Saturday, November 4, 2017

A New Christmas Carol

The Deal of a Lifetime: A Novella by Fredrik Backman


The protagonist of this novella is a father who is wealthy, successful and famous. He also has cancer, but so does the adorable five-year-old girl he meets in the hospital. Both of them are going to die eventually. The question is, does it really matter when, how or even why they die? That, together with the question of what differences the choices we make have on our lives, is the essence of Backman’s latest work. (Dear Amazon and/or Atria Books: this is how you write a concise summary of such a brief work of poetic prose, and not the four paragraphs describing half the story, which I found on Amazon.)

In the introduction to this novella, Backman writes “Every day, everywhere, we go down one road or another. We play around; we stay at home; we fall in love and fall asleep right next to each other. We discover we need someone to sweep us off our feet to realize what time really is. So I tried to tell a story about that.” Backman also adds, “Maybe you will find this to be a strange story, I don’t know. It’s not very long, so at least it will be over quickly in that case.” Of course, reading a short work by Backman can be disheartening, simply because I never want to stop reading whatever he writes. Despite that, I understood fully why this story was so short, and why its ending was absolutely perfectly timed.

More importantly, what Backman gives us here is a type of fairy-tale, or if you will, a new Christmas Carol for the 21st century. Our unnamed protagonist is not a nice person – much like Scrooge – who cares more about money than he does about people. In fact, it took him several days to discover that his wife had left him, taking their son with her. This tidbit about the protagonist is exactly the way in which Backman shows the reader what kind of man this is, together with his own admissions of guilt. However, with this callousness, Backman gives us this man’s first-person account of his interactions with this sweet, dying little girl, and his spying on his son, happily working at his bar-tending job. Backman counters these solidly credible connections to this man’s life with an aspect of magical-reality from this mysterious woman with a folder, hence the “Christmas Carol” feeling.

Where this novella seems to depart from his other works, is that here Backman’s prose sounds like this man was speaking directly to his son, and in that, he makes all of his readers into this character. Because this man has never been a good father, and more importantly, isn’t a caring person in general, using this method, Backman succeeds in gaining some level of sympathy for this protagonist, and not just because we know he has an incurable case of cancer, just like the little girl (who we adore at the outset). Of course, Backman has always known how to make us fall in love with less-than-lovable characters, but this man never becomes truly lovable. Instead, Backman only makes us feel somewhat sorry for him. Furthermore, although we still don’t like him very much, when this story ends, we certainly feel better about him, and almost proud of what he does. I’m pretty sure that this was Backman’s intention. Mind you, these conflicting feelings also meant that, for the first time, I didn’t cry while reading a Backman book. On the other hand, after I read the last paragraph, I did sit there stunned for a good five minutes, while the words “oh, wow” went through my head. (Yes, Backman has done it again!)

However, I did have two gripes with this book. The first, as mentioned above, was the blurb I found on Amazon, which is far too detailed for my liking. Hello! This is a work by Fredrik Backman, people! He’s already got a huge following; you don’t need to give so much away. I promise you, it will sell even if all you say is “Fredrik Backman’s newest work is a thought-provoking novella about love, death, choices and consequences”! My other problem was that they sold the Kindle file of this book together with an excerpt from “Beartown” and lots and lots of promos of all Backman’s other books. With all these additions, the novella itself ended at just past the 50% mark of the file! I suspect they did it just to fool people like me into thinking we had more Backman to read. Although this did tick me off somewhat, it didn’t really distract from the novella itself, and I cannot give it less than a full five out of five stars (surprise, surprise - NOT!).



Atria Books released "The Deal of a Lifetime: A Novella" by Fredrik Backman on October 31, 2017. This book is available from Amazon, Barnes & Noble, Kobo Books (USA, Canada & Australia), Kobo audio books (USA, Canada & Australia), eBooks, iTunes (iBook or audiobook), The Book Depository (free worldwide delivery), new or used from Alibris or Better World Books as well as from an IndieBound store near you.

Tuesday, October 24, 2017

Reconstructing Music

The Prague Sonata by Bradford Morrow


The publishers describe this book as follows:

In the early days of the new millennium, pages of a weathered original sonata manuscript—the gift of a Czech immigrant living out her final days in Queens—come into the hands of Meta Taverner, a young musicologist whose concert piano career was cut short by an injury. To Meta’s eye, it appears to be an authentic eighteenth-century work; to her discerning ear, the music rendered there is hauntingly beautiful, clearly the composition of a master. But there is no indication of who the composer might be. The gift comes with the request that Meta attempt to find the manuscript’s true owner—a Prague friend the old woman has not heard from since the Second World War forced them apart—and to make the three-part sonata whole again. Leaving New York behind for the land of Dvorák and Kafka, Meta sets out on an unforgettable search to locate the remaining movements of the sonata and uncover a story that has influenced the course of many lives, even as it becomes clear that she isn’t the only one after the music’s secrets.

Prague is one of my favorite cities in Europe, and that, combined with my musical background made this book very appealing to me, and thankfully this book lived up to at least some of my expectations. First, I love historical fiction, and Morrow gave me a good portion of this, with pieces of the action taking place during both World Wars and the Czech “Velvet Revolution,” although most of this novel takes place at the early part of the 21st century. Of course, my love of Prague was satisfied by many loving descriptions of that city, which made me nostalgic to walk those charming streets again. In addition, Morrow is either very musically knowledgeable, or he has done some excellent research for this book (I understand it took him 10 years to complete it), because he certainly seemed to know his stuff in that area. For example, not many people would know what a WoO is, or understand so fully how a sonata is constructed. Finally, there’s a nice little romance that runs through the book, balanced with a good heaping of mystery and intrigue, to keep the emotional tensions up and move the plot along. All this, together with a gently lyrical, yet unpretentious writing style gave this book a surprisingly relaxed atmosphere, despite the present complexities and clandestine history of this manuscript.

Another good thing about this book is the way Morrow develops his characters. When we are introduced to Meta, we are almost automatically sympathetic to her, and seeing as she’s the major protagonist here, that’s certainly a good thing. Also, early in the book we’re introduced to Jonathan, Meta’s boyfriend, who doesn’t seem a good fit for her, which is something that works out well later in the book. The other characters all seem to fall quietly into place like pieces of a puzzle. There’s Otylie, the manuscript’s owner, Mandelbaum, Meta’s mentor and Gerrit, an American-Czech journalist living in Prague, and Meta’s eventual romantic interest. Along with them Morrow carefully builds a set of antagonists who all seem to want to get their hands on the manuscript for various reasons. There are other characters along the way as well, all of whom seem to get about equal minor billing, and are rounded enough to be both believable and work nicely to enhance the overall story.

While all this sounds pretty good, there are several reasons why I can’t give this book five stars. One problem I had with this book was that several of the lesser characters, although realistic, felt a bit clichéd, and somewhat romanticized, as if Morrow liked them too much to give them any real flaws. There were also some inconsistencies in the plot that bothered me. For example, I wasn’t terribly convinced that Otylie’s husband would have been so protective of this manuscript that Otylie’s father gave her. Furthermore, I felt that Morrow tried to get a bit too much intrigue into this story, and that not only lengthened it (perhaps a bit too much), but also frustrated me as a reader during these passages, since I just wanted Morrow to get back to the essence of the story. On the other hand, I also felt that Morrow should have fleshed some of the sections about Otylie out a bit more, and possibly placed some of them earlier in the book, since their relative thinness and late appearance in the novel was probably what made the climax fall a bit flat for me. In other words, there were some things that were built up too much, while others didn’t get enough buildup for my taste. Finally, I was slightly disappointed that Morrow decided to attribute this sonata to such a famous composer, but I’m guessing that with everything else Morrow needed to research, raising up a lesser known maestro might have been a bit too much.

In any case, overall, this book deserves a whole lot of praise, from the fascinating story idea, to the excellent research into the music world, and with a cast of characters, most of whom were drawn beautifully, and developed with a very loving hand. The fact that it didn’t bother me that this story hits on the Holocaust, but has only one Jewish character, is also noteworthy. I think that most historical fiction lovers will enjoy this book, and despite my few niggles, I can confidently recommend it with four out of five stars.




Grove Atlantic released "The Prague Sonata" by Bradford Morrow on October 13, 2017. This book is available from Amazon US, Amazon UK, Amazon CA, Barnes & Noble, Kobo Books (USA, Canada & Australia), Kobo audio books (USA, Canada & Australia), eBooks, iTunes (iBook or audiobook), The Book Depository (free worldwide delivery), new or used from Alibris or Better World Books as well as from an IndieBound store near you. I would like to thank the publishers for sending me an ARC of this novel via NetGalley in exchange for a fair review.

Saturday, October 14, 2017

Guest Author Post: Jacey Bedford and her Psi-Tech Universe Trilogy

Many years ago, I met Jacey Bedford through the "usenet" group misc.writing - back in late 20th century, when we were young (read more about that here), and Jacey was only an aspiring author! But look at her today - she's published five books! 

Although I don't read the genre she writes in, I am pleased to share what she wrote on her blog on October 3, 2017 - the publication date of the third book of her trilogy, in which she has some interesting advice and insights on what she's learned!
*****

My new book, NIMBUS, is out today.

Let me say that again because it never gets old.

My new book, NIMBUS, is out today!

It’s my fifth published book, and the third in my Psi-Tech universe. It represents a milestone because it completes my first trilogy. I’ve written over half a million words of space opera, and those are just the words that made it to the final cut.

It’s been a learning curve, sometimes a steep one. So what have I learned?

Writing short and adding takes a lot less time than writing long and cutting.
That may seem obvious, but a lot of us tend to write our way into a book, sometimes because we aren’t quite sure of the right starting point. We have ‘story’ in our heads but not necessarily in the right order. I started NIMBUS four times before I found the right place to start. The other four beginnings were not necessarily scrapped, but they were not suitable as beginnings. One of them ended up being broken for scrap… err… backstory, and two ended up being middle chapters.

Even a pantser can plan when she has to.
Yes, even me.
I’ve always been a discovery writer, writing by the seat of my pants (a pantser, not a plotter.) My usual method of tackling a story is to start with a scene that presents itself particularly strongly. I sit down and write to see where and how far it will take me. At some point, usually between 10,000 and 25,000 words (yes it really does vary by that much) I reach a stopping point, and at that time I sit down and look at what I’ve done and where I think this might be heading. By this time I usually know what the end is (at least roughly), so I scribble a few notes and – hey presto! – that’s my plan. Now, that might work reasonably well for the first book in a series but what about the overall story arc? Exactly! I hear you say. Yes, you’re right. If you’re writing a trilogy, you need to plan. You need a story arc that can be delivered in (more or less) three equal segments, each with its own beginning, middle and (satisfying) end. And the climax of the final book has to provide a payoff, not just for that one book, but for all three books.

Writing the opening of a second or third book is monstrously difficult.
You hope that readers who liked the first book will come back for a second and third helping so that you’re writing for people who already know your world, but there are always those who pick up the second or third book, either without realising that they are coming into a story already part-told, or maybe they’ve just taken a fancy to the cover and the cover copy. So you need to dripfeed in enough backstory to set the scene without giving the whole game away. After all, you really hope that they’ll go back to the first book and play catchup.

You have to like your characters to write half a million words about them.
Fortunately I’ve enjoyed spending time with Cara Carlinni and Reska (Ben) Benjamin. I’ve always been fascinated by the idea of telepathy and associated skills. Are they ever likely to exist? biologically, there’s no evidence to suggest that they will, but with a neural implant? Who knows? Cara is an implant-enhanced telepath, able to sling a thought across the galaxy. Ben’s telepathy is weak, but he’s a navigator, that is, he can find his way from anywhere to anywhere else. Cara has trust issues, which isn’t surprising given the nature of her one-time relationship with Ari van Blaiden. Ben’s trust issues are entirely the opposite. He tends to believe the best in people, which either means he’s horribly let down, or the people he believes in truly step up to the plate and become trustworthy. Sometimes he gets a good surprise. I also became fond of some of the supporting characters, so I enjoyed accompanying my characters through a landscape filled with trials and tribulations.




Some readers are wary of buying the first book in a trilogy until all the books are published.
Yes, I can understand that. Like many readers I too have invested in the first two books of a trilogy, or the first five only to discover that the author and publisher have parted company and the concluding part will never see bookstore shelves. No need to worry about the psi-techs. Cara and Ben’s story is now complete. It’s available from all good book retailers in the USA and Canada:

Amazon.com (paperback and kindle)
Barnes and Noble (Paperback and nook)
Amazon.co.uk (paperback)

You can visit my website
Follow me on Facebook
Tweet me @jaceybedford

About Jacey Bedford

Jacey Bedford maintains the "Tales from the Typeface: Writing and Other Vices" blog. She is a writer of science fiction and fantasy (www.jaceybedford.co.uk), the secretary of Milford SF Writers (www.milfordSF.co.uk), a singer (www.artisan-harmony.com) and a music agent booking UK tours and concerts for folk performers (www.jacey-bedford.com). She's also a Home Office / Border Agency licensed sponsor processing UK work permits (Certificate of Sponsorship).

Sunday, October 8, 2017

Deceptions Large and Small

The Last Mrs. Parrish by Liv Constantine


For most of her life, Amber has been envious of people with money. That's why Amber has a plan to insinuate herself into the world of the rich and powerful. Her scheme isn't all that complicated, but it will take a little bit of patience. First, she has to get friendly with Daphne Parrish, the beautiful wife of the even more handsome and extremely wealthy Jackson Parrish. Then she has to seduce Jackson and get pregnant. Then she'll simply force Jackson to divorce Daphne and marry her, while making sure that Daphne's settlement doesn't break Jackson totally, and they can keep the stately home in the posh area of Connecticut. Simple, really, and if she succeeds, she'll have everything she ever wished for - money, power, and a handsome husband. However, as smart as Amber seems, apparently she never heard the adage "be careful what you wish for."

Every so often a protagonist comes along who is actually as much, if not more of an antagonist to a story. By that, I mean the type of character that you love to hate, and Amber is certainly one of these characters. In this book with Amber, Constantine (who, by the way, is actually a pair of sisters writing under one name) gives us exactly this type of character, and allows her to dominate the first half of this novel, entirely. Through Amber, we learn a tiny bit about her past that still haunts her, no small amount about Daphne and Jackson through Amber's eyes, and all the intricacies of Amber's well thought out and carefully executed plan. It occurred to me while reading this that as we witness this, that had Amber ever thought to use her many abilities less deceptively, she might have reached quite a nice level of success and money through her talent and fortitude alone. Of course, that's part of the point here; we watch someone who has real talent allowing greed to usurp any better judgment they might have had just to wreck havoc and revenge on others. That's Amber.

When Daphne's narrative takes over half way through the book, readers will already have a certain level of sympathy for her, if only because she's being so cruelly targeted by Amber. This is where I have to stop talking about the development of the book, because that would force me to give away spoilers, and I refuse to do that. Leave it to say that we start getting the real, full picture and that's where the psychological drama takes over (of course, there's a hint in the tagline for this book, which reads "Some women get everything. Some women get everything they deserve"). As I noted in another review of this book, I believe that this was a stroke of genius on Constantine's part - first building up the antagonist until we know close to the whole story, and then bringing in the real protagonist to retrace those steps from a completely different angle. Add to this the way that Constantine gives both Daphne and Amber such distinctively different voices, by using harshness for Amber's voice and a more lyrical style for Daphne's voice, and we have a real winner here. (I suspect that these sisters separately wrote these two characters, while jointly working on the plot.)

However, I should mention that I didn't find this book to be perfect. My problem with the book has to do with the ending. What I found was two plot twists that unfortunately extended the climax to what seemed like a bit of overkill for me. I'm sure that Constantine felt unable to give either of these up (I have my own opinion as to which one I would have left out), since they're both great. However, I genuinely feel that if they had had the courage to drop one of them, the ending would have felt more solid and more consistent with the rest of the novel. The old "kill your babies" dilemma let them down, but only slightly. Despite this one drawback, I found myself enjoying this truly gripping book immensely, and in fact, had a very hard time putting it down. That's why I can highly recommend it, but I'm going to reduce my rating by half a star. Even so, four and a half out of five is still a very good recommendation from me!



Harper Collins will release "The Last Mrs. Parrish" by Liv Constantine on October 17, 2017. This book is available (for pre-order) from Amazon US, Amazon UK, Amazon CA, Barnes & Noble, Kobo Books (USA, Canada & Australia), Kobo audio books (USA, Canada & Australia), eBooks, iTunes (iBook or audiobook), The Book Depository (free worldwide delivery), new or used from Alibris or Better World Books as well as from an IndieBound store near you. I would like to thank the publishers for giving me an ARC of this novel via Edelweiss in exchange for a fair review.

Sunday, October 1, 2017

Looking for the next Agatha Christie

Cocaine Blues by Kerry Greenwood


When the wealthy Phryne Fisher decided to quit London, it wasn't because the season had ended - to the contrary! No, Phryne left to set sail for Melbourne to investigate the mysterious illnesses of Lydia, whose father was suspicious that her husband might be poisoning her to get to her money. With only this to go on, Phryne packs her bags. Certainly being on her own, in late 1920s Australia would be more fun than arranging flowers or helping her parents to entertain their boring, polite society friends. Aside from that, the idea that Phryne could play at being an amateur sleuth along the way sounded like just what Phryne needed. So begins the first of the Phryne Fisher mystery novels.

I loved Agatha Christie's novels, but I've never succeeded in latching onto any other mystery writer since. This is probably because most writers in this genre tend to give us mostly dark characters and heavy atmospheric tomes. Detectives, private investigators, and even journalists are very serious professionals, and they seem to evoke more stolid portrayals these days. Even characters accidentally caught up in an intrigue seem to end up in books that are either violent or at the very best, grim. Someone who might be slightly comical in how they always seem to stumble upon a crime, is more my style. I'll even take busybodies who go looking for a mystery to solve, if they make me smile along the way. I thought I might have found this in the Alexander McCall Smith's #1 Ladies Detective Agency books, but sadly, that was a huge disappointment. However, after reading several shining reviews of Greenwood's series, I decided to try her books, and start from the very beginning. This might have been my mistake, but it also may end up being for the best.

After I started reading this book, I noticed that one reviewer suggested that the first novel in a series is usually less about plot and storyline, and more about setting up the reader with a group of characters that they'll want to follow in the future. While that person did have a certain point, I think I'd prefer a fully formed work than just an introduction. In any case, Greenwood seems to have let her readers down in this regard, since the portrait of Phryne leaves us with more questions than answers. For example, we understand that she started life poor, but a series of unfortunate deaths put her and her family in line for great wealth. What made this a baffling bit of good fortune was that Phryne doesn't seem to conduct herself like anyone who ever suffered even the tiniest bit of deprivation. Even if the Fisher family were impoverished aristocrats, I still don't believe Phryne would be as flamboyantly extravagant and, frankly, snobbish as she seems in this book. In fact, Phryne was so much of an enigma for me, that I had a hard time liking her in general. Despite this, Greenwood does give us one character you can believe and love, that being the girl Dot that Phryne rescues off the streets of Melbourne, and makes into her maid. Unfortunately, she's the only character that I took to with any level of affection, which doesn't say much for this book.

This brings me to the problems I had with the plot. It seemed a bit puzzling that Phryne was able to have amazing insights into certain people's characters, and yet be completely blind or unable to assess others. Furthermore, I had a problem with the initial premise of this book. That being that Phyne's ability to foil a theft within moments of the event was enough for someone to decide to send her across the globe to root out the problems with their own daughter. Of course, perhaps before the action of this book rumors abounded regarding her extraordinary abilities, so maybe this incident was just the proof in the pudding for the Colonel, but Greenwood gave us no indication of this. Furthermore, it felt like Phryne's prime reason to going to Australia immediately took a backseat to the story, where it stayed throughout most of the book. In the meanwhile, Phryne gets involved with saving the life of a girl who almost died after a botched illegal abortion, leading to a convoluted scheme to bring the abortionist to justice. Top that off with some strange intrigue and romance involving an aristocratic family of Russians still fleeing from the revolution, the cocaine in the title and something having to do with a health spa, and what we end up with is quite a bit of a mess.

I should add to this that Greenwood's writing isn't bad, in fact, this was very entertaining to read and Greenwood's prose was engagingly sprightly with no small amount of charm. Still, if she couldn't get me to love her protagonist, why would I want read more about her? Although it might not be fair to compare her to Christie, I'm afraid I must, and unfortunately, Greenwood is no Christie, and Phryne is no Miss Marple or Tuppence. Maybe Greenwood's subsequent novels have better focus, with explanations of some of Phryne's motivations behind her behavior, but I'm not going to waste my time or money to find out. That's why even though I'm sure that many will disagree with me, I'm afraid I cannot truly recommend this book and can only give it two and a half out of five stars. (Mind you, I have a feeling that I might enjoy the TV series a whole lot more than the books.)



Poisoned Pen Press released "Cocaine Blues" (aka "Miss Phryne Fisher Investigates") by Kerry Greenwood in 1989. This book is available from Amazon US, Amazon UK, Amazon CA, Barnes & Noble, Kobo eBooks (USA, Canada & Australia), eBooks, iTunes (iBook or audiobook), The Book Depository (free worldwide delivery), new or used from Alibris or Better World Books as well as from an IndieBound store near you.

You can also buy the DVD of TV series from Amazon US, and Amazon UK.


Tuesday, September 26, 2017

Guest Author Post by Roz Morris: Out of sight, but not out of mind

As noted in my recent review of Roz Morris' travel diary book Not Quite Lost: Travels without a Sense of Direction, Roz's afterward for that darling travel diary truly fascinated and more importantly, intrigued me. So I requested she write a post for this blog based on some of the things she mentioned there. Without further ado, please enjoy this lovely piece about her real life travels, writing fiction and personal history.

Out of sight, but not out of mind

by Roz Morris


I have an averagely bad memory, and this has a nice advantage - I can reread books with only the slightest sense of déjà vu. It was certainly handy when I compiled my most recent book, a travel diary called Not Quite Lost: Travels Without A Sense of Direction. The book was distilled from 20 years of notes, and trawling through them made them new again.

I enjoyed the return trip, especially to places that were desolate, ruined or abandoned. A house in Suffolk that had once been the centre of a medieval village, but was now isolated in a forest, a quarter of a mile from the nearest road. I’d studied them carefully, committed them all to paper, then pretty much forgotten about them.

Only I hadn’t forgotten. As I read, 20 years on, I found the origin stories for my novels. They might have been out of sight, but they were never out of mind.

A significant place was Stevenstone in Devon. Modern Stevenstone is a hamlet of mews cottages and bungalows surrounded by farmland, but is built on the remains of Stevenstone House - a rambling Victorian pile of pinnacles and towers that once overlooked a park with deer, lakes and garden follies. The mansion was gradually demolished in the 1950s, cannibalised to build the houses that stand there now: a couple of bungalows on the old terrace; mews houses in the stables and laundry. Chunk by chunk, the grand house disappeared and just one corner remained, a half-demolished tower thickly shrouded in ivy.

One of the garden follies had survived and I stayed there as a holiday let. It stood on a sward of green, with a view of the ruined tower that was most provoking – provoking because it was securely inside somebody’s garden and not available to nosy visitors. Provoking also because, although it had lost its topmost rooms and roof, it still dwarfed the other structures. What would I have given for a time machine?

But even so, there was plenty to delight. I went exploring with a picture of the house from the 1870s and found some of the structures still intact. A stone staircase in the lawn, rosetted with lichen. Ornate gateposts far too substantial for the cottages that now stood behind them. A long, graceful balustrade, which the picture showed running along the length of the mansion’s terrace. It now bordered the back gardens of the current houses.

Some years later I was walking in a National Trust wood in Surrey and I had a sudden thought: we were treading on the past. Under this path was an older path, which went to places that had now gone. I started to write a novel set in a time when all the countryside had been built on except for one preserved valley - the estate of a grand, crumbled house. It is rediscovered - a marble floor waiting under the tree roots; outlines of rooms tangled in the ivy. That must have been Stevenstone, stirring in the sediment of memory. It became Lifeform Three.

As I wrote deeper into Lifeform Three, I felt I needed a back story for the world. Readers might want an explanation for why we had squandered our green spaces. The answer came easily - rising sea levels had eroded the coastal towns and then crept inwards.

Lucky inspiration? No, I’d been there. For real.

On a visit to Suffolk, I stayed in a Napoleonic Martello Tower on the end of a lonely spit of land. On stormy days, the sea lashed right over the roof. Sometimes the coastguard would hammer on the door and entreat the visitors to drive their car further inland in case it was washed away. The tower itself looked tough enough - a giant drum of brick like a decapitated lighthouse. But even that was barely hanging on. It once had an outer wall, but that had been smashed by the sea, and the waves now lapped against the foot of the building. Pictures from the 1900s showed several cottages and an inn close by, now gone. All up the Suffolk coastline it was the same story. A string of towns, now just names on placards facing over the waves.

But why this love of lost places anyway? I didn’t realise that until I got some unexpected news. The house I grew up in, an Edwardian villa in Cheshire, had been knocked down. This shocked me. I wrote its obituary for the book, remembering rooms I had not stood in for three decades. I remembered being a very serious child tapping the walls looking for hollow spots that might be old fireplaces. I remembered a footpath that disappeared mysteriously under the bungalow next door. From my earliest years, it seems I was a house whisperer, a land whisperer. As I toured the house one last time in my memory, I understood a little of where I came from - and where I like to go.


Roz Morris is an award-nominated novelist ("My Memories of a Future Life" and "Lifeform Three"), book doctor to award-winning writers (Roald Dahl Funny Prize 2012), has sold 4 million books as a ghostwriter and teaches writing masterclasses for The Guardian. "Not Quite Lost" is her first collection of essays. Find her at her website and on her blog, contact her on Facebook and tweet to her as @Roz_Morris

Links:
My Memories of a Future Life
Lifeform Three
Not Quite Lost










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