Book Six of the Roma Nova series ramps up the action to screaming point and doesn't let up until the final chapter. Aurelia, head of the Mitela clan, and leader of the Twelve Families, is recovering in Vienna from the latest attack from Caius Tellus, her lifelong nemesis. Shot and left to bleed to death, she was saved by one of his enemy's agents, but her condition is critical. She is physically broken, but determined to survive. Her companion Miklós, the love of her life, offers protection and a comfortable home, but they both know that this is temporary. Caius's lies and manipulation have caused Aurelia to be treated as a traitor by her own people, slowly congregating in Vienna in an exile's colony. She needs to regain their trust before she can become a catalyst for action.
This is the story of the attempt by a small contingent of refugees to take back Roma Nova from the dangerously charming psychopath who has turned every woman into a slave and every family into a male-dominated dictatorship. The unspeakable brutality of Caius's regime has touched every single household, and Aurelia is confident that a well-planned action would be supported by, at least, the 50% of citizens who have been targeted. |
With extreme courage and determination, a group of women and fair-minded men plot a take-back and eventual revenge. It was fascinating to follow the resource mustering, financial scheming, military build-up, strategic planning, and political manoeuvring which provided the pieces of the puzzle. The final scenes are nothing short of epic, and the eventual outcome proves that there is a price for every action, and for Aurelia, this price is particularly steep.
Alison Morton keeps a firm grip on a vast cast of characters, and her impeccable research and insider knowledge of military subjects lend the story a very realistic feel. As before, the pace of the action is fast and furious, characterization is impeccable, and the conclusion thoroughly satisfying. A brilliant read!
Alison Morton keeps a firm grip on a vast cast of characters, and her impeccable research and insider knowledge of military subjects lend the story a very realistic feel. As before, the pace of the action is fast and furious, characterization is impeccable, and the conclusion thoroughly satisfying. A brilliant read!
I have not read many good collections of short stories but was captivated by the quality and originality of the writing after reading an excerpt. The book itself was a wonderful surprise as it contains nine very different stories, some short and sweet, others long enough to be novellettas. In each case, the setting becomes almost a protagonist, described with such skill and passion that it really comes alive.
I found the characters to be fairly realistic and as well fleshed out as the story requires (which is, in itself, a rare skill), so that in the longer stories (Villa d'Este, Barra, Montmartre) the protagonists have a stronger presence, while in the shorter ones (Tobago is the best example, but Amsterdam is a close second) they don't even have names. The reader's intelligence is trusted to fill in the blanks, and there is never any doubt as to who “he” and “she” are, like archetypal symbolic representations of the male and female essence. There are some pretty strong female characters who often control the situation, and it's easy (and refreshing) to see that the author really likes and respects women. |
The overriding theme is romantic love in its various manifestations, and there are some charming episodes as well as some steamy scenes but treated in such a uniquely classy way that the effect, for me anyway, was truly mesmerizing.
The beauty of the short story as a literary medium is that it can be read in its entirety in a relatively short time and, with such elegant, self-assured writing, there is enough detail in each to satisfy the reader without the need for “padding”. The language is in turns sensual, poetic, charming, suggestive but never vulgar, and the author has thoughtfully provided a reassuring, heartwarming happy ending that is very welcome when real life gets to be a bit much. Glamorous escapism at its best.
ROMA NOVA EXTRA by Alison Morton
Having read all seven books comprising the Roma Nova saga, I was very curious about this collection of “side stories” focusing on characters featured or mentioned in the main books. I was delighted to lose myself in these juicy slices of historical intrigue. Of the eight short stories, three are set at crucial points in the past, pre-dating the events of the series, and the last five fit into the existing storyline, slotting in at various points and featuring familiar faces, as well as new ones. Although short, they successfully complement the events of the main books and read more like chapters than stand-alone stories. Reading them prompted me to go back to the relevant books, to revisit some of the related storyline which, I think, proves the effectiveness of these additional episodes.
My favourites are “The Girl from the Market”, “Silvia's Story”, and “Carina and Conrad's Roman Holiday”. The romantic tension is a small part of the overall narrative, but it proves to be the spice in these delicious excursions, overlaying the human interest aspect on to the heroic historical deeds. I also loved the quirky “Victory Speaks” wherein we are given a fascinating glimpse into the epic journey of the beleaguered founders of what will become Roma Nova. |
It was interesting to see the author experiment with different POVs, departing from the first-person narration so compellingly used throughout the saga. It worked beautifully in “Silvia's Story”, but not so well in the last tale, “Allegra and Macrinus” which missed the mark with me principally because I thoroughly dislike alternate-voice narrative style, but also because I find grown-up Allegra annoying. I think the author excels at the “sandals-and-dagger” military-adventure thriller side of things. She brings the strict discipline of the Pretorians to life and weaves gripping action into the many field operations and spying sorties, especially those set abroad. Compelling reading for fans of the Roma Nova series.
Rose Cottage by Mary Stewart
Kate Herrick is a young war-widow who is trying to rebuild her life in London. She is emotionally scarred by the recent loss of her husband in a flying mission over France, but even more so by her illegitimate birth and the disappearance and subsequent death of her young mother who ran away when Kate was only five. Kate's ailing grandmother, who raised her and is her only surviving relative, asks her to travel to the modest house where she was born, Rose Cottage, to retrieve some family papers and valuables from a small safe hidden under wallpaper. Kate's return to her childhood haunts triggers a wave of gossip and speculation in the village as well as ghostly visions by the local “seer”.
A gentle exploration of friendship, homecoming and forgiveness, this is Lady Stewart's last novel, published when she was 81 years old. It is, as usual, very well written, evocative and full of engaging characters, as well as some who are downright nasty, but the style is quite different from her earlier, action-driven stories and there is a distinct lack of the familiar suspense-romance combo that makes her previous novels so compelling. |
I liked the story for its heartwarming depiction of life in a small community where it is impossible to keep a secret, and for its strong portrayal of the two main female characters. This is a mature, contemplative and somewhat nostalgic look at Britain in the aftermath of the devastation wreaked by WWII, but the slow pace and lack of romantic content and fast action may disappoint those who enjoyed her earlier novels.
Rubies of the Viper by Martha Marks
I changed my mind a lot about this book while reading, but now that it's finished, I'm not all that interested in reading the sequel. The action takes place around 50 AD in ancient Rome and features a mix of fictional characters and historical ones, like Emperor Nero and prominent members of high society. The story is intriguing, with lots of fascinating period detail, but the attempts to make it more approachable are a little hit-and-miss. Using American slang to remind us that slaves did not speak pure Latin gets a bit annoying, and the language and dialogue are unashamedly modern.
Characterization is fine for most supporting characters but not so good for the main one. Theodosia, the street-smart protagonist, managed to survive humble and unscathed, living alone at sixteen in a Roman slum, yet the moment she inherits amazing wealth and position, she starts acting bratty and downright reckless. So, as I progressed through the story, the heroine's inconsistent behaviour became irritating and, despite her appalling ordeal, I felt no sympathy for her plight. The main issue for me is that all the big, life-altering events are entirely due to Theodosia's monumental idiocy, stubbornness and refusal to follow good advice. |
The pace is a bit uneven. I'm a sensitive reader with a vivid imagination. For the first half of the story, I was bothered by the unremitting gore and brutality that, to me, are overpowering to the detriment of other aspects of daily life. By the 60% mark, the story moves away from Rome and follows Alexander, the Greek steward of Theodosia's villa and estate. I loved Alexander's portrayal. He's a fully fleshed out, complex character who really made things interesting. The pace also picks up, where it had been dragging before. By the time of the musical competition, I was ready to forgive the author for the drawn-out melodrama of the Carcer. That whole section is superb and full of dramatic tension.
The plot is action-driven and, for the most part, it works. However, a huge suspension of belief is required when it comes to Theodosia's physical prowess with knives and horses. I won't discuss too many specifics, but the horse sequences are wildly improbable, and here I speak from long experience. From galloping bareback in a thunderstorm to how much one can push an exhausted horse, to effectively riding an animal used to pulling a cart, it was all high fantasy and almost cartoonish. Also, one has to remember that, in Roman times, all horse breeds were small, barely over 14 hands high, and comparable to our large ponies, as evidenced by friezes and equestrian statues of the times.
Despite my stated criticism, I enjoyed parts of this book. If you like historical sagas with strong-minded characters and an abundance of political intrigue, backstabbing and physical action, give this lively tale a try.
The plot is action-driven and, for the most part, it works. However, a huge suspension of belief is required when it comes to Theodosia's physical prowess with knives and horses. I won't discuss too many specifics, but the horse sequences are wildly improbable, and here I speak from long experience. From galloping bareback in a thunderstorm to how much one can push an exhausted horse, to effectively riding an animal used to pulling a cart, it was all high fantasy and almost cartoonish. Also, one has to remember that, in Roman times, all horse breeds were small, barely over 14 hands high, and comparable to our large ponies, as evidenced by friezes and equestrian statues of the times.
Despite my stated criticism, I enjoyed parts of this book. If you like historical sagas with strong-minded characters and an abundance of political intrigue, backstabbing and physical action, give this lively tale a try.
I liked this book a lot. Normally, I don't read much paranormal literature, so the fact that this story held my interest to the end is already a good indication that it’s well written and intriguing.
The characterization is strong and well defined, the protagonists are very likeable, and if Carey seems a little hard, it's quite understandable, given the tragedies in her young life. Rick is the perfect guy, strong and capable but also sensitive, intelligent and steadfast. Their romance is realistic and believable, making their actions speak for themselves rather than erring on the side of soppy sentimentality, which I found refreshing. It’s a modern story, very grounded in the present but reaching back in time with a touch of romantic fascination. The plot unfolds with good pacing from start to finish. The supernatural theme, which forms the backbone of the story, adds a sustained sense of menace which keeps the reader enthralled. |
It is well judged, suspenseful but not too fanciful. Dr Frazier is a sympathetic, believable character and I absolutely loved the twist at the end. Aunt Ginny and Uncle Mark are adorable. The villains are satisfyingly “bad” and I didn’t waste any sympathy on them. As usual with this author, background research is impeccable, so that the specialist themes of antique bottles, Victorian homes and genealogy sound fascinating and ring true.
So, all in all, a captivating story that remains interesting throughout the book. I got to the stage of wanting to know what would happen and reading in long sessions, the proverbial page-turner attribute of a riveting book. There is no crude language or graphic content, making this book perfectly suitable for Young Adult, New Adult and Clean Romance genres
So, all in all, a captivating story that remains interesting throughout the book. I got to the stage of wanting to know what would happen and reading in long sessions, the proverbial page-turner attribute of a riveting book. There is no crude language or graphic content, making this book perfectly suitable for Young Adult, New Adult and Clean Romance genres
So different from my usual reading fare that, at first, I wasn't sure what to make of it. This is a novella, taking place in a short span of time and within as confined a space as one can imagine: an elevator! In fact, it would work amazingly well as a stage play.
Ruth Schwartz, a high-flying, blunt-talking, über successful lawyer is also a very attractive woman in her forties. Late one evening, leaving her office in a Chicago skyscraper, she enters an elevator, and a chapter of her life she will never forget. Also going down in the fatal elevator is a kindly, pleasant-looking, middle-aged man whose existence is about to be fundamentally altered. The elevator starts its descent, stutters and stops, trapping its two passengers. The man and the woman could hardly be more different and have nothing in common, yet the enforced confinement inevitably causes them to confide in each other, thereby revealing more of themselves than they could have dreamt possible. |
The storyline is propelled mostly through dialogue, although there is a surprising amount of action, borne out of their desperate situation. But it is the roller-coaster of their emotions and their shifting interactions that defines this story. Also the way our perceptions of other people change when some strategic fact is revealed which causes us to rearrange our ideas, much like the view inside a kaleidoscope changes once the pieces are shaken and realigned.
This is not a cosy, comfortable read. The author does not shy away from controversial, even shocking, subjects to lay bare the very essence of two deeply flawed characters. He proposes some heavy stuff: repentance, forgiveness, and redemption. Is it possible for someone who has done something bad to obtain absolution and, harder still, forgive himself or herself? Davis throws out the challenge and invites our reaction.
A fair amount of suspension of belief was necessary to accept the practicalities of the timeline, but I enjoyed being swept along the changing currents of perception, as fresh revelations force us readers to shift our standpoint. Perhaps less comfortable was the moral judgement that is elicited, and even less satisfying was the ending, which is left so unresolved that it could go almost anywhere. In fact, I wondered whether some of the previous events might have been an illusion. Personally, I look for a story to come to an end, but if you like the ambiguity of an undefined conclusion, where your imagination can take over and finish the tale, then you will find this story very satisfying. It makes for a fascinating, breathless read and, once started, you'll never guess where it will take you.
Having read and enjoyed other books by Dermot Davis, I can also heartily recommend Brain: The Man Who Wrote The Book That Changed The World, full of his particular brand of sarcastic humour, and the Frances series, where drama and farce coexist in perfect balance.
This is not a cosy, comfortable read. The author does not shy away from controversial, even shocking, subjects to lay bare the very essence of two deeply flawed characters. He proposes some heavy stuff: repentance, forgiveness, and redemption. Is it possible for someone who has done something bad to obtain absolution and, harder still, forgive himself or herself? Davis throws out the challenge and invites our reaction.
A fair amount of suspension of belief was necessary to accept the practicalities of the timeline, but I enjoyed being swept along the changing currents of perception, as fresh revelations force us readers to shift our standpoint. Perhaps less comfortable was the moral judgement that is elicited, and even less satisfying was the ending, which is left so unresolved that it could go almost anywhere. In fact, I wondered whether some of the previous events might have been an illusion. Personally, I look for a story to come to an end, but if you like the ambiguity of an undefined conclusion, where your imagination can take over and finish the tale, then you will find this story very satisfying. It makes for a fascinating, breathless read and, once started, you'll never guess where it will take you.
Having read and enjoyed other books by Dermot Davis, I can also heartily recommend Brain: The Man Who Wrote The Book That Changed The World, full of his particular brand of sarcastic humour, and the Frances series, where drama and farce coexist in perfect balance.