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ClareR (5911 KP) rated The Persians in Books
Feb 3, 2025
On the face of it, The Persians is filled with vacuous, materialistic women, but as I read further, these women had been either torn from their homes in order to escape the new religious government in Iran, or were having to live there, having remained. Trauma has a large part to play in the make up of these women.
Both the women in Iran and those in the US are non-conformists, rule breakers - and some more than others. There’s the obvious Shirin, who’s arrested on prostitution charges at the beginning of the book, and Bita, who decides to break away from her family history and wealth, and make her own way. Then there’s the matriarch, Elizabeth, who remains in Iran and uses her age and family name to get away with not following the rules of Islamic law (to some degree), and her granddaughter Niaz, who is arrested and put in a Tehran jail.
A lot of secrets are revealed (there are some big secrets to be revealed!), and when mothers and daughters are honest and truthful with one another, relationships can be repaired. But will they?
A very enjoyable, somewhat escapist read - I mean, the wealth of these people is startling!
Both the women in Iran and those in the US are non-conformists, rule breakers - and some more than others. There’s the obvious Shirin, who’s arrested on prostitution charges at the beginning of the book, and Bita, who decides to break away from her family history and wealth, and make her own way. Then there’s the matriarch, Elizabeth, who remains in Iran and uses her age and family name to get away with not following the rules of Islamic law (to some degree), and her granddaughter Niaz, who is arrested and put in a Tehran jail.
A lot of secrets are revealed (there are some big secrets to be revealed!), and when mothers and daughters are honest and truthful with one another, relationships can be repaired. But will they?
A very enjoyable, somewhat escapist read - I mean, the wealth of these people is startling!
ClareR (5911 KP) rated Enlightenment in Books
Mar 29, 2025
I sank into Enlightenment, and I really didn’t want to resurface. The way Enlightenment is written could be described as Dickens-esque perhaps, but whatever it is, it’s rich in the type of description that I truly love about reading. I would lose myself for an hour or so (or more!) taking my time over the story of Thomas Hart, Grace Macauley, the Baptist church and a 19th century female astronomer.
My heart ached for these characters, especially for Thomas who felt that he couldn’t live an authentic, true life, because he would be rejected from his church. He’s a lovely man, who fills his time with the search for the astronomer, and his love for Grace Macauley.
Grace is a young girl, learning to live the life she wants to live and not that dictated by her father and her church. Faith plays a big role in this novel: both religious faith and the faith we have in others. Grace and Thomas have a disagreement and have to find their way back to one another. Despite the age difference, they are true friends.
I didn’t think I could find astronomy as interesting as I did, but the writing teamed with a ghostly astronomer and Thomas, certainly helped.
A beautiful book!
My heart ached for these characters, especially for Thomas who felt that he couldn’t live an authentic, true life, because he would be rejected from his church. He’s a lovely man, who fills his time with the search for the astronomer, and his love for Grace Macauley.
Grace is a young girl, learning to live the life she wants to live and not that dictated by her father and her church. Faith plays a big role in this novel: both religious faith and the faith we have in others. Grace and Thomas have a disagreement and have to find their way back to one another. Despite the age difference, they are true friends.
I didn’t think I could find astronomy as interesting as I did, but the writing teamed with a ghostly astronomer and Thomas, certainly helped.
A beautiful book!
Bob Mann (459 KP) rated Saint Maud (2020) in Movies
Oct 6, 2020
Morfydd Clark - astonishingly good as Maud (1 more)
Expert pacing from debut director Rose Glass
"My Little Saviour": Astonishing Saint Maud delivers psycho-religious chills
Saint Maud is the debut feature from writer/director Rose Glass, and it packs a punch. The film was first seen at last year's London Film Festival, but was due for broader nationwide release soon. What a crushing disappointment it must be for Ms Glass that so few people will likely get to see it in the current climate... at least, not for a while. Since it is an effective little chiller.
Maud (Morfydd Clark) is a palliative nurse looking after ex-choreographer Amanda (Jennifer Ehle). Maud is extremely religious and feels God move in her... regularly. Acting on His guidance, Maud sets out to save the soul of her ailing bohemian charge. But is Amanda beyond reach, and how will the zealot-like Maud react to that rejection?
Morfydd Clark appears so young in this film that you would think this was her debut film. But she's actually 30 years old and has quite an impressive filmography already. Although this is her movie-lead debut, she's had a substantial part alongside Kate Beckinsale in the excellent "Love and Friendship" and smaller parts in "Crawl", "The Personal History of David Copperfield" and the fun "Pride and Prejudice and Zombies". She's likely to get more worldwide exposure soon as a young Galadriel in Amazon's new version of "Lord of the Rings".
As Maud she is simply superb - expressing such a range of joy, hurt and despair that you must think a BAFTA Rising Star nomination should be on the cards.
Clark is ably supported in the leading role by the splendid Jennifer Ehle, still so memorable to me as Elizabeth Bennett from the BBC's "Pride and Prejudice".
Scarborough is also a star of "Saint Maud". The Yorkshire seaside town is another star of the movie. Clearly filmed before lockdown, the rainy and windswept resort looks bleak and unwelcoming. And that's before Covid! Many of those struggling bars and amusement centres, as in other resorts all around the UK, are now on their last legs.
Adam Janota Bzowski supplies the impressively claustrophobic music, which deserves recognition. A scene with Maud, flicking a lighter rhythmically in time with the sonorous beat, is a masterpiece in musical choreography and editing (by Mark Towns).
At the heart of this horror-thriller is whether, following a Dawkins-style argument, fervent religious followers are less insightfully correct and more mentally unstable and misguided. When is the voice of God just the voice in your head? And how would you tell the difference anyway? Piecing together the plot and motivations of Maud was intellectually challenging and rewarding.
I always get a little tense and nervous when I see the word "horror" on a movie bill. I am NOT a great horror fan! But for me, as a 'horror movie', "Saint Maud" is of the 'horror-lite' variety. Highly watchable, it builds more in the way of creeping dread than cheap shocks. There were only a couple of jump-scares (but for me, the one in the finale was a doozy!).
A BBC interview with Rose Glass I just saw says she relates Maud's relationship with God as like many people's relationship with social media. Always looking for support, guidance and affirmation. Interesting.
This is also an obviously female-led picture. All the men are complete tools. no, really, literally they are. It makes me feel ashamed to be among their number.
Overall, "Saint Maud" is a minor classic. I didn't go in with great expectations of this one, but I was pleasantly surprised. As a small British movie, it packs a punch significantly above its weight. When I came out I was at about a 7* rating. But this is one that really stayed with me, and I've subconsciously thought about little else all day. So for that reason I am going to escalate my rating to something more appropriate.
You might struggle now to see it on the big screen, but if you can do so, it comes with a recommendation from me. I think this one could REALLY be a "Marmite film".... so if you see it, let me know what you thought with a comment on One Mann's Movies here https://rb.gy/9k93ck . (Thanks).
Maud (Morfydd Clark) is a palliative nurse looking after ex-choreographer Amanda (Jennifer Ehle). Maud is extremely religious and feels God move in her... regularly. Acting on His guidance, Maud sets out to save the soul of her ailing bohemian charge. But is Amanda beyond reach, and how will the zealot-like Maud react to that rejection?
Morfydd Clark appears so young in this film that you would think this was her debut film. But she's actually 30 years old and has quite an impressive filmography already. Although this is her movie-lead debut, she's had a substantial part alongside Kate Beckinsale in the excellent "Love and Friendship" and smaller parts in "Crawl", "The Personal History of David Copperfield" and the fun "Pride and Prejudice and Zombies". She's likely to get more worldwide exposure soon as a young Galadriel in Amazon's new version of "Lord of the Rings".
As Maud she is simply superb - expressing such a range of joy, hurt and despair that you must think a BAFTA Rising Star nomination should be on the cards.
Clark is ably supported in the leading role by the splendid Jennifer Ehle, still so memorable to me as Elizabeth Bennett from the BBC's "Pride and Prejudice".
Scarborough is also a star of "Saint Maud". The Yorkshire seaside town is another star of the movie. Clearly filmed before lockdown, the rainy and windswept resort looks bleak and unwelcoming. And that's before Covid! Many of those struggling bars and amusement centres, as in other resorts all around the UK, are now on their last legs.
Adam Janota Bzowski supplies the impressively claustrophobic music, which deserves recognition. A scene with Maud, flicking a lighter rhythmically in time with the sonorous beat, is a masterpiece in musical choreography and editing (by Mark Towns).
At the heart of this horror-thriller is whether, following a Dawkins-style argument, fervent religious followers are less insightfully correct and more mentally unstable and misguided. When is the voice of God just the voice in your head? And how would you tell the difference anyway? Piecing together the plot and motivations of Maud was intellectually challenging and rewarding.
I always get a little tense and nervous when I see the word "horror" on a movie bill. I am NOT a great horror fan! But for me, as a 'horror movie', "Saint Maud" is of the 'horror-lite' variety. Highly watchable, it builds more in the way of creeping dread than cheap shocks. There were only a couple of jump-scares (but for me, the one in the finale was a doozy!).
A BBC interview with Rose Glass I just saw says she relates Maud's relationship with God as like many people's relationship with social media. Always looking for support, guidance and affirmation. Interesting.
This is also an obviously female-led picture. All the men are complete tools. no, really, literally they are. It makes me feel ashamed to be among their number.
Overall, "Saint Maud" is a minor classic. I didn't go in with great expectations of this one, but I was pleasantly surprised. As a small British movie, it packs a punch significantly above its weight. When I came out I was at about a 7* rating. But this is one that really stayed with me, and I've subconsciously thought about little else all day. So for that reason I am going to escalate my rating to something more appropriate.
You might struggle now to see it on the big screen, but if you can do so, it comes with a recommendation from me. I think this one could REALLY be a "Marmite film".... so if you see it, let me know what you thought with a comment on One Mann's Movies here https://rb.gy/9k93ck . (Thanks).
Bob Mann (459 KP) rated Mother! (2017) in Movies
Sep 29, 2021
Welcome to the Crystal Maze.
Darren Aronosfsky’s mother! is like no other film you’ll see this year: guaranteed. As a film lover, an Aronosfsky film is a bit like root canal at the dentist: you know you really need to go ahead and do it, but you know you’re not going to be very comfortable in the process.
Jennifer Lawrence (“Passengers“, “Joy“) plays “mother!” doing up a dilapidated old house in the middle of nowhere with her much older husband “Him” (Javier Bardem, “Skyfall”). he (sorry…. He) is a world-famous poet struggling to overcome a massive writing block. The situation is making things tense between the couple, and things get worse when He inexplicably invites a homeless couple “man” (Ed Harris, “Westworld”, “The Truman Show”) and “woman” (Michelle Pfeiffer, “Stardust”) to stay at the house. As things go progressively downhill, is mother losing her mind or is all the crazy stuff going on actually happening?
Jennifer Lawrence can do no wrong at the moment, and her complexion in the film is flawless: it needs to be, since she has the camera constantly about 3 inches from her face for large chunks of the movie: I sat in the very back row, and I still wasn’t far enough away! Her portrayal of a house-proud woman getting progressively more and more irritated by her guests’ inconsiderate acts – a glass? without a table mat??! – is a joy to watch. As her DIY ‘paradise’ is progressively sullied my ‘man’ and ‘woman’, so her distress grows exponentially.
Some of the supporting acting is also superb, with Ed Harris and particularly Michelle Pfeiffer enjoying themselves immensely. Also worthy of note are the brothers played by real-life brothers Brian Gleeson and Domhnall Gleeson: the latter must never sleep since he must be *constantly* on set at the moment. One of these guys in particular is very abel! (sic).
Whereas the trailer depicts this as a kind of normal haunted house spookfest, it is actually nothing of the sort: much of the action (although far-fetched) has a reasonably rational explanation (a continuation of my theme of the “physics of horror” from my last two reviews). The film is largely seen through mother!’s eyes, and the skillful cinematographer Matthew Libatique – an Aronosfsky-regular – oppressively and relentlessly delivers a uniquely tense cinematic experience. For me, for the first two thirds of the film at least, it succeeds brilliantly.
Aronosfsky is no shirker of film controversy: having Natalie Portman perform oral sex on Natalie Portman in “Black Swan” was enough to teach you that. But in the final reels of this film, Aronosfsky doesn’t just wind the dial past 10 to the Spinal Tap 11…. he keeps going right on up to 20. There are a few scenes in movies over the years that I wish I could go back and “unsee”, and this film has one of those: a truly upsetting slice of horror, playing to your worst nightmares of loss and despair. While the religious allegory in these scenes is splatted on as heavily as the splodges of mother!’s decorative plaster, they are nonetheless extremely disturbing and bound to massively divide the cinema audience. I think it’s fair to say that this DVD is not going to have “The Perfect Gift for Mother’s Day” as its marketing strapline.
Which all leaves me… where exactly? For the first time in a long time I actually have no idea! This is a film that I was willing to give an “FF” to while I was watching it, but as time has passed and I have thought more on the environmental and religious allegories, and the portrayal of the cult worship prevalent in popular X-factor celebrity, I am warming to it despite my best instincts not to. I’m not religious, but I would love to compare notes on this one with someone with strongly Christian views.
So, I’m actually going to break all the rules (a snake told me to) and not provide any rating below at this time. I might revisit it again at Christmas* to see if I can resolve it in my mind as either a movie masterpiece or over-indulgent codswallop.
* I have, and have decided to give it 4 Fads… its a film I’ve thought about a lot over the last few months.
Jennifer Lawrence (“Passengers“, “Joy“) plays “mother!” doing up a dilapidated old house in the middle of nowhere with her much older husband “Him” (Javier Bardem, “Skyfall”). he (sorry…. He) is a world-famous poet struggling to overcome a massive writing block. The situation is making things tense between the couple, and things get worse when He inexplicably invites a homeless couple “man” (Ed Harris, “Westworld”, “The Truman Show”) and “woman” (Michelle Pfeiffer, “Stardust”) to stay at the house. As things go progressively downhill, is mother losing her mind or is all the crazy stuff going on actually happening?
Jennifer Lawrence can do no wrong at the moment, and her complexion in the film is flawless: it needs to be, since she has the camera constantly about 3 inches from her face for large chunks of the movie: I sat in the very back row, and I still wasn’t far enough away! Her portrayal of a house-proud woman getting progressively more and more irritated by her guests’ inconsiderate acts – a glass? without a table mat??! – is a joy to watch. As her DIY ‘paradise’ is progressively sullied my ‘man’ and ‘woman’, so her distress grows exponentially.
Some of the supporting acting is also superb, with Ed Harris and particularly Michelle Pfeiffer enjoying themselves immensely. Also worthy of note are the brothers played by real-life brothers Brian Gleeson and Domhnall Gleeson: the latter must never sleep since he must be *constantly* on set at the moment. One of these guys in particular is very abel! (sic).
Whereas the trailer depicts this as a kind of normal haunted house spookfest, it is actually nothing of the sort: much of the action (although far-fetched) has a reasonably rational explanation (a continuation of my theme of the “physics of horror” from my last two reviews). The film is largely seen through mother!’s eyes, and the skillful cinematographer Matthew Libatique – an Aronosfsky-regular – oppressively and relentlessly delivers a uniquely tense cinematic experience. For me, for the first two thirds of the film at least, it succeeds brilliantly.
Aronosfsky is no shirker of film controversy: having Natalie Portman perform oral sex on Natalie Portman in “Black Swan” was enough to teach you that. But in the final reels of this film, Aronosfsky doesn’t just wind the dial past 10 to the Spinal Tap 11…. he keeps going right on up to 20. There are a few scenes in movies over the years that I wish I could go back and “unsee”, and this film has one of those: a truly upsetting slice of horror, playing to your worst nightmares of loss and despair. While the religious allegory in these scenes is splatted on as heavily as the splodges of mother!’s decorative plaster, they are nonetheless extremely disturbing and bound to massively divide the cinema audience. I think it’s fair to say that this DVD is not going to have “The Perfect Gift for Mother’s Day” as its marketing strapline.
Which all leaves me… where exactly? For the first time in a long time I actually have no idea! This is a film that I was willing to give an “FF” to while I was watching it, but as time has passed and I have thought more on the environmental and religious allegories, and the portrayal of the cult worship prevalent in popular X-factor celebrity, I am warming to it despite my best instincts not to. I’m not religious, but I would love to compare notes on this one with someone with strongly Christian views.
So, I’m actually going to break all the rules (a snake told me to) and not provide any rating below at this time. I might revisit it again at Christmas* to see if I can resolve it in my mind as either a movie masterpiece or over-indulgent codswallop.
* I have, and have decided to give it 4 Fads… its a film I’ve thought about a lot over the last few months.
Darren (1599 KP) rated A Prophet (Un prophete) (2010) in Movies
Jun 20, 2019
Story: A Prophet starts as Malik (Rahim) enters prison, he wants to keep to himself and get out quickly, but this doesn’t happen because crime boss Cesar (Arestrup) sees him as a potential new employee in need of protection on the inside, but in exchange Malik must do some of the dirty work for Cesar.
As time goes by Malik starts getting granted day release from prison where he must run jobs for Cesar, instead of getting back into normal life again. When things start getting out of control Malik must find a way out of this life before it is too late.
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Thoughts on A Prophet
Characters – Malik is a young criminal, sent to prison where he wants to do his time and walk away from his mistakes, he isn’t going to get this chance as he gets recruited with the promise of protection on the inside. He finds himself doing whatever it takes to survive this, but can he find a way out. Cesar is the crime lord in prison, he offers protection in exchange for jobs to be done for him, he will kill anyone that crosses him though.
Performances – The performances in this film are fantastic, you believe each reaction and motive the characters must go through as things are happening in the film.
Story – The story follows one young man’s fall into the crime world from inside a prison, to where he must find a way out before it finds himself too deep. There is a religious element to the story which shows the tension between Arabic and Muslims as Malik is stuck between the twos battle. This is a by the book gangster style movie where the new person enters and rises up the gang only to want to find a way out too.
Crime – The crime world we enter starts in prison and shows how things can still be operated from within the prison walls if the ranks are high enough.
Settings – The film is mostly set in the prison, so you can see the world that can operate inside there, outside each process is where Malik is either sent or finding himself while going through the release procedure.
Scene of the Movie – The first kill.
That Moment That Annoyed Me – It is too long for my liking.
Final Thoughts – This is a tense crime thriller showing us just where a young man can fall into while trying to just get out of his own problems with a large amount of religious undertone.
Overall: One for the gangster fans.
https://moviesreview101.com/2018/02/01/abc-film-challenge-oscar-nomination-a-a-prophet-2009/
As time goes by Malik starts getting granted day release from prison where he must run jobs for Cesar, instead of getting back into normal life again. When things start getting out of control Malik must find a way out of this life before it is too late.
REPORT THIS AD
Thoughts on A Prophet
Characters – Malik is a young criminal, sent to prison where he wants to do his time and walk away from his mistakes, he isn’t going to get this chance as he gets recruited with the promise of protection on the inside. He finds himself doing whatever it takes to survive this, but can he find a way out. Cesar is the crime lord in prison, he offers protection in exchange for jobs to be done for him, he will kill anyone that crosses him though.
Performances – The performances in this film are fantastic, you believe each reaction and motive the characters must go through as things are happening in the film.
Story – The story follows one young man’s fall into the crime world from inside a prison, to where he must find a way out before it finds himself too deep. There is a religious element to the story which shows the tension between Arabic and Muslims as Malik is stuck between the twos battle. This is a by the book gangster style movie where the new person enters and rises up the gang only to want to find a way out too.
Crime – The crime world we enter starts in prison and shows how things can still be operated from within the prison walls if the ranks are high enough.
Settings – The film is mostly set in the prison, so you can see the world that can operate inside there, outside each process is where Malik is either sent or finding himself while going through the release procedure.
Scene of the Movie – The first kill.
That Moment That Annoyed Me – It is too long for my liking.
Final Thoughts – This is a tense crime thriller showing us just where a young man can fall into while trying to just get out of his own problems with a large amount of religious undertone.
Overall: One for the gangster fans.
https://moviesreview101.com/2018/02/01/abc-film-challenge-oscar-nomination-a-a-prophet-2009/
Kristy H (1252 KP) rated Autoboyography in Books
Mar 19, 2020
When Tanner's family relocates from progressive California to Provo, UT, the bisexual teenager is basically forced back in the closet. While his parents are actually incredibly supportive of his sexuality, their own past experiences lead them to want to keep their son safe and guarded in the largely conservative Mormon community. Now a senior in high school, Tanner is ready to graduate and leave Provo behind. But when his best friend Autumn convinces him to join the Seminar--a rather famous Provo high school class where students write a novel in four months--everything changes. There Tanner meets the Seminar's most well-known graduate, Sebastian Brother, a Mormon who sold his book rights last year. Tanner immediately falls for Sebastian, and he starts chronicling it all: in his own book.
I have a lot of complicated feelings about this book. It's wonderful to see a bisexual protagonist in YA literature, even if Tanner's bisexuality doesn't seem fully explored (and he's not always believed). This is very emotional book, and it certainly wrenched at my heartstrings. From the beginning, it seems pretty clear that there isn't going to be an easy outcome. Sebastian and Tanner are going to fall for each other. The Mormon community doesn't support their brethren being gay. Sebastian can either have Tanner or his family, right?
I also wasn't sure why Tanner's family was so against him a) coming out in Provo or b) falling for a Mormon. We learn that his family has a lot of baggage that causes this, but it was a little strange. The book's exploration of the religious aspect of Mormonism was very interesting and eye-opening, though, as a result, I wasn't sure how realistic the ending was. Still, I found the two boys' exploration and relationship to be heartbreaking and riveting.
There is a lot going on in the book--so many deep emotions, along with coverage of religion and sexuality. I found myself very protective of Tanner and trying to understand his parents, at times, even if they were supportive overall. I even felt that way about Sebastian, even though I couldn't imagine, truly, how he must be feeling, trying to reconcile his own emotions about Tanner against his religious upbringing.
In the end, I liked this one a lot even if I found some areas problematic (Tanner's parents; an incident with Tanner and Autumn; the ending wrapping up a little neatly). It was a very insightful look at religion and sexuality for these two young men and really got me thinking about a lot. Through all the angst, there was a lot of depth and feeling. 4 stars.
I have a lot of complicated feelings about this book. It's wonderful to see a bisexual protagonist in YA literature, even if Tanner's bisexuality doesn't seem fully explored (and he's not always believed). This is very emotional book, and it certainly wrenched at my heartstrings. From the beginning, it seems pretty clear that there isn't going to be an easy outcome. Sebastian and Tanner are going to fall for each other. The Mormon community doesn't support their brethren being gay. Sebastian can either have Tanner or his family, right?
I also wasn't sure why Tanner's family was so against him a) coming out in Provo or b) falling for a Mormon. We learn that his family has a lot of baggage that causes this, but it was a little strange. The book's exploration of the religious aspect of Mormonism was very interesting and eye-opening, though, as a result, I wasn't sure how realistic the ending was. Still, I found the two boys' exploration and relationship to be heartbreaking and riveting.
There is a lot going on in the book--so many deep emotions, along with coverage of religion and sexuality. I found myself very protective of Tanner and trying to understand his parents, at times, even if they were supportive overall. I even felt that way about Sebastian, even though I couldn't imagine, truly, how he must be feeling, trying to reconcile his own emotions about Tanner against his religious upbringing.
In the end, I liked this one a lot even if I found some areas problematic (Tanner's parents; an incident with Tanner and Autumn; the ending wrapping up a little neatly). It was a very insightful look at religion and sexuality for these two young men and really got me thinking about a lot. Through all the angst, there was a lot of depth and feeling. 4 stars.
Sean Farrell (9 KP) rated Ararat in Books
Mar 15, 2018
"Popcorn" books can be a lot of fun no matter what time of year it is, but they seem especially appropriate in the Summer time, and this latest horror offering from Christopher Golden is a pretty perfect Summer book. Engaged, moutain-climbing authors / documentary filmmakers Adam and Meryam are in a race to be first up Mt. Ararat into a cavern that has opened up as the result of an earthquake, possibly revealing Noah's Ark. Unsurprisingly they make it and discover that the cavern appears to actually be the ark itself, and it contains a rather disturbing discovery inside. Nevertheless, they assemble a team of international archaeologists, religious experts, mountain guides, and government representatives and get to work studying their findings. As a blizzard approaches, effectively trapping them inside the Ark, things begin to take a turn for the worse at the site as the body count begins piling up, and the tone of the book switches from adventure mixed with some mystery to a straight-up frightfest. This is one of the scarier books I've read in a while, using some pretty shocking violence to really up the fear factor. As a result, while not likely to win any literary rewards, Mr. Golden has created one of the year's most entertaining books, and written a story that would make a great Summer blockbuster.
Ross (3284 KP) rated Perfect Silence in Books
Oct 9, 2018 (Updated Oct 9, 2018)
Gripping and thrilling detective story
*** Disclosure - I received a free copy of this book from the publishers and NetGalley in exchange for an honest review ***
This, the fourth DI Luc Callanach book, follows a familiar pattern - two crimes committed early on and parallel investigations into those cause conflict and tension, one being a more typical serial killer hunt, the other a more politically charged investigation.
Over the previous books it feels like Fields has grown bored of her French detective and has put a lot more focus into DCI Ava Turner. This is in no way a bad thing as she feels more real and likeable (less clichéd), but an odd progression for "The DI Callanach" series to have.
The action and cases in this book are quite compelling - young women being kidnapped and their mutilated bodies dumped a week later and a gruesome memento left in the locale of the next victim, with religious overtones; and a spate of drugged homeless people being branded in public places. As usual the killer leaves virtually no trace behind and it is quite some time before the detectives have any idea of who they are looking for.
I still have a few issues with the dialogue in these books, but the plot was solid here, with twists and turns along the way, with a very gripping, proper unputdownable final few chapters.
This, the fourth DI Luc Callanach book, follows a familiar pattern - two crimes committed early on and parallel investigations into those cause conflict and tension, one being a more typical serial killer hunt, the other a more politically charged investigation.
Over the previous books it feels like Fields has grown bored of her French detective and has put a lot more focus into DCI Ava Turner. This is in no way a bad thing as she feels more real and likeable (less clichéd), but an odd progression for "The DI Callanach" series to have.
The action and cases in this book are quite compelling - young women being kidnapped and their mutilated bodies dumped a week later and a gruesome memento left in the locale of the next victim, with religious overtones; and a spate of drugged homeless people being branded in public places. As usual the killer leaves virtually no trace behind and it is quite some time before the detectives have any idea of who they are looking for.
I still have a few issues with the dialogue in these books, but the plot was solid here, with twists and turns along the way, with a very gripping, proper unputdownable final few chapters.
Christine A. (965 KP) rated After the Fire in Books
Nov 14, 2018
I was provided with a complimentary copy of this book so I could give an honest review.
"After the Fire" is a chilling look at a young adult's tale of growing up in and surviving a fictional cult. I have read from the perspective of an adult but this was through the eyes of a young girl, "Moonbeam". She lived for years in the fanatical religious cult with her mother and her "brothers" and "sisters". We are given a glimpse into her thought process, her true faith, and relationships with the other cult members.
By Will Hill selecting Moonbeam as his central character to tell the story of what happened before and after the fire, we are able to empathize with her and the other "family" members. As with any group, there are good and bad, young and old, male and female. We are able to see they are regular, every day people who believe they are following a prophet.
"After the Fire" was inspired by the 1993 Waco siege in which members of the Branch Davidian sect, including children, and government agents died in a fire fight. This story imagines what it was like to like in a similar base (Moonbeam does not like the word compound) and is told mostly through an interview and flashbacks.
"After the Fire" is a chilling look at a young adult's tale of growing up in and surviving a fictional cult. I have read from the perspective of an adult but this was through the eyes of a young girl, "Moonbeam". She lived for years in the fanatical religious cult with her mother and her "brothers" and "sisters". We are given a glimpse into her thought process, her true faith, and relationships with the other cult members.
By Will Hill selecting Moonbeam as his central character to tell the story of what happened before and after the fire, we are able to empathize with her and the other "family" members. As with any group, there are good and bad, young and old, male and female. We are able to see they are regular, every day people who believe they are following a prophet.
"After the Fire" was inspired by the 1993 Waco siege in which members of the Branch Davidian sect, including children, and government agents died in a fire fight. This story imagines what it was like to like in a similar base (Moonbeam does not like the word compound) and is told mostly through an interview and flashbacks.
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