Almost twenty years in the making is Amsterdam Exposed before author David Wienir finally presents his story of the renowned Red Light District, where tourists “come for the weed, stay for the hookers.” Nonetheless, Wienir makes it easy to be drawn into turn-of-the-millenium Amsterdam, as he spends his Thursdays studying international law at Vrije University and his six-day weekends trying to get window girls to talk to him. Amsterdam Exposed is an alluring memoir giving a glimpse down the streets illuminated by red lanterns, as well as into the man who teaches respect for the women who work there.
Wienir opens his memoir having just arrived in Holland for a fall semester studying international law abroad. Wienir brings with him an ulterior motive to write a book about the Red Light District, inspired by a prostitute in Reno who told him that “people forget we’re human,” a year and a half prior. Over the next four months, Wienir sets off to find prostitutes willing to help him with his book, and keeps a code for himself: never pay a prostitute to talk, and never sleep with one. He’s turned down by every woman he encounters except for two, only one of whom actually comes to help Wienir.
Emma is a twenty-five-year-old prostitute from Estonia. She lives two lives in that she does not allow her work life and her personal life to overlap. When Wienir meets Emma in the District, Emma is interested in befriending him, but does not readily talk to Wienir about her work. Wienir devotes time to building Emma’s trust in himself, and eventually reaches Emma while unknowingly invoking change in Emma’s personal outlook.
Wienir actively writes in a voice that weaves the then-current state of Amsterdam with his own story of his time spent. He creates rich and descriptive settings that shine on Wienir’s professional background, effortlessly leading the reader to think of Wienir’s voice as a lawyer in the future casually telling his story over the wining-and-dining of his own law associates. Amsterdam Exposed confidently takes a risqué topic out of a captivating environment and places it in one that is approachable, adventurous, and thought-provoking.
Excerpt from Amsterdam Exposed
On a brisk September morning, I put on a pair of blue jeans and a white T-shirt and
boarded a plane to Amsterdam. I traveled light. If necessary, I could do some shopping
Money was an issue, and the cheapest flight I could find was on Iceland Air. This
allowed for a three-day layover in Reykjavik. I had always dreamed of visiting Iceland
and decided to spend a few days there. With a copy of Let’s Go Europe serving as my
bible, I found a bed in the Salvation Army Guesthouse. Back then, there were two travel
guides in play, Let’s Go Europe and the Lonely Planet. Let’s Go Europe was the guide
of choice for students, effectively funneling everyone into the same hostels, restaurants,
landmarks, and clubs. Within minutes, I connected with a group of international
students. We spent the next three days touring waterfalls, enjoying the local cuisine,
On our final day, we visited the waters of the Blue Lagoon. There were six of us, from
six different countries. Submerged to our shoulders, we floated in silence, looking into
each other’s eyes and carving out the moment. After a night partying in Reykjavik, we
said our goodbyes, knowing we would never see each other again. That was OK. This
was just a layover. I continued on my journey refreshed, feeling as if I had visited the moon.
David Wienir is a business affairs executive at United Talent Agency and entertainment law instructor at UCLA Extension. Before UTA, he practiced law at two of the top entertainment law firms where he represented clients such as Steven Spielberg and Madonna. His previous books include Last Time: Labour’s Lessons from the Sixties (co-authored with a Member of Parliament at the age of 23), The Diversity Hoax: Law Students Report from Berkeley (afterword by Dennis Prager), and Making It on Broadway: Actors’ Tales of Climbing to the Top (foreword by Jason Alexander).
Educated at Columbia, Oxford, The London School of Economics, Berkeley Law, and the Vrije Universiteit Amsterdam, David is married to Dr. Dina (to whom the book is dedicated), a pioneer of the cannabis movement who has been named “Queen of Medical Marijuana in LA” by Rolling Stone Magazine and is the inspiration for the Nancy Botwin character in the show Weeds.
From Little Houses to Little Women: Revisiting a Literary Childhood is arguably the most “bookish” book that has been recently published. Stemming from a childhood spent near the Ingalls’ family home in Kansas and a decision to visit places that inspired books like On the Banks of Plum Creek and By the Shores of Silver Lake, author Nancy McCabe presents a memoir reflecting on the impact that classic childhood novels have had on her.
Over her years of reading children’s classics, McCabe personalizes the actions or habits of the heroines that she reads about. As an adult, McCabe sees the sum total of who she has become, and writes each chapter of From Little Houses with commentary based on a book. As a child, McCabe remembers trying to imagine dialogue between the dandelions and tulips in her back yard, like Anne of Anne of Avonlea imagined dialogue between “the asters and the sweet peas and the wild canaries in the lilac bush and the guardian spirit of the garden.” As a preteen, McCabe wears her hair long because of how the protagonist of Plain Girl embraces her common, plain clothes and looks. These are just a few examples of how deeply literature seeped into McCabe’s character.
Truly conversational, From Little Houses is like sitting at a table with an old friend while she recounts her travels. But, not only are travels recollected; McCabe also expands on detail from the classics that she’s read to offer literary criticism and analysis. Though there would be a seeming prerequisite of having read the novels that McCabe discusses, it is not difficult to fully appreciate the strong relationship that McCabe has developed with the stories that she’s read and re-read, either as a child, as an adult, or as a mother to her daughter.
Part term paper, part travelogue, From Little Houses to Little Women: Revisiting a Literary Childhood is a slice of literary pie with promise to satisfy any true, devoted book worm who is willing to eat with the fork.
About the book
Nancy McCabe grew up in Kansas just a few hours from the Little House on the PrairieIngalls family home. McCabe read Little House on the Prairie during her childhood and always felt a connection with Laura Ingalls Wilder. When McCabe was thirteen, she visited Wilder sites around the Midwest with her aunt, but didn’t again revisit the books that had so influenced her childhood until she was an adult. It was this decision that ultimately sparked her desire to visit the places that inspired many of her childhood book favorites, taking her on a journey through the Missouri of Laura Ingalls Wilder, the Minnesota of Maud Hart Lovelace, the Massachusetts of Louisa May Alcott, and even the Canada of Lucy Maud Montgomery.
From Little Houses to Little Women reveals McCabe’s powerful connection to the characters and authors who inspired many generations of readers. While traveling with McCabe as she rediscovers the books that shaped her and ultimately helped her to forge her own path, readers will enjoy revisiting their own childhood favorites as well.
About the Author
Nancy McCabe is the author of four memoirs about travel, books, parenting, and adoption, as well as a novel entitled Following Disasters. Her work has appeared in Newsweek, the Los Angeles Review of Books, Prairie Schooner, Fourth Genre, and many other magazines and anthologies, including In Fact Books’ Oh Baby! True Stories about Conception, Adoption, Surrogacy, Pregnancy, Labor, and Love, and McPherson and Company’s Every Father’s Daughter: Twenty-Four Women Writers Remember their Fathers. Her work has received a Pushcart Prize, and she has been recognized on Notable Lists in Best American anthologies six times.
Such are Erin’s beginning and resulting understandings of happiness after leaving her A-list social status in her suburban Chicago high school to spend a semester in Christchurch, New Zealand. Mirroring her own New Zealand self-discoveries in her latest protagonist is author Michele Bacon, presenting Antipodes as her second novel.
As a very determined Ivy League medical school hopeful, Erin has every step for her next fifteen years mapped out: “Great school, great job, great life.” When Erin loses her position as captain of her high school swimming team, loses her boyfriend, and embarrasses herself at a party, she and her mother attempt to repair Erin’s perfect college application with a semester spent studying abroad.
Upon arrival in Christchurch, however, Erin is disheartened to find that she’s signed up for five months of having to get around town without a car, attending a school that doesn’t allow makeup or jewelry, sharing a small bedroom with the daughter in her host family, and being on a completely different time schedule than her best friend. As the months pass, Erin makes new friends and learns the value of family, sets a national swimming record, sees other beautiful parts of New Zealand, and picks back up a forgotten instrument, all while slowly realizing that she’s prioritized the wrong things in her attempt to find happiness.
Within her writing, Bacon consciously draws parallels between Erin’s physical journey and her personal journey. For example, Bacon uses Erin’s interests in astronomy to name the Moon as a constant, clearly reflecting opposite points of view from Erin’s Northern Hemisphere home in Chicago compared to the view from Southern Hemisphere Christchurch. Also, Bacon demonstrates a uniquely creative writing skill by using an interesting variation of divergent thematic patterning in her narrative. With every few forward-moving chapters proceeding from Erin’s flight to Christchurch, there is a backstepping, flashed-back chapter from before Erin’s flight to Christchurch. As Erin experiences New Zealand and ultimately begins to reflect on who she is and what her passions are, we see a glimpse of the seeming antipode of the current point in time.
Through fresh use of literary device with strong character development and vivid descriptions of setting, Antipodes is a masterfully written novel that shows that even when meaning and direction seems lost, it’s not such a long journey back to true purpose.
About the Author
I was born in Trumbull County, the only square county in Ohio, where books were my favorite means of escaping an unhappy childhood. Writing was my transparent attempt to create the things I craved: big happy families, international adventures and unconditional friendship. From a young age, I was drawn to people’s stories, and I still want to know how you met your best friend or fell in love with your partner.
In high school, I embraced my inner geek and wrote my first novel. In college, there were short stories and still more novels. I graduated from The Ohio State University with a B.A. in English, with concentrations in critical theory and creative writing.
Full-time work sapped my creative brain for several years, but my professional life was one of reinvention. In state government, business management consulting, and nonprofit fundraising, I adapted easily and absorbed the languages of different professions. My last paying job was as an independent fundraising consultant for nonprofit organizations. That was seven years ago.
Since then, I have been writing and traveling (and, let’s be honest, chasing down small people who don’t like to wear clothes). I’ve traveled to all 50 states and dozens of other countries, always collecting pieces of characters and ideas for stories. I recently spent a year on sabbatical in Christchurch, New Zealand, where I may have left my heart at Ilam School. Now that we’ve settled back in the States, I’m writing for adults and young adults, exploring the Pacific Northwest, and baking like a fiend. (You’d thinking baking would be the same everywhere, but it’s not. Something is different about kiwi butter.)
When an idea strikes, I scrawl sweeping plot outlines, character idiosyncrasies, and ideas for scenes on the nearest blank spot of paper. My current manuscript was born of those torn slips of paper, used envelopes, lollipop wrappers, fuel receipts and–once–that little paper bit that keeps a nursing pad sticky until it’s time to use it. My manuscripts are better than the quality of papers where they began. Promise.
Outside of writing, I am a tabletop game enthusiast, passionate skier, and lover of prime numbers. I also am a mentor at the Moving Words Writing Clinic, and a freelance copyeditor.
I live in Seattle with my husband and three growing children.
When hearing a book described as a memoir, the thought that follows usually includes some semblance of “a personal reflection of a life over time.” Tara Westover, at a mere 31 years old, makes her book debut with a quite superlative memoir. Educated follows Westover’s upbringing as part of a survivalist family, through her questioning and outgrowth of her fundamentalist origin, and to her breakaway to self-confidence through higher learning.
Tara Westover was raised as one of seven siblings in a tiny Idaho town at the base of a mountain. Her father was paranoid about crossing paths with the government, and actively prepared for the “Days of Abomination” believing that the world would end at the turn of the century. Westover’s mother was a midwife and herbalist who was raised in a “normally functioning” home, but now largely supported her husband in silence for the best of her children. Westover received no formal education as a child, was never vaccinated, and to this day, doesn’t know her exact birth date – she wasn’t issued a birth certificate until she was nine years old.
As Westover grew up, she and her family saw head injuries, falls from the tops of mechanical equipment, motorcycle accidents and burns from explosions, and perceived all as God’s will. Westover had strained relationships with her parents and with one of her older brothers because of tempers, pride, and even mental sickness; it’s her broken family system with which Westover eventually struggles to reconcile. When Westover begins to see the possibility of a different life from her upbringing, she takes it upon herself to self-teach, and gains acceptance to Brigham Young University. Ten years later, she completes her doctorate in history at Cambridge University.
In addition to expertly writing a clear and fluid narrative, Westover effectively crafts noticeably strong chapter beginnings and endings. At a chapter’s end, the reader is continuously compelled to read into the next chapter, if even just a few lines of the first paragraph, before closing the book until the next opportunity to sit and read. Westover fully immerses her readers with vivid descriptions of not only her physical environment, but also her emotional environment.
Through Educated, Tara Westover communicates an important truth that is allowance for self-accomplishment through selfhood. “You could call this selfhood many things. Transformation. Metamorphosis. Falsity. Betrayal. I call it an education.”
A fifteen-year window into the life of an NYC woman who is the outlier of her wealthy and privileged family is Laura & Emma. Author Kate Greathead presents her first novel, a story of a mother and daughter that explores family relationships, social standards, and the sacrifices that come with choosing motherhood.
It’s easy to completely relate to Laura. She is a woman who mostly keeps to herself, doesn’t fall in with social standards of the upper class, has a favorite neighborhood grocery store, and doesn’t exactly love the idea of all-the-time sex. Laura is embarrassed by the word “wealthy,” and she tries to independently make a living without her family’s money. She adheres to her own particular fashion habit of rarely buying new clothes with a “’Use it up, wear it out, make it do, or do without’” mentality. She is quite content to be living a solitary and simplistic life.
Then, in the summer of 1981, Laura has her first and only sexual experience that leaves her pregnant. Laura schedules an abortion – her “greatest gift to the planet” – but changes her mind on the morning of her scheduled abortion. With the arrival of her daughter, Emma, Laura’s quiet life evolves into a life of pediatricians, private school admission applications, game nights, and beach vacations. Emma grows to be curious, energetic, and strong-willed; though Laura and Emma are close while Emma is young, they inevitably grow apart as Emma gets older, until Emma goes off to boarding school and Laura resumes her solitary life.
Greathead expertly weaves her novel through interlaying nods to the history of New York City in the 1980s and 1990s. With each abrupt introduction of a new scene, Greathead gives just enough information on what must have happened in the lost time to encourage her audience to continue on. Reading more like a narrated journaling that is built from a chronological collection of aperçus, Laura & Emma is a strong debut novel that gives so many more questions to ask than are answered.
After years of research and teaching of Hindu and Buddhist art history and culture, author Madhu Bazaz Wangu presents her second novel, The Last Suttee. Through the story of Kumud, a woman director of a girl’s orphanage in India, Wangu tells a story of how just one single, driven female can change an entire community’s perspective on an established way of life.
Wangu draws her tale from the ancient Indian custom of sati, a practice which historically lead a widow to throw herself onto her husband’s funeral pyre in order to remain a “chaste woman,” literally, a “good wife,” even in her husband’s death. Wangu uses inspiration from the popular case of Roop Kanwar, an eighteen-year old girl whose decision of sati led to official legislation against sati. While fighting personal struggles within herself, Kumud proves to be a heroine by effectively preventing a young girl’s own sati.
The Last Suttee reads to show Wangu’s obviously extensive research into not only the custom of sati, but also the everyday customs and ancient folklore surrounding the Indian culture. The novel opens with an issue of dowry, and continues with insight into popular female overlook and condemnation. Wangu has the gift of setting, and expertly keeps her stage well-described and easily imaginable for the reader.
A powerful and relevant tale of liberation from a devotional but debilitating custom, The Last Suttee is an excellent representation of how the Hindu female population has found strength to grow against a binding and deathly tradition.
From the author: Why I Wrote The Last Suttee
On the morning of September 5, 1987, I was going through the Hillman Library card catalogue at the University of Pittsburgh when a friend stopped by. She told me something I would never forget. She said that an eighteen-year-old Indian woman, named Roop Kanwar, had immolated herself on the pyre of her dead husband. I was dumbfounded. Suttee in the twentieth century? It couldn’t be. But The New York Times confirmed the news. The ritual, known as suttee, was witnessed by the townspeople and thousands more came to see it from nearby villages and towns. When the news was leaked the following day, the town was swarmed for days by Indian and international journalists. I was stunned and speechless, my legs laden with lead. At that frozen moment, the seed for this book was planted.
The kernel stayed dormant, but the incident continued to sear like a wound at the back of my mind. The distress was raw, but I was not yet emotionally ready to write about what had happened and how it had affected me. In the ensuing years, I trawled libraries, bookstores, and the Internet, learning about the history of suttee and the cultural and religious traditions in which it is rooted. I studied records of the shrines dedicated to women who had committed suttee. I read the history and mythology of the namesake goddess, spelled Sati. Critically and carefully I analyzed the photographs of Sati temples and studied the engravings, drawings, and paintings of the goddess Sati and the suttee ritual that had been made by British, European, and Indian artists and travelers.
Sutteeis a centuries-old Hindu ritual. This ancient belief still persists in some remote corners in India. The belief is if a widow cremates herself with her dead husband, the couple will live in heaven as they did on earth. Furthermore, such a sacrifice guarantees a place in heaven for seven generations for both sides of the family.The ritual is rooted in the myths of two goddesses: Sati, Shiva’s wife, and Sita, Rama’s wife. Here are summaries of the myths:
Goddess Sati is the daughter of the high priest Daksha. Shiva, the world renouncer, is so awed by her yogic skills and asceticism that he grants her a boon. Sati asks to marry him. He agrees. Daksha dislikes Shiva. He finds Shiva unconventional and unkempt. Despite her father’s opposition Sati marries Shiva and they live in his mountain abode in Himalayas.
Daksha plans a great sacrifice. He invites all the important divine beings, except Shiva. Sati feels disgraced by the way in which her father has treated her husband. On the day of the great sacrifice, she throws herself in the fire pit meant for the sacrifice. And burns herself to death. When Shiva discovers what has happened to his wife, he is outraged. He pulls out Sati’s half-burnt body, holds it on his shoulders, and in anguish and lamentations whirls around the world.
Goddess Sita is an ideal Hindu wife. Her husband, Rama, is the center of her life. His welfare, reputation, and wishes are most important to her. One day, the demon king Ravana abducts her and takes her to his golden palace. He lies to her that he has killed Rama. Sita is horrified. She moans and tells him that it must have been her fault that her husband was killed. She warns Ravana she could burn him to ashes with the fire of her chastity, but she won’t because she did not have her husband’s permission.
In the end, Rama defeats Ravana and brings Sita home. There he severely tests her loyalty because she has spent days under the control of another man. Sita is shocked at such an accusation. She protests her innocence. She says she has remained wholly devoted and completely faithful to him. Rama persists.
Grieved by his false accusation, Sita asks for a funeral pyre to prove her innocence. A pyre is built, and Sita stands atop it with hands folded. Agni, the god of fire, refuses to harm her because she is innocent and pure. She returns to Rama unscathed. Yet he banishes her to a forest.
Sati and Sita are faithful and chaste wives, and they are devoted to their husbands. The lives of these goddesses are defined by their husbands. Although their dedication and chastity are exemplary, they pay a heavy price for being wives. In both myths, fire plays an important role. Whereas Sati voluntarily kills herself, Sita is saved by Agni. Their god/husbands are alive when the women jump into the sacrificial pit or on the funeral pyre. But ordinary women’s lives are no myths. When a woman is forced into being a suttee, neither her husband nor the god of fire will save her.
The suttee ritual was outlawed by British Raj in 1829. The ritual was described as “heinous rite” when cases surfaced about widows being tied to their husband’s pyre even after being intoxicated with bhang or opium. Many reports of widows escaping and being rescued by strangers were also recorded. Still, more than a century later, scattered instances of the custom have been reported, such as Savitri Soni’s in 1973 and Charan Shah’s in 1999.
The most notorious and controversial case, however, was of Roop Kanwar. Indian people either publicly defended Roop’s action or declared that she had been murdered. Following the outcry that followed Roop Kanwar’s suttee, the government of India enacted the Rajasthan Sati Prevention Ordinance on October 1, 1987. The law makes it not only illegal to commit suttee but also illegal to glorify the ritual or coerce a woman to commit suttee. Glorification includes erecting a shrine to honor the dead woman or converting the place where immolation took place into a pilgrimage site. Derivation of any income from such activities is also banned. The law makes no distinction between a passive observer and an active promoter. Everyone is held equally guilty.
The seed for writing a book inspired by Roop Kanwar’s suttee finally sprouted in November 2009, when I wrote its first draft as part of National Novel Writing Month (NaNoWriMo), a nonprofit internet organization that supports writers in an effort to complete the initial draft of a novel in one month.
It would take me seven more years to finalize the draft.
The story continued to incubate. I developed the characters, sketched the settings, wrote the narrative and dialogue. But to birth a healthy novel and bring it to life, I had to experience the environment in which Roop Kanwar was born, lived, and died. I needed to converse with the people who allowed it to happen. I wanted to know the antagonist and protagonist’s viewpoints.
I visited India for a month in 2013 for that purpose. I went to the small towns of Deorala, where Roop Kanwar committed suttee, and Jhunjhunu, home of an imposing marble temple dedicated to faithful women who sacrifice their young lives immediately after their husbands’ deaths. The visit stirred feelings of remorse and wonder. Why did people celebrate sacrificial death? How does blind faith hide behind the stunning structure? Domestic and temple architecture, middle and high schools, ancient mansions with bedroom walls made of mirror-mosaics (some now converted to five-star hotels) were breathtakingly beautiful. The local flora and fauna were intriguing, and men and women’s attire colorful. I fell in love with the place. But I wasn’t there as a tourist. I was there to fulfill a quest, to do something about an event that jolted the core of my being.
Meeting with the people of Deorala opened my mind to the fact that a community’s worldview can be so different from my own. Yet my sorrow and awe about Roop Kanwar and my feelings about other widows like her were not alleviated by talking to Roop’s father-in-law, her brother-in-law and his wife, or their neighbors. Nor did I blame them after visiting her neglected and unkempt suttee site. However, the visit helped me better understand the point of view of the town residents. A magnificent temple dedicated to the goddess Sati, which locals honor and regard highly, further clarified their worldview.
My interview with Roop Kanwar’s father-in-law took place in the verandah outside the room where Roop lived with her husband. This was the room where she dressed herself in bridal attire and decked herself in jewelry before following her husband’s dead body to the cremation site. The room has been turned into a shrine, and Roop has become an ishtadevi, a manifestation of Narayani Satimata, a local goddess higher in the pantheon of the thousands of village goddesses of India.
When I asked to go to where Roop performed suttee, her father-in-law declined to walk along, but he did ask other men to take me there. I treaded the path that evidently Roop Kanwar, most probably intoxicated with bhang, walked with the help of two women. They followed her husband’s litter, which four male relatives carried. I was told a lamenting crowd of men, women, and children followed the dead body and Roop as they headed toward her husband’s funeral pyre.
Facing the desolate ground where the ritual had taken place twenty-six years earlier, I shed tears of pain for an eighteen-year-old who didn’t know better, and who no one came to rescue.
The characters in this novel are fictional, but the setting is historic. Writing it does not feel like redemption, for I still ache for the women of the world who are engulfed in outmoded traditions, who are uneducated and dependent. Women with so much potential to offer their families, their communities, and, most importantly, to themselves.
Undoubtedly, the world over, women have made tremendous progress. Yet, the path to elevating women’s social status has many roadblocks, and the process is slow. I sincerely hope The Last Suttee not only helps remove a block or two but also adds substance to the process of change.
About Madhu Bazaz Wangu
Madhu Bazaz Wangu is an author, artist, world-traveler, and the founder of the Mindful Writers Group. She was a professor of arts and religions of India before becoming a full-time writer. She has a doctorate in the Phenomenology of Religions from the University of Pittsburgh, and a post-doctoral fellowship from the Harvard University. Over twenty-five years, Wangu has taught at the University of Pittsburgh and Chatham College in Pennsylvania, Wellesley and Wheaton Colleges in Massachusetts, and Rhode Island College.
In 1997, Dr. Wangu voyaged around the world with students and faculty members from various American universities for the Semester-at-Sea program. She loved the experience so much, that each year she has been revisiting places of historical significance in different countries, observing the cultures, meeting the people, and enjoying their cuisine.
In 2010, Dr. Wangu founded the Mindful Writers Group, and in 2015, she started a second group. Dr. Wangu encourages writers of all levels and genres to delve deeper in their work by body-mind-heart meditation. Her album, Meditations for Mindful Writers, was released in 2011. Dr. Wangu also guides writers in meditation and writing marathons. Twice each year, Mindful Writers Groups gather for writing retreats where groups practice sitting and walking meditations surrounded by nature in-between long writing sessions.
Madhu B. Wangu has published four books and numerous essays on Hindu and Buddhist goddesses and Indian religions. She has held five one-person art exhibitions in India and the US. Her collection, Chance Meetings: Stories About Cross-Cultural Collisions and Compassion, was published in 2015, and her debut novel, The Immigrant Wife: Her Spiritual Journey, was published in 2016. Currently, Dr. Wangu is writing a guidebook for mindful writing.
“A stunning story of one woman’s struggle to stop the ritual of suttee. The novel weaves centuries old traditions with the stark march toward twenty-first century. It progresses with surprising plot twists, a ticking clock, and stubborn and powerful antagonist who challenges the protagonist, Kumud, to stand up to the orthodox and close-minded community” – Bestselling author, Kathleen Shoop
“Curiosity didn’t kill the cat, it gave her material for stories.” Thus says author Lisa Manterfield, who presents her second curious novel, The Smallest Thing. Set in the Derbyshire Dales village of Eyam, The Smallest Thing is inspired by the historical plague that overtook Eyam in the 1600s and led to quarantine of the village. In The Smallest Thing, Manterfield’s protagonist, Emmott Syddall, finds herself in a similar quarantine which keeps her from fulfilling her desire to move to London, and ultimately leads her to grow while questioning what she really wants to do with her life.
Manterfield has described herself as loving “fish-out-of-water stories of ordinary people in extraordinary situations, especially if those situations delve into the unexplained.” At closer to eighteen than seventeen years old, self-centered Emmott is quite decided on leaving her small-town life in Eyam and strained relationship with her father. Wanting to be with her boyfriend, Ro, and having found a job and apartment in London, Emmott plans to move within a matter of days from the novel’s opening. A sudden outbreak of an unknown illness traps Emmott in the middle of a mysterious sickness, complete with a village-wide quarantine, HAZMAT suits, and situation briefs. Though she searches for a way outside the town’s boundaries, Emmott is unable to find an escape past the quarantine, and when Ro abandons their plans to move, Emmott is left with crushed dreams and nothing to do but ride out the outbreak.
In The Smallest Thing, Manterfield explores not only the historical effects of quarantine, but also the personal effects of being held in close proximity with the same people for long periods of time. As a teenager, Emmott has not yet learned to think of how her actions affect the people around her. When she is forced by the quarantine to zero in on her relationships with her father, best friend, neighbors, and even Ro, Emmott learns things about the people closest to her that she didn’t know before. She also gets a rude awakening of what it is to be alone – the very state of being that she was running toward by planning to move to London.
“I can’t count the number of times I’ve wished I could be alone. I couldn’t wait to get away from the village and out from under the watch of my parents, to be free to be myself and do my own thing, without other people and their opinions getting in the way. I wished so hard for that, and now I’ve got it. Now I am completely alone.”
– Chapter 28, Page 236
Well-written with a delicious dose of descriptive setting and metaphor, The Smallest Thing is a lesson in growing to recognize more than just a personal struggle when disaster strikes the people closest to you.
Also a theatre director in Yorkshire and a self-proclaimed Francophile, author Angela Wren presents her second Jacques Forêt mystery, Merle. Like her first Jacques Forêt novel, Messandrierre, Wren sets Merle in a small, French town that soon discovers that murder visits not only Paris.
Formerly a Parisian policeman, Jacques Forêt is now a private investigator who has been commissioned by Vaux Consulting to investigate the possibility of corporate corruption among executives. As Jacques spends time with the employees of Vaux Consulting, he finds that there is more being hidden within Vaux Consulting’s walls than originally suspected. Jacques is quite confident in his investigative skills, however, and isn’t afraid to ask awkward questions to find out what he needs to know; Jacques seemingly begins to upset the wrong person, and receives notes threatening himself and his lover, Beth, who has just decided to move to Merle with Jacques. Before any resolution arrives, corruption spirals into murder, and the lives of people near to Jacques are put into danger.
Wren demonstrates her skill as theater director by fragmenting her plot and rearranging the pieces in a way that opens her novel with an apéritif showing a glimpse of the denouement. Wren keeps Jacques and Beth dimensional with subplots exploring how how serious Jacques and Beth’s relationship is, and how Beth’s hobbies will thrive in Merle. Wren’s astute attention to detail of French culture, architecture, and geography keeps her writing relevant and pleasant.
Packed with continuing complications to intensify the final unraveling, Merle is a thrilling read about authority, corruption, and the power of secrets to deprave a genial French town.
Into the night suddenly disappear two teenage sisters, Emma and Cass, leaving an empty car on the beach and a single pair of shoes in the surf. Three years later, Cass alone returns to her parents’ home with a story of captivity on an unidentified seven-acre island, and a driving urgency to find her sister who has since given birth. In Emma in the Night, author Wendy Walker carefully weaves a psychological thriller that is even more carefully unwound in a way that reveals only bare hints of resolution until all is immediately exposed.
As the narration switches between Cass’s first-person recounting and a third-person limited overlook of FBI Forensic Psychologist, Dr. Abby Winter, details of Cass and Emma’s home lives before their disappearance come into light. Their mother is revealed to be a pathological narcissist who has spent years competing with her daughters for attention, power, and validation, as her girls have grown in beauty. As the oldest daughter who has realized the threat that she is to her mother, Emma has the stronger love-hate relationship with their mother, and Cass takes refuge in Emma’s shadow as a “bird on the battlefield” with an unrealized, yet growing desire to see her mother defeated.
Cass’s experience growing up with a narcissistic mother is reflected in Dr. Winter’s character, whose mother was also a narcissist. Having investigated Emma and Cass’s disappearances since the beginning, Dr. Winter brings a contrasted, systematic aspect to the novel’s premise of psychosis, while remaining approachable to the reader by her own emotional investment in the case. As Dr. Winter learns of Cass’s childhood, she remembers her own, and is ultimately able to discover Emma’s whereabouts by understanding the dynamic in Cass’s household.
Throughout the novel, Cass is repeatedly put into situations requiring either swift decisions or well-thought-out planning, nothing in-between; Cass is forced to quickly become an adult, and learns that survival in her environment requires rigid observation, manipulation, and sacrifice. Wendy Walker presents the argument that people will believe what they want to believe, and paired with Walker’s working knowledge of the causes and effects of narcissism, Emma in the Night allows its audience to keep guessing at what the truth behind the girls’ disappearance and captivity might be.
Her fifth novel in just over two years, Nicole Campbell presents The Tower, a young adult story of life, love, death, and loss. Setting her tale in Elizabethtown, Illinois, and distinguishing it with a foundation in witchery, Campbell tells the otherwise familiar story of three teenagers who have grown up together and are now learning how to navigate through the realities of life.
Rowyn, Reed, and Rosalyn are as close as three friends can be. Having been raised as members of the same “Circle,” their families’ beliefs in witchery knit them close as the characteristic that sets them apart from the other kids at school. Outside of their beliefs, though, Rowyn, Reed, and Rosalyn are every-day teenagers that struggle with coming of age, relationships, what to do after high school, and even the effects of sudden tragedy.
While the staple themes of a young adult novel are well carried throughout the novel, the significance of some of the witchery signified in the story isn’t directly communicated. For example, the Tower card is drawn periodically during readings, but without an understanding of tarot cards and their meanings, the connotation is lost to the reader. It is not until the last page of the book that some connection is made between events in the story and drawings of the Tower card:
“The Tower card hadn’t lied. Everything crumbled and fell, and it took pieces of me with it.” Excerpt From: Nicole Campbell. “The Tower.” iBooks.
Campbell writes well while switching between points of view of each of the teenagers. She is attentive to differing reactions that each character might have to the same event, and is able to understand and communicate emotional struggle. The Tower is an approachable story, remaining realistic in its “paranormal” basis, welcoming any reader of general young adult fiction.