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The Royal Fifth
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The Royal Fifth is based loosely on historical events surrounding the Conqueror, Hernán Cortés,...
Adventure Thriller
Heart Fire (Under Violet Suns #1)
8.0
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*The planet Falosia has an excess of females. The planet Verit has a surplus of males. The best of...
Adult Science Fiction Romance
Apollo's Raven (Curse of Clansmen and Kings #1)
6.0
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Book
A Celtic warrior princess is torn between her forbidden love for the enemy and duty to her people. ...
Historical Fantasy
Merissa (13600 KP) rated Catching the Dragon's Heart (Heartstone Rescue #2) in Books
Nov 5, 2023
CATCHING THE DRAGON'S HEART is the second book in the Heartstone Rescue series.
Eyv finds out his betrothal is being broken in favour of his younger brother. In anger, he bites off the hand of his 'beloved.' In return, his father crushes his heartstone and Evy gets sentenced to death. Nice, huh?! Durango is Boone's brother and one of the dragons sent to rescue Eyv. Their attraction is pretty much instant, but they have to cope with the whole, you know, dying part of not having a heartstone.
This was a great addition to the series but I would recommend reading it as a series rather than a standalone. It is full of characters we met in the first book, as well as new ones. There are also more rescues so that ramps up the political situation too.
Lake's story was perfect for him and Boone, just as this one is perfect for Eyv and Durango. I love their family and can't wait to see what happens next for them.
Definitely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Eyv finds out his betrothal is being broken in favour of his younger brother. In anger, he bites off the hand of his 'beloved.' In return, his father crushes his heartstone and Evy gets sentenced to death. Nice, huh?! Durango is Boone's brother and one of the dragons sent to rescue Eyv. Their attraction is pretty much instant, but they have to cope with the whole, you know, dying part of not having a heartstone.
This was a great addition to the series but I would recommend reading it as a series rather than a standalone. It is full of characters we met in the first book, as well as new ones. There are also more rescues so that ramps up the political situation too.
Lake's story was perfect for him and Boone, just as this one is perfect for Eyv and Durango. I love their family and can't wait to see what happens next for them.
Definitely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Merissa (13600 KP) rated Empress of Storms (Two Thrones #1) in Books
May 17, 2023
This is the story of Matthias and Danae, rulers of their countries, aligned in a political marriage that Danae hopes will become the real thing. She has had a 'crush' on Matthias for years, but he was happily married. Matthias is the one to marry Danae due to the fact that his wife died and his son, who was supposed to marry her, has disappeared.
This is an exceptional story, with undercurrents all the way through that will grip and entice you. The steamy scenes were certainly hot, but different to Nicola Cameron's other works. A lot more was left to the reader's imagination, which was a good thing for this book. I found the 'traitor' before the name was revealed, HOWEVER, it still came as a surprise, especially with the reasons given behind it. That is how well this book is written!
With a steady and flowing pace, this book with entice you from start to finish. Absolutely recommended and thoroughly enjoyed.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Jan 16, 2016
This is an exceptional story, with undercurrents all the way through that will grip and entice you. The steamy scenes were certainly hot, but different to Nicola Cameron's other works. A lot more was left to the reader's imagination, which was a good thing for this book. I found the 'traitor' before the name was revealed, HOWEVER, it still came as a surprise, especially with the reasons given behind it. That is how well this book is written!
With a steady and flowing pace, this book with entice you from start to finish. Absolutely recommended and thoroughly enjoyed.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Jan 16, 2016
Blossom and the Beast (The Alder Tales #1)
10.0
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Blossom Frane is only weeks away from her transformation. On her eighteenth birthday, she’ll find...
Paranormal Romance Fairy tale Retelling
Resolute (The Lost Fleet Outlands #2)
6.0
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Book
Admiral John "Black Jack" Geary must battle dangers both within and without the Alliance, in this...
Mark @ Carstairs Considers (2464 KP) rated A Voyage of Vengeance in Books
Aug 5, 2024
Sailing with a Killer
Duchess Jacqueline Arienta Xavier is thrilled to be joining the maiden voyage of Rose of the Sea, a luxury vessel. The voyage is also a birthday celebration for one of her friends, Lady Carriena, the future ruler of Isla DeLacqua. But Jax is surprised to find that her fellow passengers are an odd assortment of people, more for the political gain of her friend’s duchy than a true celebration. Then the weird things start happening. Can Jax figure out what is going on?
I was so happy to be back with these characters for the third novella; they already feel like old friends. While we get all the suspects introduced to us at once, it wasn’t long before I felt like I knew them well. The plot wandered a bit, but my patience was rewarded with a strong mystery and a great revelation. I also appreciated that the plot felt appropriate for the length of the story. The setting has just hints of a fantasy world to it while still being mainly about the mystery, and I love it. There are some hints at what came before, so know that going in. I enjoyed this story and can’t wait to see how the series transitions to full novels.
I was so happy to be back with these characters for the third novella; they already feel like old friends. While we get all the suspects introduced to us at once, it wasn’t long before I felt like I knew them well. The plot wandered a bit, but my patience was rewarded with a strong mystery and a great revelation. I also appreciated that the plot felt appropriate for the length of the story. The setting has just hints of a fantasy world to it while still being mainly about the mystery, and I love it. There are some hints at what came before, so know that going in. I enjoyed this story and can’t wait to see how the series transitions to full novels.
Eilidh G Clark (177 KP) rated The Panopticon in Books
May 13, 2017
This is my all time favouurite book.
Jenny Fagan stated in an interview in 2013 that prior to writing the novel The Panopticon (2012) she had one question, ‘is it possible to achieve autonomy?’ Fagan explores this question throughout her novel with the character of Anais Hendrix. I would also suggest that the author is metaphorically exploring whether Scotland can achieve autonomy as an independent nation. Autonomy, in relation to the individual, is self-governance- or being able to decide for oneself
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013