Archive for December, 2012

Oh, such high hopes I had for these ones!

Reviews I’d read and the past experiences I’d had with some of these authors led me to believe I’d love these books. But for various reasons, these were the reads that failed to thrill to the expected levels in 2012.

(I’ve read much “worse” books this year, but in all of those cases I had no expectations of excellence, so the disappointment wasn’t so deeply felt.)



In alphabetical order of author’s surname.


1. A White Bird Flying (1931)


Miss Bishop (1933) 

by Bess Streeter Aldrich

A double whammy of disappointment from this author, whose mild historical romances I generally quite enjoy. Both of these books started off wonderfully well, but by midway through each I was thoroughly out of sympathy with the heroines, and their every thought and action served only to annoy.

Laura in White Bird Flying seriously over-estimated her artistic abilities, and when she did chuck her not-very-viable dream of becoming a writer (key requirement: you have to be able to write) to marry her long-suffering swain, she rather moped her way through her not-very-exciting married life in much the same way as she’s drooped through college. Perhaps if she’d dreamed less and applied herself more? A bit of a whiner, was Laura, with a strong sense of her own “specialness”.

Ella Bishop, of Miss Bishop, might as well have been walked around with a “kick me” sign taped to her back. Her continual self-sacrifice buys her a few moments of gratification here and there, and a public ovation when she’s turfed from her job at the worst possible moment, but she still ends up a penniless old maid, having given and given and given all her life with no return from her selfish hangers-on. The author seems to approve. I really wanted Miss Bishop to show some selfishness and gratify a few of her own deep down desires, instead of being such a darned good sport all the way through. This whole story just irritated me. Grrr.

2. The L-Shaped Room (1960)


The Backward Shadow (1970)

by Lynne Reid Banks

I so wanted to enjoy the story of Jane Graham, a very liberated young woman who forges ahead with her life regardless of the opinions of those around her. I should have liked her, I wanted to like her, but ultimately I came away feeling that she was a morbidly self-centered and stunningly rude little piece of work. I pity her poor kid. I couldn’t make it through the second book of the trilogy, and I can’t even recall the title of the third book. Seems to me it focusses on Jane’s difficulties with her child. No wonder; I’m sure the mother-child relationship is as dismally ill-fated as all of Jane’s other relationships.

Too unspeakably dreary.

(However, Stuck-in-a-book’s Simon liked this one a lot, so don’t take my word for it; please read what he has to say, too. Most of his reviews agreeably jive with my own opinions, but this was a rare exception.)

3. Adventures of a Botanist’s Wife (1952)

by Eleanor Bor

A promising-sounding memoir of travels throughout northern India in the 1930s and 40s. In reality, the writing was a bit flat, and not nearly as interesting as I’d hoped for. The author didn’t include nearly enough detail either about her own thoughts and feelings, or about the botanical and geographical wonders of the areas she was moving through. A chore to finish; I kept expecting it to pick up, but the narrative deteriorated as the book progressed. This one could have been so wonderful; a sad disappointment.

4. Pippa Passes (1994)


Cromartie v. The God Shiva Acting Through the Government of India (1997)

by Rumer Godden

A pair of duds from veteran storyteller Godden. Written in the last years of her life, it is apparent that Godden’s stamina is failing in carrying these fictional ideas through to the higher level achieved by many of her earlier books. Moments of lovely writing, but generally not up to the standard I had hoped for from this master storyteller.

Pippa Passes concerns an impossibly gifted young dancer and singer and her trip to Venice with a ballet troupe. Previously sheltered and protected Pippa is ripe for romance – she attracts the amorous attentions of a dashing young gondolier and her lesbian ballet mistress. Unsatisfactory throughout; a sketchy sort of resolution which I cannot even really remember only a few months after my reading. That says it all. Godden was 87 when this one was published; I’m sure she felt tired; the story reads like she couldn’t really be bothered to refine her slight little romantic tale.

Cromartie vs. The God Shiva is also a disappointment, though a more ambitious, better-written story than the forgettable Pippa. A promising premise: a priceless statue of the god Shiva has surfaced in Toronto; it is believed to have been stolen from its niche in a temple alcove in a hotel on the Coromandel coast of India, with a clever replica substituted for the original. Romance, mystery, and tragic sudden death are all elements in this promising but shallow creation, the last published work by the veteran writer, who died shortly after its publication, at the venerable age of 90. Kudos to her for writing until the end, but sadly this last work is not up to the fine quality of many of her earlier novels.

5. The Middle Window (1935) 

by Elizabeth Goudge

One of Goudge’s very earliest published works – it was preceded by a forgettable (and forgotten) book of poetry, and the well-received Island Magic in 1934. The Middle Window is a sort of super-romantic Scottish ghost story, and it just didn’t come off the ground, atmosphere of Highland heather and noble-but-doomed ancestors notwithstanding. Lushly purple prose and terribly stereotypical characters, with a plot both predictable and outrageous in its premise. Some sort of weird reincarnation features strongly. Goudge herself blushingly dismisses this one in her own assessment of her works in her marvelous autobiography, The Joy of the Snow. Interesting only as a comparison to later books, to see how much better she could do once she found her stride. I’d heard it was pretty dire, but I’d hoped the panning comments were over-critical. They weren’t.

6. Mrs. de Winter (1993)

by Susan Hill

Contemporary “dark psychological thriller” writer Susan Hill takes a stab at a sequel to Daphne du Maurier’s Rebecca. Some things are best left alone. I wish I could erase this dreary piggyback-on-a-classic tale from my memory. What was I thinking, to read this? What was anyone thinking, to commission this train wreck – er – car crash – of a misguided pseudo-sequel? I hope Daphne puts a ghostly curse on Susan Hill for this defamation of her (du Maurier’s) characters. They might have some issues, but no one, not even fictional characters so firmly in the public domain as Max and his unnamed second wife, deserve to be tampered with like this. Ick.

7. The Honorary Patron (1987)

by Jack Hodgins

Hodgins is a very clever writer, but my own mind couldn’t quite stretch enough to take some of the mental steps needed to fully enter into the spirit of this ponderously gleeful “magical realism” word game. I definitely saw and smiled at the humour, appreciated what Hodgins was getting at with his sly digs and cynical speeches, but found it terribly hard to push my way through to the end. This wasn’t the happy diversion I’d been expecting.  Another time, maybe a deeper appreciation. Perhaps. But in 2012 at least, a personal disappointment.

8. Friends and Lovers (1947)

by Helen MacInnes

One of thriller-espionage-suspense writer MacInnes’s several straightforward romances – no guns, spys or dastardly Soviet plots in sight. I’d read and enjoyed a number of the thrillers, and one of the romances – Rest and be Thankful, so when Friends and Lovers crossed my path I quite eagerly snapped it up, took it home, and settled down for what I thought would be a good vintage read.

Two star-crossed lovers triumph over family roadblocks and challenging personal circumstances to eventually wed. Essentially humourless, this was a disappointing read, and not anywhere close to as entertaining as I’d hoped it would be. The hero was terribly, jealously chauvinistic; the heroine was ultimately spineless where her swain is concerned. I didn’t like or respect either of them by the end of the tale. The author was capable of greater things.

9. Kilmeny of the Orchard (1910)


A Tangled Web (1931)

by Lucy Maud Montgomery.

Canadian literary icon Lucy Maud Montgomery has written some wonderfully entertaining books, but these two don’t count among them as far as I’m concerned.

Kilmeny presents an unbelievably lovely, incredibly musically talented, but vocally mute innocent country girl who is avidly pursued by the much more worldly Eric. A brooding Italian foster-brother acts as a rival in love. Aside from the rather creepy gleefulness with Eric displays upon his discovery of Kilmeny – “So young, so pure, so innocent – let me at her!” – the hateful prejudice the author displays towards the “tainted by his blood” Neil is exceedingly off-putting, even allowing for the era of the writing.

A Tangled Web concerns the internal struggles of a large family as each individual tries to prove worthy of inheriting a hideous heirloom – an old pottery jug. More dirty linen is displayed than I am interested in seeing; it could have been salvaged by better writing and non-sarcastic humor – both of which I know the author could have pulled off – but it missed the mark on all counts. I tried but couldn’t bring myself to even like most of the characters, and the author throws in a gratuitous racial slur on the last page which dropped this already B-grade novel more than a notch lower in my esteem.

10. The New Moon with the Old (1963)

by Dodie Smith

Yearning after a book of the same quality and deep appeal as my decided favourite read by this author, I Capture the Castle, I was ever so eager to experience some of her other quirky tales. And I was careful to ensure that before turning to the first page, my mind was consciously emptied of preconceptions and expectations, to be able to give New Moon a fair trial unshaded by the brilliant sun of Castle.

Even without a comparison to my favourite, The New Moon with the Old was not what I had hoped for.  Investment consultant (or something of the sort – I can’t quite remember the job description, just that there were clients and large sums of money involved) Rupert Carrington gambles and loses on an ambitious scheme involving his other people’s funds. He goes into hiding to escape prosecution, leaving his four offspring to fend for themselves with only a recently hired housekeeper to keep all of the practical wheels of a luxurious household running. Never having to have worked, and faced with the need to earn money to feed and clothe themselves, the four Carringtons – aged 14 into the early 20s – make forays into the larger world, taking on occupations as diverse as actress, novelist, composer and “mistress to a king”.  While not conventionally “successful”, all four land jam-side-up, being taken under the wings of various wealthy sponsors; swapping Daddy’s protection for the patronage of others.

I wasn’t so much shocked by the sexual/intellectual sellings-of-themselves most of the siblings indulged in, as by the ready acceptance of the father’s betrayal of the trust of his clients. This is never rectified; a skilful lawyer is obtained to get Rupert off the legal hook, and by the end all is looking potentially lovely in the Carrington garden. Cute characters and funny situations didn’t quite sugarcoat this one enough for me to swallow without gagging. Darn.

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Best books lists, sensation of the year music lists, top news events lists, cutest YouTube video lists – you name it, all I’ve been seeing are lists, lists, LISTS! They’re everywhere this week. I wasn’t going to personally play this game, but there’s something about the dawn of a new year that demands a look back at the ups and downs, highs and lows, bests and worsts of the 12 months previous.

So I’ve caved in to temptation to add to the plethora of lists. Musing about the books of the last year and which ones really stood out, for various reasons, I hereby offer the first of three “Top Ten” book lists from the Leaves & Pages blog for 2012.

It’s not a full year’s worth of reading, as I only started blogging in April 2012, but I did manage to post something about almost all of the books I read in those eight and a half months. Some are on hold because I just didn’t get around to putting in the time their reviews deserved; at this point I may need to re-read these ones before reviewing them, so I may just bump them over to the 2013 list.

So this Most Unexpected 2012 list, and the two to follow, Most Disappointing 2012 and Personal Favourites 2012, will be drawn from only those books I reviewed for the blog.

It was much easier than I had expected to pick out the books in these three categories – the choices jumped right out at me, though order of preference has been a tough one, which I’ll avoid, at least with this first list.



In order of publication.

These are all “keepers”.


1. An American Girl in London (1891)

by Sara Jeannette Duncan

Miss Mamie Wick heads to England on a solitary holiday, where she enthusiastically tourists and hob nobs with the high and mighty, even capturing the romantic interest of a lordship. We are all surprised by the twist at the end – well, the lordship and his relations and society chums perhaps more so than the reader, who has been gaining a great appreciation of innocently friendly but far from naïve Miss Wick while happily following her through this gently satirical travelogue.

2. The Jasmine Farm (1934)

by Elizabeth von Arnim

A social satire concerning the fabulously wealthy and sexually “pure” Lady Midhurst and what happens when her apparently virginal daughter quite calmly announces that she has been carrying on a most physically passionate affair for the past seven years with Lady Midhurst’s trusted financial adviser. Many emotional walls come tumbling down, with unexpected results. Some decidedly sophisticated characters and situations; I was just a little shocked by the author’s boldness in this one – check out the publication date!

3. Bedelia (1945)

by Vera Caspary

Vera Caspary has written a study of a psychopath as fluffy as eiderdown, a kitten whose claws were steel.

Bedelia was everything to please a man – and she pleased many. She was small, cuddly; she smelled nice. She never argued or lost her temper. Her house, like her hair, was shining, her food delicious. She loved to cook, and she adored the gadgets of housekeeping. How strange that a passion for percolators and copper pans should help solve the curious riddle of her past!

A femme fatale meets her matrimonial match. Mer-ow! An odd little thriller, a bit stiff in style, as I’ve noted in the review, but surprisingly memorable. Definitely unexpected.

4. Guard Your Daughters (1953)

by Diana Tutton

I wasn’t quite sure how I’d react to this family saga concerning the five Harvey sisters, their successful mystery-writer father, and their very odd mother. Some reviewers found it a charming and quixotic tale; others focussed on the darker, more disturbing elements.  I’d hoped to be charmed, but while I could definitely see what attracted so many to this sharply humorous and occasionally poignant story of a family of self-admitted eccentrics, I ended up seeing more of the underlying shadow than the surface shine. An interesting read, for itself and to compare notes with other reviewers. I’d like to read more by this author, and I’ll definitely read this one again, to see if my first impression holds true.

5. The Martha Trilogy

The Eye of Love (1957)

Martha in Paris (1962)

Martha, Eric and George (1964)

by Margery Sharp

‘Why should it always be the woman,’ asked Martha, ‘who’s landed with the little illegit?’

Putting principle into practice, she thus deposited a two-weeks-old infant on the paternal door-step and returned carefree to her proper business of painting masterpieces: vanishing so successfully, indeed, from the lives of both lover and son, that ten years elapsed before the consequences of her misbehaviour caught up with her…

Martha is one of the most verbally stoic, goal-oriented, and single-minded heroines I have ever met among the fictional pages. Martha wants one thing from early childhood onward: to paint pictures. How she succeeds most magnificently is the thread that binds these three unusual romances together. The infant referred to appears some way along in Martha’s personal journey; before we meet young George we make the acquaintance of numerous other unique individuals, cleverly set out for our amusement by Margery Sharp’s exceedingly well crafted word pictures. A rather strange and consistently amusing narrative, with a decided sting in its tail. Not what I’d expected, but a very welcome surprise.

6. Mexico Unknown (1962)

by Lorna Whishaw

On October 4, the day of the sputnik, we left the sanitary tranquility of the American way of life, and in total ignorance of things Mexican we plunged into the uneasy atmosphere where anything goes, where yes and no are as high as the sky and as deep as hell, and where nothing you can conceive of is impossible.

A fictionalized autobiography of a mother and her young daughter’s journey by car from their home in Canada to surprise their mining engineer husband and father working somewhere in the Sierra Madre wilderness. They find the mine, and for a while join in the lives of the miners and their families, adjusting their standards to meet the no-standards of the primitive living conditions, until disastrous events force a move southwards further into Mexico and into central America. Absolutely fascinating. An unusual traveller’s tale told in a very individual voice.

7. The Long Winter (1962)

by John Christopher

A dystopian post-apocalyptic love story-thriller-social satire. This one gives John Wyndham’s similarly themed novels a run for their money. Fifty years old, and could have been written yesterday, if one were to swap our current preoccupation with rising sea levels for 1962’s “new ice age”.

When the end came to him, in however strange and incalculable a form, it would be irrelevant, as irrelevant as the pneumonia or heart attack or cancer which would otherwise have rendered his seat vacant. Soon all the seats would be vacant together until, as must happen, marauders broke in to rip up the wood and carry away the books that were left for fuel. Some of the rarest books had already gone, to the libraries in Cairo and Accra, in Lagos and Johannesburg, and more would go in the next few weeks; but there would still be enough to draw the mob. The people reading here were not so foolish as to expect a reprieve – for the library or for themselves.

8. Let’s Kill Uncle (1963)

by Rohan O’Grady

This was a weird little book – heaven help the innocent reader who thought they were picking up a mild children’s tale! Nothing innocent here; chock full of the darkest human flaws and emotions; the humour (of which there is a lot, all intentional) shades from gray to ebony black.

An orphaned 10 year-old-boy, a misleadingly frail 10-year-old girl, a one-eared outlaw cougar, and a very wicked uncle are the key characters of this exceedingly unusual tale set among te ferns and cedars of a British Columbia Gulf Island.

9. When the snow comes, they will take you away (1971)

by Eric Newby

We were captured off the east coast of Sicily on the morning of the twelfth of August, 1942, about four miles out of the Bay of Catania. It was a beautiful morning. As the sun rose I could see Etna, a truncated cone with a plume of smoke over it like the quill of a pen stuck in a pewter ink-pot, rising out of the haze to the north of where I was treading water.

British Special Forces officer Eric Newby’s autobiographical account of his WW II months in rural Italy after a submarine and kayak sabotage mission against a German airfield near Sicily went very wrong. A mass exodus from a prison camp was followed by a series of temporary hiding places as the Italian villagers and peasant-farmers hid, fed and assisted the British escapees as they sought to evade capture by German forces. Eric’s travels were complicated by a broken ankle, but greatly aided by a lovely Slovenian woman, Wanda, who became Eric’s wife after the war was over. An unusual and moving memoir.

10. The Complete Knowledge of Sally Fry (1983)

by Sylvia Murphy

Oh, what a fine kettle of fish is this very funny, poignant, sarcastic and exceedingly unusual story of Sally Fry: single mother, behavioural therapist and college lecturer. All she wants is to get her PhD thesis finished, but ex-lovers and the people all around her, most notably her family and their assorted hangers-on, keep derailing her precarious train of thought. There are dictionary-style autobiographical snippets throughout – absolutely marvelous. What a happy and most unexpected find.

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looking for anne irene gammelLooking for Anne: How Lucy Maud Montgomery Dreamed Up a Literary Classic by Irene Gammel ~ 2008. This edition: Key Porter, 2008. Hardcover. ISBN: 978-1-55263-985-6. 312 pages.

My rating: 4.5/10. I certainly wanted to like this book, and I picked it up with optimistic anticipation. Sadly I ended up feeling less than thrilled with my reading experience.

I did like bits and pieces – the factual bits and pieces – and I learned a few things about Lucy Maud Montgomery I didn’t know before, but the disjointed presentation and the frequent “It could have been like this” and “She must have felt like that” and the “I am certain that x was influenced by y, even though I have no proof” soon put me off.

While Irene Gammel is obviously a dedicated researcher and undoubtedly a well-informed Lucy Maud Montgomery scholar, I feel that her presentation of her theories in this book come across as unprofessional because of her continual admitted fabrications and assumptions.

Is it better if she admits it? Here’s a thought – why not stick to the facts? Or else drop the flowery, gushing, pseudo-Lucy Maud “voice”, which served merely to annoy rather than bewitch this particular reader.


The questions Irene Gammel pose as the thesis statements for this book go something like this: What is the mystery behind the writing of Lucy Maud Montgomery’s magnum opus and incredibly successful book, Anne of Green Gables? Why did LMM not document the process of writing Anne much more thoroughly, and, while we’re on the topic, who actually inspired the red-haired heroine?

(Because of course it must have been a real person! There’s no way an author could just dream up a character out of her own head!)

Well, I must admit that such questions have never personally troubled me regarding Anne of Green Gables, a piece of entertaining fiction which I do indeed like a whole lot and which I re-read with deep pleasure every few years. I have always happily accepted that LMM just struck a lucky chord with this one, and that the character Anne was likely an amalgam of various personalities LMM knew in her daily life, with a good dash of artistic creativity rounding out the details.

Does it really matter if we don’t know the exact details of Anne’s origins? Well, it obviously bothered Irene Gammel enough so that she went ahead and assembled a vast array of evidence to support her own theories. Sometimes her enthusiasm carried her away. While the factual passages of this ambitious book are fascinating reading, they all too often degenerate into speculation. The author readily identifies her frequent forays into the imaginary, but they do detract from the value of the research.

evelyn nesbitGammel theorizes that Anne’s key ancestor was young photographer’s model Evelyn Nesbit, identified many years after the publication of Anne of Green Gables as “the face of Anne” in one of LMM’s journals. I’m including the photo in question for your edification – see left.

Gammel then goes on to speculate about a vast number of other celebrities, acquaintances and fictional characters who might have added their characteristics to embryo Anne as her creator formed her and defined her in writing.

Fair enough, but these are all speculation, as the Gammel admits over and over. She throws out a daunting array of possibilities and mulls each one over in detail, before admitting that she just can’t quite be sure. I ended up feeling like the writing of this book, much like my reading of it, was a bit of an exercise in futility.

I think I’ll end with this. I could go on and share all sorts of annoying examples from the text – as well as some quite lovely and informative passages concerned LMM which are actually documented and provable by genuine references – but I’m full up to here with this one, so this is all my enthusiasm amounts to.

As usual, Goodreads – Looking for Anne has a wide selection of interesting reviews. I am quite relieved to find that I am not alone in my somewhat faint enthusiasm – others appear to feel the same, though there are some fans.

And if you are a serious LMM fan, by all means go ahead and tackle this ambitious personal project – it’s certainly interesting enough, if one can keep focussed – but keep the salt-cellar handy!

On the plus side: Some unusual LMM photographs are included, and the biographer does manage to give a wide-ranging picture of the time in which LMM was working on the book, and the artistic, literary and cultural mood of the era.

Oh – and a little heads-up – speculation as to LMM’s sexual proclivities abound in this one, though Gammel doesn’t come right out and say the “L-word” except to paradoxically refute the insinuation which she herself seems to make. Many salacious references to Sapphic friendships!

Now, to be quite honest, it doesn’t matter to me one whit what LMM’s sexual orientation was, but obviously it matters a whole lot to Gammel, as she teasingly parades this theme throughout the book. It got tiresome.

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rowan farm margot benary-isbertRowan Farm by Margot Benary-Isbert ~ 1954. This edition: Peter Smith, 1990. Translated from the German by Richard and Clara Winston. Hardcover. ISBN: 0-8446-6475-8. 277 pages.

My rating: 10/10. A sequel/companion piece to The Ark.

A more mature, less “sentimental” book than the also very excellent The Ark, and a classic example of a bildungsroman – a “coming of age” story – set in 1948 and centered on 16-year-old Margret but involving many other characters as well as they react and adjust to their changing situations and the challenges of the immediate post-WW II world of defeated Germany.


Rowan Farm continues the story of the Lechow family, war refugees from Pomerania who have settled into an abandoned and renovated railway carriage located on a rural farm in the Hesse region of Germany (near Frankfurt). The family’s father has made the long journey from the prison camp in Siberia where he has been interned, and the joy of the family’s reunification is still strong, though shadowed by the wartime death of one of the sons, and the emotional and physical damage Dr. Lechow is recovering from.

Other returning soldiers are finding their way home all over Germany, though for many there are literally no homes to return to. An unprecedenting readjustment of the entire population is taking place, as refugees seek a place to settle and get on with their lives, while those fortunate enough to still have their properties often grimly resent the official mandate that they must share their resources and often their homes and land with the incomers.

Bernd Almut, son of matriarch Anni Almut of Rowan Farm, has found his own way home, and having regained some of his physical strength is now trying to fit himself back into the farm life which his mother has capably managed without him for so many years. The eldest Lechow children, 17 year old Matthias and 16 year old Margret, are now integral members of the Rowan Farm hierarchy, Matthias working on the land, with Margret caring for the livestock and the sadly diminished breeding kennel of Great Danes which Rowan Farm was long famous for. Bernd and Matthias have become good friends, but that relationship founders when both become infatuated with lovely Anitra, a city girl on holiday from her studies at Franfurt University.  Margret is nurturing some romantic feelings of her own towards Bernd, and he had apparently returned them until flirtatious Anitra (who can’t be all so fluffy as she looks – she is a Mathematics major) shows up. Margret deeply feels her own intellectual shortcomings; because of the war she has had to leave school some years ago, and no longer even thinks of returning to the world of studies; life has taken her a very different direction, into practical labour with her hands.

Multiple subplots abound in this novel. 11-year-old Andrea is academically gifted and is fortunate enough to be a scholarship student in the Catholic Lyceum in the nearby town; her parents are hoping that she of all of their children will be able to attend university, but Andrea has been bitten by the stage bug and has her heart set on becoming an actress. 8-year-old Joey and now-adopted “twin” brother Hans Ulrich are involved in many boyish pursuits, including raising a family of prized Angora rabbits, and running wild through the countryside every chance they get; a favourite stop is the cottage of solitary and eccentric “bee-witch” Marri, who always has a slice of bread and honey for her young visitors. Marri’s war has been a tragic one. She is the widowed mother of a lone son, a gentle and pacifistic boy; upon conscription he had willingly put on the soldier’s uniform as was his duty, but he ultimately was unable to follow orders to shoot another person, and was court-martialled and executed. Marri’s grief has brought her to the edge of madness. Fearing for her sanity, the Almuts and Lechows have tried to refocus her interest by asking her to take in a returned veteran who has himself lost his wife in a bombing raid, and who is desperately searching for his baby son, who would now be a toddler of three, if he is still alive.

There is also a young, one-armed, returned war veteran schoolmaster who falls afoul of the village mayor by involving his students in establishing a refuge for homeless soldiers; an outspoken and controversial journalist who visits the soldiers’ home and turns out to be a very unexpected individual; a American Quaker aid worker who is interested in both the Great Danes Rowan Farm raises and in the possiblilities of sponsoring the young kennel maid for emigration to the U.S.A.; a gang of black market dealers stealing local livestock; a rescued Shetland pony mare which Margret and her father nurse back to health; and two young ex-soldiers who stay for a short time until suddenly moving on, with tragic results. Musical Dieter and his band of Cellar Rats come and go, bringing a breath of the city with them as they play for the village dances and help with the haying.

Re-reading this story as an adult, I was most impressed by how delicately the author portrayed the difficulties of the returning soldiers such as Dr. Lechow. Parted from his family in the very early days of the war when he was conscripted to serve as a military doctor; finding his beloved family home in Pomerania has been lost forever; losing one of his sons – Margret’s twin brother Christian – all of these are things he takes to heart. His delicate (in his view) wife and helpless (in his mind) children have survived work camps and refugee camps and untold dangers and hardships while he himself has been incarcerated in a brutal Siberian prison camp. He finds his family at last and once he has healed enough to take an interest in their affairs, he is slightly shocked to realize that they have been functioning exceedingly well without him. His occasional attempts to regain his “beneficient patriarch” status, and his wife’s tactful handling of his delicately bruised ego and his confusion at the “new normal” he finds himself coming back to is realistically portrayed.

This story, and its predecessor The Ark, are paeans to the steadfast strength of women throughout and after the war. The men leave, usually not by choice, and either fail to return or come back terribly altered physically and emotionally. The mothers, grandmothers, wives, daughters and girlfriends who have been viewed as secondary citizens – especially in patriarchial Germany – remember that this is the land and the time of the woman’s role being defined as Kinder, Küche, Kirche – children, kitchen, church – have had to take on traditionally male tasks and for the most part have managed exceedingly well. The horrors of the war are more openly referred to in this story, including references to the death camps, and there is very much an atmosphere of both acknowledging what has happened and hoping that the future will be a more just and positive time for the survivors from all segments of German society.

All in all, a sensitive and moving story for older children (possibly 10 and up?) and adults both, inspired by the personal experiences of the author. Very highly recommended. It should follow The Ark for best effect, but can also be read alone.

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the ark margot benary-isbertThe Ark by Margot Benary-Isbert ~ 1948 (German edition: Die Arche Noah) ~ English edition, 1953. This edition: Harcourt, Brace & World, Inc., circa 1963. Translated from the German by Clara and Richard Winston. Hardcover. Library of Congress #: 52-13677. 246 pages.

My rating: 10/10. This is an excellent piece of juvenile historical fiction. Actually, that designation is not really correct, as it was written as a piece of “straight fiction”, being written during the time of its setting, but to readers today it is most definitely historical, so I will classify it as that.

While not a deliberately Christmas-themed book, The Ark features two Christmases as it covers a little more than a year in the lives of its characters, and it was one I thought of when I was pondering which fictional Christmases stand out as memorable in my mind.


The Lechow family – Mother, 15-year-old Matthias, 14-year-old Margret, 10-year-old Andrea, and 7-year-old Joey – are apprehensively but optimistically looking forward to their new home. Since being displaced from their village in Pomerania in the early years of the war, they have been separated – Mother and Matthias to work camps and the younger children to various farms – but they are finally together again and have been travelling through Germany seeking some place of refuge amongst the hordes of other homeless, wretched, often-starving people. They had made it to Hamburg, for a brief respite among relatives, but with the city filled with Occupation troops they were unable to get a permit to stay, and were instead assigned to accommodation in a town in Hesse. Yet another boxcar ride, and then nine more months in a refugee barracks, and their turn for a housing assignment has finally come. Number Thirteen Parsley Street – the name sounds like something from a fairy tale, and they hold their breath in anticipation of what they will find there.

And they are looking forward as well to having some sort of permanent address to share with the Red Cross, for the family’s beloved father, a doctor serving with the German army, has last been heard from a year ago with a tattered postcard sent from a Russian prison camp. Every place they’ve stopped the Lechows have registered their names, “dropping breadcrumbs in the forest” like a fairytale tribe of lost children, hoping beyond hope that Father will one day be released, now that the long war is over, and will be able to track them down from the traces they have left behind.

The owner of the Parsley Street house is appalled and offended at having to receive five penniless refugees. Elderly widow Mrs. Verduz has weathered the war reasonably well, though her nerves are “shattered” from the noise of all the bombing. Her street has miraculously stayed mostly undamaged, and though food and fuel is in terribly short supply, she fully appreciates her good fortune in having a roof over her head and all of her beloved possessions around her. She grudgingly shows the Lechows the two attic rooms she has been ordered by the Housing Authority to allot to the Lechows, and muttering in thinly veiled disgust, she raids her well-equipped cupboards for sheets to cover the mattresses she’s had to provide, and a few dented pots and pans and some chipped dishes as well – the Lechows quite literally have nothing but the clothes on their backs and a blanket each.

Once the family is settled in to their new home, things do begin to look up.

Matthias is assigned work as a bricklayer’s flunky working on reconstruction, which, though far from his true interests, astronomy and nursery gardening, at least provides a small income, and the acquaintance of a co-worker – soon to be new friend – the musical Dieter, who lives in the cellar of a bombed-out house with his raggle-taggle refugee companions, who have started an increasingly successful band called “The Cellar Rats”.

Andrea goes to public school, and is fortunate in passing an examination and receiving a scholarship to a private school run by the nuns. Here she meets butcher’s daughter Lenchen, and the two become bosom friends, with Andrea exchanging help with homework for lunchtime sandwiches provided by Lenchen’s grateful mother. Andrea is sternly forbidden to angle for anything more, but the odd morsel falls her way – a boon in these very hungry times.

Young Joey also goes to school, with less enthusiasm than his sister; he reluctantly acquires a smattering of knowledge, but his happiest acquisition is a friend of his own, a perky orphan named Hans Ulrich – last name and birth date unknown, as his only childhood memory is of being bombed, and of his mother dying when they were travelling together in a boxcar in the early years of the war, when Hans was only two or three; he was unable to tell his last name so no family was able to be tracked down; he is a waif in the truest sense, though his foster-mother (who we suspect may be getting by as a prostitute) is kind enough in her careless way.

Mother gratefully settles into the small space she can at last call her own, and immediately sets about creating a home for her brood. She smooths down Mrs. Verduz, helps her with the housework, and begins to take in sewing jobs – she is an accomplished seamstress, and finds that this skill is in high demand as people start to once more have the interest in dressing themselves well, now that the fighting is over, and life is turning to a new normal. New clothes and cloth are impossible to get, but a skilled seamstress can do much with old curtains and various patches and pieces from worn-out garments tucked away in clothes chests. Mrs. Verduz has lent a sewing machine in return for mending work, and the two women are becoming partners in the challenge of keeping everyone clean and clothed and fed. Contrary to Mrs Verduz’s fears, having a family of children in residence is not such a bad thing. Matthias chops firewood and brings home the precious small coal ration, Margret has taken over the tedious job of standing in line for hours to collect food rations, Andrea washes dishes and sweeps the stairs, while Joey brightens her life with his happy disposition.

The only one who is left in limbo in this new life is Margret. She willingly does all that is asked up her, competently handling her many menial and tiresome chores, but she is just too old, at 14, for priority to return to school, and just too young to be assigned to a job, though her mother has suggested that an apprenticeship to a professional seamstress might  be a good next step. Margret is secretly appalled at the thought of spending her life bent over a sewing needle; her true life was left behind back on the Pomeranian farm which is now lost forever. There she was deeply immersed in gardening and in caring for her animals, and in rambling the countryside with her beloved twin brother Christian. A gaping hole in the family, and in Margret’s grieving heart, is carefully veiled over by everyone – Christian was shot and killed by a Russian soldier who broke into their house during the battle which ultimately displaced the family and started their years of wandering.

Christmas comes, and the family celebrates with true joy and gratitude. The Lechow children, Lenchen and Hans Ulrich and Dieter and his band decide to go Christmas carolling into the countryside, hoping for a few morsels of food or a coin or two from the relatively more prosperous farmers living around the outskirts of the town. In the course of their travels that wintry night they come to Rowan Farm, home of the widowed Mrs Almut and her elderly household. Anni Almut is a bit of a character in the neighbourhood. Endlessly energetic and outspoken, she forges ahead with whatever she sets her hand to. She has a few milk cows, raises milk sheep and ponies, and best of all to Margret’s startled recognition, keeps a breeding kennel of Great Danes. The Lechows kept Great Danes as well back in the good old days; Margret’s beloved dog Cosi was shot along with Christian, and that is another unhealed wound in her heart.

One thing leads to another, and six months later both Matthias and Margret are working and living at Rowan Farm. They have fixed up an old railcar on the farm as a dormitory, with bunk beds and a cookstove, and soon begin to fill it with the stray animals which are attracted to Margret as moths to a flame, and their town relations and friends, who are eager to come out to spend a day or two at “Noah’s Ark”, as the rail car has been christened, a refuge from the stormy seas of the outside world.

As this is a children’s book, everything continues to come together for the best, with the lost finding their way home, and old wounds healed, and the future looking positive. But the hardships and horrors of the war, though not detailed, are very much a part of the story, which ultimately celebrates the goodness that people find in the midst of the most terrible situations.

The returning soldiers are physically maimed and emotionally wounded, but they do start to heal; those who are lost are remembered with poignant sadness but not dwelled upon for the most part, as “life must go on”. The dreadful food and living conditions are dealt with creatively and are made the brunt of much humour. Our final impression is of a people and a country looking to the rising sun of a new day with optimism and hope, with a glance back to the horrors they have been involved in and a “never again” resolve.

This is a World War II book which does not reference the Holocaust and the Jewish displacement and slaughter, except by veiled allusions which most young readers will not catch. It does however in no way excuse what has happened. It rather focusses on the other innocent victims of the war, the common people, the small town shop shopkeepers, the peasants and farmers, the families and children of Germany who suffered horribly while the men were off fighting and the bombs exploded all around. People died in horrible ways, and froze and starved to death in the bitter winters even after the official truce was called. This is all in there, in the shadows behind the joy of the Lechow’s story of recovery and a happy ending.

Die Arche Noah was released to great acclaim in Germany in 1948. It caught the attention of American publishers, and was translated and released in an English edition in 1953, and was received with deep appreciation in North America. The author, beginning her writing career at the age of 59 – she was born in 1889 and had lived through the two great wars in Germany – went on to write several more children’s and young adult books, which were also translated and found ready sales overseas. Margot Benary-Isbert, herself having lost her family home and being displaced by the war, immigrated to the U.S.A. in 1952, becoming an American citizen in 1957. Her stories show her great love of both of her countries, the beloved Germany of her birth and the American haven which adopted her so graciously as it did so many other refugees from conflicts worldwide.

The Ark is often deeply sentimental and a bit “old-fashioned” in style and tone to modern ears, but the story is powerful and memorable, and strikes a strong chord with many of its readers. I was ten or eleven when I read it for the first time in my school library. I eagerly searched out the rest of Benary-Isbert’s works – our school libraries were lavishly stocked back in the 1970s – they had everything! – and when I settled into my own home and started building my book collection the Benary-Isbert books were among the first I thought I’d like to track down from my childhood favourites. Sadly they are mostly out of print, and long gone from library shelves, but were so popular in their time that they are still very readily obtainable in the online second-hand book marketplace, which is where you will have to search them out.

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the raven boys maggie steifvaterThe Raven Boys by Maggie Stiefvater ~ 2012. This edition: Scholastic Press, 2012. Hardcover. ISBN: 978-0-545-42492-9. 409 pages.

My rating: It’s complicated. I’m giving it a 7/10, pending the next installment. Stiefvater’s a very fine wordsmith, and she’s showing some lovely talent here, but there were some issues I couldn’t ignore which had nothing to do with excellent quality of the prose.

If you want to read a proper review, the internet is alive with them. Goodreads has an abundance – over 7000 ratings and 2000 reviews. The ones I read on the first page alone were very nicely done indeed, so I won’t duplicate those here.

Here’s the blurb from the dustjacket; it’s as good an explanation of the premise of this book as any:

“There are only two reasons a non-seer would see a spirit on St. Mark’s Eve,” Neeve said. “Either you’re his true love . . . or you killed him.”

It is freezing in the churchyard, even before the dead arrive.

Every year, Blue Sargent stands next to her clairvoyant mother as the soon-to-be dead walk past. Blue herself never sees them—not until this year, when a boy emerges from the dark and speaks directly to her.

His name is Gansey, and Blue soon discovers that he is a rich student at Aglionby, the local private school. Blue has a policy of staying away from Aglionby boys. Known as Raven Boys, they can only mean trouble.

But Blue is drawn to Gansey, in a way she can’t entirely explain. He has it all—family money, good looks, devoted friends—but he’s looking for much more than that. He is on a quest that has encompassed three other Raven Boys: Adam, the scholarship student who resents all the privilege around him; Ronan, the fierce soul who ranges from anger to despair; and Noah, the taciturn watcher of the four, who notices many things but says very little.

For as long as she can remember, Blue has been warned that she will cause her true love to die. She never thought this would be a problem. But now, as her life becomes caught up in the strange and sinister world of the Raven Boys, she’s not so sure anymore.

From Maggie Stiefvater, the bestselling and acclaimed author of the Shiver trilogy and The Scorpio Races, comes a spellbinding new series where the inevitability of death and the nature of love lead us to a place we’ve never been before.


And here are some ratings and personal opinions I’m jotting down, because I feel like I have to say something.

I liked this book. I didn’t love it, though. Steifvater’s last book, 2011’s The Scorpio Races – I think I can honestly say I loved that one. So my expectations for The Raven Boys, while high, were reasonable. I figured that this next one would be below the crest of the previous wave, and I was right.

So The Raven Boys was better than I’d really expected, but the author is going off an a totally different tangent here, and it’s a bit soon to see what the end result will be. With a four-book cycle projected, it could either get even better (oh, yes please!) or deteriorate. I can’t call it at this point. But I definitely would recommend The Raven Boys to the YA fantasy/paranormal romance crowd. I’m not in that demographic, though I do enjoy the odd well-crafted tale from the genre, but I appreciated this book enough to spend the better part of Christmas Day very happily power-reading through it.

Opening Chaper: 10/10. Nice set-up. Once a year, on St. Mark’s Eve, the dead-to-be – all those will die in the coming year – are visible as spirit manifestations along the mystical “corpse road”, to those with the psychic powers to penetrate the veil between the spirit and living world.  The members of the extended family of (all female) psychics living together in a rambling old house in Henrietta, Virginia have those powers. All except for a non-gifted daughter, 16-year-old Blue. Blue comes along because her one power is that she “boosts” the psychic powers of the others. In her many years tagging along on St. Mark’s Eve, she’s never seen one of the will-be-deads. Except tonight, when one boy appears to her and names himself – “Gansey.” When Blue finds out that this vision means Gansey is either her true love, or she will be the cause of his death, she files that startling bit of news with her other long-held bit of foreboding knowledge: if she kisses her true love, he will die. Needless to say, this severely cramps Blue’s style romance-wise. Too bad she’s about to meet some very tempting potential lovers – the Raven Boys – a group of four friends from the town’s exclusive boys’ school. One of whom is named, inevitably, Gansey.

Characterizations: 10/10 for the heroic leads – Blue and Raven Boys Gansey and Adam. A meager 6/10 for the villains – Whelk (“Whelk”?! Seriously?) and Adam’s brutal father. Too obviously bad. No shadings. The ones who we’re not sure of – Ronan and Neeve – let’s give them an 8/10. Could go up or down. Raven Ghostly Boy Noah – he started out as a 2 or something like that, crawled up to about a 7 or 8 once he started to de- and re-materialize and his whispers showed his sense of graveyard humour.

Family Stuff: We had the range, from really pretty tight and reasonably awesome (Blue’s, Gansey’s, Noah’s) to dysfunctional but trying hard (Ronan’s) to literally call-the-cops terrible (Adam’s). So I’ll give a 9/10. Lost a point for the convenient but kind of annoying extreme wealth of Ronan’s and Gansey’s tribes. (Sure, it’s just jealousy.) Oh – and the missing father (Blue’s) who I’m sure will turn out to be crucially crucial in a later episode – duly noted that he’s in the mix and will likely show up in person.

The Quest: 4/10. Ley lines and the North American burial-place of a mythically sleeping, potentially wish-granting Welsh King – meh. Cop out, Maggie. I’m a bit jaded with the whole Celtic mythology thing. Couldn’t you make something up? Or use some North American-based folklore?

Neat Little Details: 10/10 – Gansey’s choice of ride, the ’73 Camaro – unexpected. Especially the detail about the car perpetually smelling like gas. They really do. Verisimilitude = perfect points. The helicopter pilot sister – nice and handy. I liked. The warehouse digs. Very cool. Blue’s personal style. The “normal” of the matter-of-fact acceptance of Maura being the “town medium”. The psychic hotline.

The Pacing: 5/10. Pretty darned slow. I know it’s setting up the back story for – get this – THREE more books, but it felt like molasses on a cold January day. (And I’m a fast reader.) I wish this could be cleaned up, tightened up somehow. Less is so often more. (But I know how hard it is to edit – look at the horribly long reviews I write. It’s a definite fault in a professional she-gets-paid-for-it writer, though. Don’t get me started on J.K. Rowling’s too-much-detail verbosity in the later Harry Potter books.)

Sexual Tension: Oh, let’s see. About a 20/10. That should keep the main fan base (teen girls) fully engaged. No kissing allowed because of the whole death thing, so every tiny touch is magnified about a million-fold. Is it hot in here? Why yes, yes, it certainly is. Oh yes.

Annoying Little Things: The Latin-speaking trees. The baby raven – “Chainsaw”. Too cute. The backhoe in the last chapter. Too unlikely – I’m sure someone would notice the inevitable disturbance left by the amateur operator. The whole time-shift thing, because it wasn’t really that well done or, quite frankly, all that believable. The fact that the cops couldn’t seem to find Noah’s car, though you’d think that after they were tipped off to the human remains they’d be doing a fairly wide sweep through the woods. Just maybe? Other stuff I can’t be bothered to type out. So a 3/10 for those bits.

The Ending: Boo, hiss. Not exactly cliffhanger; more like “is a page missing?” Maddening. *** It. Just. Stops. *** C’mon. If it’s a great read, we’ll buy the next book even if you toss us some sort of a wrap-up to the action so far. The Dead Stop feels manipulative and disrespectful to the engaged reader. So a 1/10 for that.

The Actual Writing: It’s good. Very good. Plus it’s frequently very funny. 11/10. I think Stiefvater is already doing well, but I’m betting she can get even better. I’m rather disappointed that she’s doing such an ambitious series, because it feels really rambling already. I think the discipline of the solitary stand-alone novel (yes, like The Scorpio Races) would be a better way for her to refine her already more-than-decent style even more.

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hometown angel reita lambertHometown Angel by Reita Lambert ~ 1940. This edition: Triangle Books, 1942. Hardcover. 272 pages.

My rating: 8/10 – To be taken with a grain of salt, please – this rating merely reflects my opinion of this story’s merits among others of its narrow genre – vintage American light romantic fiction.


Handsome, urbane Gerry Miles, a modestly successful short story writer and aspiring novelist, and the deeply devoted beau of moderately successful and keenly aspiring stage actress Lola Leighton, is waiting at the train station in New York City for an unkown-to-him girl. Eudoxia Abbott is Lola’s old school friend from way back in rural Ohio, and is on a first-ever visit to the big city. Gerry’s been detailed to waylay Miss Abbott and let her know, tactfully of course, that Lola is in no position to act as hostess to a little country bunny, no matter what their prior close relationship.

Gerry surprises himself by being immediately quite taken with Eudoxia – Doxie – who shows herself to be self-possessed and sensible – as well as a pretty little thing – but he rembers his instructions and rather shamefacedly fulfills his commission, telling Doxie that Lola is so exceedingly busy with auditions and rehearsals that she’ll have no time for shepherding Doxie around New York, but that there are some good hotels nearby. But first a quick visit to dear Lola is in order, before Doxie finds herself on her own.

The bitter truth is that Lola is on her uppers, and is too ashamed to admit it to Doxie. Her last play has folded and she’s now jobless in the harsh city. Her chosen profession has no place for losers, and Lola’s getting desperate. A play that she thinks would be perfect for her has made the rounds, but no producer wants to touch it – it’s a bit of a dud, if truth be told, though all Lola can see is her potentially glorious starring role as the titular “Linda”. She’s got one last call out to a prospective backer, and the last thing she wants to do is to waste her time showing Doxie about; Lola can’t afford to feed herself at this point, let alone sponsor a non-theatrical friend temporarily in town.

When Gerry and Doxie arrive at Lola’s apartment, she’s made a supreme effort and appears perfectly poised and beautifully dressed (in a costume left over from a stage production), with newspaper clippings of glowing reviews from her two-plays-back success scattered carelessly about, and a profusion of flowers she’s somehow cadged from the reluctant florist to whom she already owes a huge debt.

“Golly, Lola, you’re living such a glamorous life! I always knew you’d be a famous actress!” gushes admiring Doxie, and Lola basks happily in the uncritical praise, while remembering to maintain her noncommittal attitude towards Doxie’s visit.

Lola is just edging Doxie out the door to seek that hotel room when Doxie blurts out her own big news. She’s just inherited a handsome sum of money from her recently deceased foster grandfather back home, and this trip to the city is by way of being a celebratory binge.

Lola freezes for just a moment, then effusively turns on the charm. Why, darling Doxie must stay with her! Why is silly old Gerry suggesting an impersonal hotel room in a strange city, when Lola just happens to have an empty couch? Why, if it makes Doxie feel better, she can contribute to expenses with a modest boarding fee, but goodness! – what’s mere money between friends?! “Darling, you must stay with me!”

Gerry, speechless at the about-face, meekly goes along with Lola’s change of heart, but can’t help but wonder if Lola’s motives aren’t just a mite self-serving. He secretly decides to keep an eye on innocent Doxie and keep her from being too badly fleeced by his egotistical girlfriend.

Gerry has few illusions as to Lola’s hyper-ambitious nature. He’s been proposing marriage for some time now, asking her to give up the stage, but Lola insists that she needs one more hit play first, so she can walk away from the stage on a high note. She just needs the right opportunity, the perfect starring role. But as far as Gerry’s concerned, a continued run of unemployment will drive Lola into his arms, so he’s not too upset about her failure in getting Linda into production.

Well, predictably enough, Doxie is almost immediately buffaloed into backing Linda, and she embraces her new role as a theatrical “angel” with gusto. Gerry, a bit stunned by Lola’s rapid grasp of this unlooked-for opportunity and her immediate willingness to part her old friend from her nest egg, lurks around predicting doom and gloom, and sharing his conflicted concerns with his friend Nigel Tucker, a wealthy and cynical party boy with a casual interest in the theatre. Nigel was at first condescendingly kind to, and then increasingly taken with this fresh little number from the wilds of Ohio; Gerry is initially relieved at Nigel’s protective stance towards Doxie, but then starts to wonder why he feels almost, well, jealous of Nigel and Doxie’s growing closeness. But there’s no reason for jealousy, because Gerry loves Lola! And if Doxie ends up broke, the happy solution would be a marriage to immensely rich Nigel. Right? Right. Okay then, no worries.

As the Linda rehearsals progress and the off-Broadway opening approaches, it is evident to everyone except Lola and Doxie that the play is indeed a right royal mess. Gerry and Nigel are becoming increasingly short with each other as Doxie gushes on about her newly fledged theatrical enthusiasms to both of them, and they both realize what a disastrous effect Linda‘s coming almost-certain flop will have on her – not to mention Lola’s – psyche.

Tension builds, the tangle gets more tangly, and Gerry attempts to deny his growing romantic feelings for Doxie by pressuring Lola into a formal engagement. Lola brushes him off again and again, and insists on setting her sights higher by the day, envisioning a trip to Hollywood once Linda brings her the inevitable (she is convinced) critics’ applause and her long-deserved artistic success.

Up, down, around and around the four main characters chase each other – much drama plays out on and off stage, until the very end when (almost) everyone reshuffles their attachments and priorities and ends up where they really wanted to be in the first place.


This is a true light romance – “pure eiderdown” as a Kirkus reviewer called another of this author’s fluffy creations. Effortless to read, deeply predictable, and surprisingly enjoyable, despite the inner groans of readerly despair at the frequent sheer obtuseness of the characters. The author also isn’t taking any of this too seriously, and she plays her characters freely upon her own little stage, with a wink and a nod to the audience. The result is, as I’ve just said, fluff, but fluff is welcome occasionally, to lighten the mix.

Lambert herself was modest in her literary claims, and did not pretend her works were anything other than for sheer amusement, her own and her readers’. If that was her criteria for success, this story succeeds. Though the characters are almost universally one-dimensional, and occasionally ill-behaved, they are reasonably well drawn, and the sweet and innocent nice-girl heroine has us on her side from start to finish. (I still think she ended up with the wrong man, though. Though I knew it wouldn’t happen, I willed her to take the one who truly appreciated her the most.)

Reita Lambert was a prolific writer of her time, and apparently quite well-known, though I wasn’t familiar with her before I researched her work after reading Hometown Angel. She wrote hundreds of short stories for the popular magazines of the 1910s through the 1940s, as well as a number of successful novels, among them Beauty Incorporated, Lines to a Lady, Yesterday’s Daughter, They Who Have, Right to the Heart, and others. Lambert also wrote stage and screen plays, and was involved in New York’s theatre scene. She was married to American composer Arthur Nevin, who had a successful career of his own in composing operatic scores based on American Indian folklore; his work was particularly well received in Germany in the pre-WW I years of the 20th Century.

Hometown Angel certainly demonstrates Lambert’s easy familiarity with the theatre scene, and her portraits of the various Theatrical Types of the time are well drawn and amusing. She definitely keeps a humorous eyebrow cocked in this book. I quite enjoyed this read, and would gladly tackle another, though, as I’ve said in other contexts, it would have to come to me easily and affordably. The few Reita Lamberts available through ABE seem rather high-priced for the non-literary popular fiction that they are, and I suspect at those prices would be of most interest to collectors of  the vintage light romantic fiction genre versus the casual reader.

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