that made the book feel modern. For example, would a lady in 1645 say the phrase <i><b>“shitting herself”</b></i>? Correct me if I’m wrong, but that feels like a reasonably modern phrase to me.
I loved our main character, Alice. Me and my mum were talking about historical fiction novels and how we find it hard to understand why women make the decisions they make in these books, because we’re so used to having some equality and independence. But I noted that in this book, even though Alice is inferior to her brother and his counterparts, she is still a risk taker; going against her brother's wishes & sneaking around. I liked that she was strong and a little rebellious, it was so much easier to connect with her because of this.
On the other hand. I <i>hated</i> Matthew. He was a despicable character. I can rarely hate a character in a book, even if I’m supposed to. I tend to find the good in them at some point, or have some sort of sympathy for them, but I absolutely despised Matthew. Well done to Underdown for creating such a hate-inducing character. It’s quite a hard feat, but she managed it perfectly. The same goes for Mary Phillips.
The tension was built so well in this novel, you could feel the mystery growing and growing with every page and I loved it! Though the story moved reasonably slowly, the book was still absolutely riveting and I found it extremely hard to put down when I knew it was time to get some rest.
I am so, so excited to read more from Underdown. This was an amazingly well put together and researched.
<i>Thanks to Netgalley and Penguin Books UK for giving me the opportunity to read this in exchange for an honest review.</i>
<i>The Witchfinder’s Sister</i> is based on true life witch hunter Matthew Hopkins that grew to fame during the English Civil War around East Anglia, hunting and killing “witches”. This book isn’t non-fiction, it’s fiction based around non-fiction! I love these sorts of books that create their own stories from something that was very much real. Not only does it make for good reading, they also bring in some true history facts, so you’re being educated on the subject as you read.
High praise goes to Underdown for this novel. I feel like historical fiction can be hard genre to get right, and considering this is a <i>debut</i> novel, I’m amazed at how well put together and beautiful this has turned out to be! I love reading historical fiction, every once in awhile, and this is the sort of book that keeps my love for the genre burning.
The writing in this novel was haunting and beautiful. Nine times out of ten, it was exactly as you would have imagined the 17th Century to be, but I felt there were a few slips that made the book feel modern. For example, would a lady in 1645 say the phrase <i><b>“shitting herself”</b></i>? Correct me if I’m wrong, but that feels like a reasonably modern phrase to me.
I loved our main character, Alice. Me and my mum were talking about historical fiction novels and how we find it hard to understand why women make the decisions they make in these books, because we’re so used to having some equality and independence. But I noted that in this book, even though Alice is inferior to her brother and his counterparts, she is still a risk taker; going against her brother's wishes & sneaking around. I liked that she was strong and a little rebellious, it was so much easier to connect with her because of this.
On the other hand. I <i>hated</i> Matthew. He was a despicable character. I can rarely hate a character in a book, even if I’m supposed to. I tend to find the good in them at some point, or have some sort of sympathy for them, but I absolutely despised Matthew. Well done to Underdown for creating such a hate-inducing character. It’s quite a hard feat, but she managed it perfectly. The same goes for Mary Phillips.
The tension was built so well in this novel, you could feel the mystery growing and growing with every page and I loved it! Though the story moved reasonably slowly, the book was still absolutely riveting and I found it extremely hard to put down when I knew it was time to get some rest.
I am so, so excited to read more from Underdown. This was an amazingly well put together and researched.
<i>Thanks to Netgalley and Penguin Books UK for giving me the opportunity to read this in exchange for an honest review.</i>
Gareth von Kallenbach (980 KP) rated Trumbo (2016) in Movies
Aug 6, 2019
What is it that makes, not a great, but even a good biopic? It is certainly no enviable task, trying to condense decades of a person’s life into a mere two hours. Choosing what to keep and what to leave, stringing events together so that they feel as though they are one complete narrative opposed to a series of vignettes. And then there are the inevitable purists who will write off the entire product based on a single detail either left out or composited due to running time or budgetary restrictions. Over the years, I have found myself wrestling with my opinion of Braveheart. Do I enjoy it for its epic qualities, or do I cast it aside as the wretched historical inaccuracies fly in the face of what is one of the most important times in a country’s past?
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
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Acanthea Grimscythe (300 KP) rated Green Darkness in Books
May 16, 2018
Having picked <i>Green Darkness</i> up from the local library bookstore sale for only a quarter, I truly had no idea what I was getting myself into. Historical fiction, in any form, is not a genre that I've spent much time with, and coupling that with paranormal romance? Well, we can safely say that I was in for a ride.
<i>Green Darkness</i> shares the harrowing tale of forbidden love in mid-1500s England between an unfortunate peasant girl and a Benedictine monk, betwixt the reigns of King Edward VI, Queen Mary I, and Queen Elizabeth - a time when Catholicism and Protestantism (depending on the ruler) were met with persecution. It doesn't begin in that era, however; rather, the story starts in the 1960s, when Celia and her newly wedded husband, Richard Marsdon, arrive at his family's ancestral estate in Sussex. A baffling illness befalls the Marsdons, leaving the unorthodox physician, Doctor Akananda, to unravel the mysterious past that haunts the pair from hundreds of years before.
The twisting tale that unravels of that love affair is only a small part of what I enjoyed about this book, as romance is not typically my cup of tea. What truly enticed me was [a:Anya Seton|18930|Anya Seton|https://d.gr-assets.com/authors/1224813438p2/18930.jpg]'s faithfulness not only to history, but to location, legend, and use of historical figures. Cowdray House and Ightham Mote are real places, and an unfounded rumor regarding the Mote suggests that a female skeleton was found within its walls - which Seton used as a basis for her story. Through Seton, I discovered an unknown love for Tudor England, and undoubtedly I will read more books set in that time period.
Despite my praise for the book, I was unable to give it a five star rating because of its conclusion: it was as if Seton ran out of fuel. The idea of reincarnation takes a more ridiculous turn when Doctor Akananda hints at more pasts that conveniently interlock the same people. As if that were not enough of an affront, the resolution itself fell flat. With the Marsdon family tragedy conveniently wrapped up, Celia and Stephen seem aloof and their interaction felt a bit too forced. It is for this reason that I gave the book four stars.
<i>Green Darkness</i> shares the harrowing tale of forbidden love in mid-1500s England between an unfortunate peasant girl and a Benedictine monk, betwixt the reigns of King Edward VI, Queen Mary I, and Queen Elizabeth - a time when Catholicism and Protestantism (depending on the ruler) were met with persecution. It doesn't begin in that era, however; rather, the story starts in the 1960s, when Celia and her newly wedded husband, Richard Marsdon, arrive at his family's ancestral estate in Sussex. A baffling illness befalls the Marsdons, leaving the unorthodox physician, Doctor Akananda, to unravel the mysterious past that haunts the pair from hundreds of years before.
The twisting tale that unravels of that love affair is only a small part of what I enjoyed about this book, as romance is not typically my cup of tea. What truly enticed me was [a:Anya Seton|18930|Anya Seton|https://d.gr-assets.com/authors/1224813438p2/18930.jpg]'s faithfulness not only to history, but to location, legend, and use of historical figures. Cowdray House and Ightham Mote are real places, and an unfounded rumor regarding the Mote suggests that a female skeleton was found within its walls - which Seton used as a basis for her story. Through Seton, I discovered an unknown love for Tudor England, and undoubtedly I will read more books set in that time period.
Despite my praise for the book, I was unable to give it a five star rating because of its conclusion: it was as if Seton ran out of fuel. The idea of reincarnation takes a more ridiculous turn when Doctor Akananda hints at more pasts that conveniently interlock the same people. As if that were not enough of an affront, the resolution itself fell flat. With the Marsdon family tragedy conveniently wrapped up, Celia and Stephen seem aloof and their interaction felt a bit too forced. It is for this reason that I gave the book four stars.