First Written for Shiny New Books
First Written for Shiny New Books October 2016
The Temptation of Elizabeth Tudor concerns itself with the potential marriage between the teenage Elizabeth Tudor and Thomas Seymour. The book focuses primarily on Seymour, his story being less well documented. This is the story of his rise and fall and of the risks that the young Elizabeth faced as a princess without the protection of her parents. The stage is set with the death of the much loved and feared Henry VIII in 1547.
Thomas Seymour was brother to Jane, Henry VIII’s third wife and the one that finally bore him a son. As Jane became Queen and royal mother her family’s status significantly improved. In time his older brother Edward went on to become Lord Protector of England during Edward VI’s minority. As uncle to the King Thomas, envious of his brother’s success, allowed his vanity and entitlement to guide him he set out to raise his own status. His schemes, political plots and spying make for the most fascinating of political intrigues.
Seymour married Henry’s sixth and final wife Catherine Parr. Already widowed three times by her early thirties she was finally in a position to marry for love and it seems Seymour returned her feelings. Shortly after Henry’s death they, rather scandalously, married. However, before this Seymour had already courted the attentions of Princesses Mary and Elizabeth, and also possible the child Jane Grey, making his hope to marry into royalty and power clear from the start. He was a power hungry and charming courtier who saw his opportunity to climb to power in the aftermath of Henry VIII’s death. In late 1547 Elizabeth was only fourteen years old and living with her step mother the Dowager Queen, and her new husband, Thomas Seymour.
One particular story is often touched upon in documentaries; the famous scene of Seymour tearing up the young princesses dress with his sword as she is held by her stepmother Catherine. There was more to it than this one scene though. The domineering Seymour would enter Elizabeth’s chamber early in the morning, trying to catch her still in bed dressed only in her nightdress, where he would proceed to ‘tickle’ her, sometimes even with the assistance of Catherine. This flirtation seems to become increasingly overt and threatening, with the result that Elizabeth, at the risk of scandal, is sent away out of Seymour’s reach. Her line in the succession makes her both powerful and vulnerable to attack. As the daughter of convicted adulteress Anne Boleyn many expected Elizabeth to behave in the same way so she was particularly vulnerable to rumour and gossip.
After Catherine’s death Seymour acts in an increasingly reckless manner until he is arrested for treason, thus endangering the very existence of the princess. Norton delves into this chapter of her life in detail and picks out the happenings and feelings that go on to form Elizabeth’s character. Without the threats she faced as a result of Seymour’s interest in her Elizabeth’s path in life might have been very different. Norton argues that is from this episode that she learned that relationships could be dangerous and scandalous. Although Elizabeth is not known to have expressed a clear desire for or interest in Seymour, in the sixteenth century a princess’s virtue and reputation could be threatened by rumour alone.
One of the main arguments of The Temptation of Elizabeth Tudor is that her early bruising experiences of her flirtation and thoughts of marriage with Seymour resulted in Elizabeth’s decision to remain unmarried; becoming the ‘Virgin Queen’. Although this is likely a contributing factor it seems unlikely to be the only cause. This is a rare portrait of the early romantic life of the princess, instead of the frequent focus on Robert Dudley and her international suitors when Queen. As this is more a biography of Thomas Seymour’s political life and death rather than of Elizabeth’s youth or early romantic relationships the title is perhaps a misnomer; catchy and intriguing but slightly misleading. The lines Norton chooses to end on do not fully fit with the narrative thrust of the rest of the book when she suggests that ‘he was her temptation’.
The sibling rivalry and consternation between the Seymour brothers is a particularly interesting counterpoint to the royal siblings who appear to have shown remarkably little jealousy or rivalry despite their much closer proximity to power. Some elements of the scandal seem remarkably relevant to today’s tabloid magazine articles; the question over virginity, pregnancy, secret pregnancies, interfamily love triangles and affairs.
Norton is an accomplished and prolific writer, having written multiple biographies of royal women. It is rare to find a history book that is so readable and enjoyable. Fortunately a family tree is included at the back, which is necessary for following the relationships between the two closely connected families. This is a well-studied period of history, but Norton has found a section that can go towards feeding the ever present Tudor mania. Her sources show a wide and thorough reading and research that went into forming this intellectual yet lively investigation.
The Temptation of Elizabeth Tudor is a vivid and entertaining read, on occasions full of suspense and intrigue. It shows how a young royal could become trapped, used as a pawn, between the competing factions looking for political dominance in the court. The extent to which Elizabeth, and her younger sibling Edward, had control of their own lives is debateable. This is certainly one of the most comprehensive and interesting accounts of Thomas Seymour. The backstabbing and political machinations make for a deeply involving account; one can easily see why this period of history still has the power to fascinate.
Elizabeth Norton, The Temptation of Elizabeth Tudor (Head of Zeus, 2016). 9781784081737. 368pp., paperback.
First Written for Shiny New Books 2016
I always thought it would be classy to not kiss and tell … but after a while you just get sick of having other people trying to tell your story for you.”
This is how Madison addresses at the beginning of her autobiography what is probably the first thought everyone has when a celebrity announces they are going to sell their story. Why and why now? The memoir caused a sensation when first released in America and the discussion around it doesn’t seem likely to dim as she takes the reader behind the scenes of the once mysterious Playboy Mansion and the man who reigns over it: her former boyfriend, octogenarian pornographer Hugh Hefner.
Madison grew up in small town Oregon before trying her luck in LA. Waitressing and studying at college she found herself in difficult financial circumstances when an opportunity presented itself to live at the Playboy Mansion. This would involve becoming one of Hefner’s girlfriends. At first she was one of seven. By the time the top rated behind the scenes reality TV show Girls of the Playboy mansion went to air she was now the number one of three girlfriends, alongside Bridget Marquardt and Kendra Wilkinson. The show was a hit, introducing Madison to a wide audience. When she finally left the mansion after seven years she found she was still only known for her association to Playboy, almost tainted by it. She went on to star in her own E! reality show Holly’s World which followed Madison as she began her new life. After leaving the Mansion she embarked on an ill-fated love affair with illusionist Criss Angel, before becoming a hit on Dancing With the Stars. Then her chance to find success independently came along as she headlined the popular Las Vegas burlesque show Peepshow, at Planet Hollywood to great acclaim. All of this is covered in depth in the memoir.
In Girls of the Playboy Mansion Madison was widely perceived to be in love with Hefner, with hopes of marriage and children. In the end however they broke up. Madison discusses this in her book, answering the question of whether she was really in love and what it was like in practice to be one of several girlfriends to the ageing lothario. On this point her account differs somewhat to the programme. Whether this is down to clever video editing or Madison is trying to reclaim and retell her story one cannot be sure.
This candid and detailed memoir goes much further than Girls of the Playboy Mansion ever did. Through living at the Mansion Madison quickly lost her sense of identity, connections to the outside world, self-worth and hope for her future which resulted in some very dark lows. At her darkest she considered ending it all. “Maybe it was the pot and the alcohol, but drowning myself seemed like the logical way to escape the ridiculous life I was leading.” The double edged sword that is fame and the life she chose is explored with clarity. In the end she takes charge of her life and digs her own way out of the rabbit hole, creating her own happy ending.
Those looking for gossip and behind the scene anecdotes to life and the Playboy Mansion and her relationships with the other girls will find that aplenty. Depictions of the happenings in his bedroom are detailed and enlightening. Her portrayal of Hefner differs significantly from the image of himself that he presents to the media; coming across as old fashioned, manipulative and jealous. She also delves into her relationship with the other girls of the Mansion. First the many other girlfriends she was in competition with and finally the two who became with Madison Hefner’s main girlfriends: Marquardt and Wilkinson. Rumoured tension between Madison and Wilkinson is addressed in an impersonal, short and matter of fact manner near the end of the book.
If the Playboy Mansion seemed bizarre before Madison’s account is only going to enhance this idea. She discusses the dated décor, the hierarchy that existed between the different girlfriends, the 9pm curfew and the undignified lining up to be given their allowance and hear any complaints against them. Those living at the Mansion had to follow a strict code of conduct. The stories of sex, drugs, abuse and rivalry are both shocking and surprising.
Cleverly Madison avoids the pitfall that many autobiographies fall into and only gives a short amount of space to her early life, aware that what the reader is looking for comes later. Madison treads the fine line between telling her story and descending into scandalous point scoring largely successfully. She is a capable writer (no ghost writer is credited) and the chapters skip along. It is very easy to find you have started the book and next thing you know you are a hundred pages in. Madison comes across very well, as an intelligent, hardworking and friendly individual. Although many will have difficulty with the life path she chose for herself Down the Rabbit Hole sounds more like a cautionary tale than a how to guide. She does not encourage others to follow in her footsteps but instead re-examines her life as she takes charge and rediscovers herself. Down the Rabbit Hole is a juicy and unpredictable memoir that has much to offer fans and the curious alike.
Holly Madison, Down the Rabbit Hole: Curious Adventures and Cautionary Tales of a Former Playboy Bunny (Harper Collins, 2016). 978-0062372116. 334pp., paperback.
First written for Shiny New Books, June 2016
Tremarnock is a picture perfect Cornish fishing village, largely untouched by gentrification, poverty or seasonal tourism. It is here that we find our protagonists, for whom the beautiful, peaceful Tremarnock is a sanctuary. Its mutli – coloured houses cluster around the harbour where fishermen still make their living catching fresh fish each day. The village has a local pub and award winning restaurant that the villagers gather around for all social occasions. It is presented as the perfect idyll.
Our protagonist and guide to Tremarnock is Liz. Still only in her thirties, she has taken her daughter Rosie to live by the sea; far away from her useless cheating father. Here she does little except work and care for her only child. She has successfully built up a good network of friends and helpers although she is always keen to shoulder the burden of motherhood alone. Their involved, realistic mother – daughter relationship is the highlight of the novel and should be instantly recognisable to the reader. Often this relationship will make you want to go and hold your relatives, your mother, close.
At the heart of all families and villages there are secrets. These create plot twists and show certain characters in a new light. Sometimes people are not as clear as we think they are and the reader follows Liz as she navigates her way through the mysteries of this close knit community. The novel does not always remain completely light hearted and often surprises the reader with its depth and direction. One of the ways in which Liz seems to stand out is the way in which she is an open book for all to read.
This bucolic village depiction is somewhat idealised and certainly different from the experiences of myself and my contemporaries of living in a small Cornish community. It appears to have been written from the point of view of a visitor cherry picking the image and not the reality of rural living. This is perhaps best shown in the way Liz is strangely instantly accepted and absorbed into the local community. Her new friends and neighbours quickly become her family.
This sense of instant inclusion is however capitalised upon when Liz becomes friends with a Plymouth-based family who run a small, failing newsagents where she buys her cigarettes and lottery ticket each week. The lottery ticket, and all it symbolises of hope and potential opportunity and security acts as a recurrent symbol throughout the novel. Once again Liz and Rosie quickly become part of the family, but this soon leads into a web of intrigue that is not fully resolved until the novel’s closing pages. One thing about Tremarnock is that it has surprises scattered throughout. This begins with the intriguing prologue that hooks in the reader immediately; drawing them in as they wait to find out how the story will unravel.
Despite everything both Liz and Rosie have been through in their lives they always remain positive and never back down from the challenges facing them. In this way they are courageous, and the simple, pure, complete love Liz feels for Rosie echoes in every of her actions; from holding down multiple jobs to caring for her when sick to fundraising for a potential life-improving medical procedure. The challenges and joys of raising a child with cerebral palsy are excellently portrayed through the relationship between the pair and the challenges they face are explored in depth. It is important to note though that the ups and downs of their lives are expertly told through character and plot details, and at no point in time does the reader feel lectured to.
The main flaw in the novel is in the portrayal of Liz as being near perfect. The innocence and naiveté can be a little difficult, particularly when it comes to the way in which she refuses to stand up for herself or see the reality of her relationships with certain family members and friends. One element of the ending, although comforting, verges on the edge of being sickly sweet, as Liz forgives those who have wronged her but without any real assessment of the impact their actions have had on her and Rosie’s lives. At times it would be nice if Liz stood up for herself in the way she stands up for Rosie a little more. However this mild frustration one feels arguably adds to the realism of being presented with a fully fleshed out character.
Interestingly the press release states that Tremarnock is the first in the series. This is intriguing and the reader will be keen to find out whether the rest of the series continues to focus on Liz, Rosie and their new life or whether it will delve into the intrigues offered by other village members. A colourful cast of supporting characters feature throughout and their own narratives and characteristics are touched upon; leaving the potential for many different routes to be taken with the rest of the series.
Burstall is a freelance journalist, which shows in the wealth of detail and local flavour that peppers the novel. Her love for the county pulses through the pages almost as another beloved character. This relaxing summer read is like being wrapped in a warm blanket as you allow yourself to be transported through the lives, loves and secrets of this ideal Cornish fishing village.
Emma Burstall, Tremarnock (Head of Zeus, 2016). 978-1781857892. 407pp., paperback.
With thanks to Head of Zeus publishing for a copy of this novel.
As Ireland commemorates the events surrounding the 1916 Easter Rising this timely novel teases out what this event means to the youth of today.
Citizens is set in Dublin 2011. In the aftermath of the collapse of the Celtic Tiger, Ireland is held in the grip of recession and austerity, and for apathetic 26 year old Neil it often feels as though his country has failed and the time is coming to leave. On the cusp of emigrating to Canada with his ambitious girlfriend Kathy, Neil finds his plans are put on hold when his grandfather dies. Neil delays his flight to Canada in order to receive his grandfather’s legacy. He is now stuck behind in Dublin, aiding his grieving grandmother, in the dole queue, and spending most of his free time at the gym or partying.
The legacy is a surprise to Neil. His great grandfather left behind written memories of the Rising. During the Easter Rising of 1916 Irish volunteers took over government buildings in Dublin, in the hope that it would trigger a national uprising against the British colonialists. In this sense the rising was a military failure. However the strong reaction of the British administration – holding trials for the leaders in secret before executing them – led to mass outrage, setting the desire for and path to independence alight.
In the midst of this Neil’s great grandfather Harry is to be found. A Pathe newsreel cameraman armed with a cinemachine to capture the birth of the new republic for posterity. Harry fully understands the importance of recording the events, people, successes and disasters he often comes across. This is an inventive and brilliant way of drawing the reader into the events of 1916 and is particularly relatable due to the current obsession with photographing and recording everything around us. Neil’s story is intercut with sections of Harry’s memoirs, but will Neil realise the value of the legacy?
Neil and Kathy are not often the most likeable of characters; shallow and selfish, they care only about themselves. Kathy, who has gone ahead to Canada and is waiting for Neil to catch up, helps to propel the narrative forward, but she is often a greedy, manipulative character who is difficult to like. The main characters are all fully rounded and recognisable, but there has to be something else for the reader to hold on to, to care about. Curran provides this in Neil’s growing relationship with his great grandfather’s diaries. Partially based on real letters and diaries they feel authentic and Curran skilfully avoids the trap of idealising or mythologising the past.
Neil’s relationship with his grandmother is particularly well drawn and many a reader will be able to relate to the love and frustration that the two feel for each other. The two characters also represent the different value systems they were born into and the movement that has taken place over the decades from idealism and nationhood to monetary value. As Neil says to his Gran: ‘wealth is what defines you, not your passport of where you are from.’ However his Gran does not agree with this: ‘Not everything of value has monetary worth, dear.’
Neil embodies the disappointment and weariness that seems to typify Ireland’s youth. As Neil explains: ‘he doesn’t belong. There is an accent in Irish television he never hears: his. Or ones like it. There is a type of person he never sees on Irish television: him, or people like him. Desperate, disillusioned, angry, annoyed’. The cynicism and theme of emigration also touch a nerve in a country where thousands of young people are leaving every year.
The title Citizens chimes in with the general theme of the commemorations which have been emphasising that it was the individuals, ordinary people, who did extraordinary things. Further, Curran explores what it means to be a citizen, good or bad, in both 1916 and modern Ireland. He explores the frustration many millennials feel when the traditional routes of education and hard work ultimately lead nowhere, well, except back to the dole queue. Neil seems more able to deal with this shifting economic climate, whereas Kathy does not.
As Neil works his way through his great-grandfathers legacy he gains a deeper understanding of the rebellion and the ideals that led individuals to take the action that they did. This is a journey the reader goes on with Neil. Citizens brings to life this extraordinary time in history in a vivid and personal manner. Curran frames the Easter Rising in a modern narrative which is a fresh way of delving into the events that shaped modern Ireland. By using two relatable, ordinary characters Curran draws the reader in until they feel closer to the events as they were, and as they are remembered. The book’s cover reflects this. Its dark shades of black and blue, images of contemporary and twentieth century O’Connell Street at night with the GPO (General post Office) building standing tall. Still riddled with bullet holes from 1916 it is a symbol of Ireland that reaches through the decades.
This is the second novel from Curran and has been listed as one of theIndependent’s top 10 novels that reflect the spirit and legacy of the rebellion. Citizens has quickly become a top seller in Ireland and as the centenary progresses this success is likely to continue. Curran is a confidant writer, in tune with his city and the characters he has created. This is an enjoyable and important read.
Kevin Curran, Citizens (Liberties Press, 2016). 978-1910742259. 314pp., paperback.
With thanks to Liberties Press for a copy of this novel.
On a small crossroads near the bottom of Manor Street, one of the main through ways in Dublin 7, there is a rundown, abandoned pub called The Belfry. It was once painted blue with red hoarding, black lettering. It is now peeling and faded. In the two years that I have lived near here not once has this scene changed. Until just before Christmas a mural appeared. An almost ghoulish figure, a white face shrouded in a black hoodie with the following inscription: ‘Dublin Seven in bookshops now. “… twenty six years old the newsreader said the fella was shot dead. Then that vile euphemism ‘known to Gardai’. Deserved it in other words”.’
This is Dublin’s first introduction to Frankie Gaffney’s debut novel, a coming of age tale that focuses on the life and exploits of inner city teenager Shane. Directionless, he spends the summer after sitting his Leaving Cert partying with friends, drinking and taking ecstasy. Soon he meets a local gangland figure who introduces him to the world of drug dealing. The movement from enjoying weekend drink and drug sessions to selling is surprisingly easy for Shane.
—C’mere. D’ye know where I’d get a bit of tha stuff? Shane asked Griffo. —It’s deadly so it is.
—Yeah no bother kid, it’s always there if ye want it, anytime.
It was that easy. It is the tail end of the Celtic Tiger boom years and Dublin is awash with cocaine and eager and ambitious individuals willing to capitalise on this. Armed with the money from his college grant Shane joins the ranks of Dublin’s underworld. From this point on his life becomes increasingly complicated. He leaves home when he starts to make enough money and sets up shop until he is making thousands each month. At the same time he enters into a relationship with the beautiful but mystifying Elizabeth and his family still continue to impose on his life.
At first Shane is youthful and still a little naïve, but it doesn’t take long before he succumbs to paranoia and suspicion. Danger is inherent in his line of business. From his clients, others in the drug trade who may not appreciate this new up and comer, to the Guards. They figure quite heavily on the periphery of the novel, always on the edges, always in the back of Shane’s mind. This brings us back to the phrase on the mural, ‘that vile euphemism, known to Gardai’. This simple phrase is loaded with negative connotations. When you hear it on news reports and in the papers it is a way of avoiding stating that the person in question was a criminal. If they were known to the Gardai does this make them less important?
With this novel Gaffney aims to present a fresh perspective on the idea that all police are good and all gangsters are bad; dehumanised by the press who give them nicknames and sell papers in the back of their exploits. Dublin Seven offers a rare glimpse into the life of inner city youth, so often played out in black and white in newspapers and news reports. The setting is gritty and frequently violent. The novel is peppered with swear words, threats, and the violence that becomes a part of Shanes daily life until the novel reaches its thrilling climax.
The novel is informed by Gaffney’s personal experiences of growing up in the area and the criminal underworld that touched upon much of his early life. This first-hand experience comes in useful. The novel’s description and understanding of the drug trade; how one gets involved, measures out quantities and so on is clear and precise, having a simplicity and truth based rarely found in popular culture. He also shows how it can be remarkably easy for the situation to escalate. The setting, the background and the uncompromising image presented of inner city Dublin is perhaps the novel’s highlight. It’s divided into seven chapters which chart the seven main stages of Shane’s evolution — his coming of age from a failing college student to an increasingly successful and paranoid drug dealer — which roughly parallel Shakespeare’s Seven Ages of Man. Gaffney has gone into detail about this idea in an article for the Irish Times.
The plot is well constructed and the central characters recognisable. The novel is told entirely from Shane’s perspective and he is the most rounded, full fleshed out character. Others, such as his sister and parents are less developed. In the end he seems to become estranged from his parents who live a life too different to his. His girlfriend Elizabeth, who seems almost excited by his underhand dealings, is in and out of his life. Although he professes to love her Shane doesn’t fully figure her out and in turn neither does the reader. Further the sex scenes are slightly uncomfortable to read and verge on gratuitous at times.
One of the stand out points of this strong and promising debut is the language. The characters speak in the distinct Dublin dialect, their accents shine through, broad, sharp and uncompromising. Here Gaffney follows in Roddy Doyle’s footsteps but takes it one step further. This is hopefully something Gaffney will continue in his future novels.
Frankie Gaffney, Dublin Seven (Liberties Press, 2015). 9781910742112, 313pp., paperback.
With thanks to Liberties Press for a copy of this novel.
After You is the sequel to the much loved international best seller Me Before You by prolific writer Jojo Moyes. Me Before You bought us the unlikely but beautifully portrayed romance between Will and Louisa. Will was a man who lived life to the full before becoming determined to die after a road traffic accident that left him quadriplegic but Louisa, his carer, set out to change this. She was the sparky, bright young woman who somehow found herself trapped by her life, her family and past. The two were bought together and Louisa learnt to live and enjoy life again before Will’s passing. How has Louisa fared since Me Before You’semotionally devastating ending?
This is Moyes first sequel. She has chosen to revisit the character of Louisa and as a reader one is slightly nervous at revisiting such a well-loved character. However, this is a fear that is not realised. We meet Louisa eighteen months later. She has relocated to London after having broken away from her family and the small town gossips of her home town. She works in an airport bar before going home to an east London flat that never feels like her own. Her family and her desire to live every moment of life to the full are conspicuously missing until one night that changes her life. A stranger turns up on her doorstep and she has a choice, close the door and live a safe, ordered but unfulfilling life, or open it and risk everything.
In the first few chapters we see Louisa struggling with the legacy Will left her, the burden of trying to live life to the full whilst still grieving. When she suffers a dramatic fall, her family, who have been estranged since Will’s death, come back into her life along with a new set of characters, Paramedic Sam and teenager Lily, who reinvigorate Louisa’s life and ambitions. One of the themes that ran through Me Before Youand continues in After You is that to live life is also to be vulnerable, to be open to pain and struggle but to embrace it any way to find happiness and love. Moyes digs into the messy reality of grieving and trying to establish a new life when your old one has been rocked from its foundations. It would perhaps have been easier to leave Louisa at the end of Me Before You with all of life’s opportunities in front of her rather than portraying grief and the difficulty of living under the pressure of expectation: trying to make the deceased Will proud.
Moyes manages to tackle the big issues through character driven narrative, leading the reader through ideas and places they may never have thought of before. The strong characters, well defined and recognisable, lie at the heart of her success. It would have been easy to make Louisa into some sort of martyr or hero but instead she is deeply flawed and scared of getting hurt again. She does stupid things, misses opportunities and has an often fraught relationship with her family. Working in a dead end job in an Irish theme bar in an airport, where she watches planes take off and land, possibilities and opportunities that she is not a part of, the reader stays with Louisa as she experiences many of the trials and tribulations that they do. Her flaws and interesting choices can make her a frustrating character at times as she trips herself up and is her only road block to happiness. Moyes brilliantly captures the complexities of modern life and the difficulty in trying to live for oneself.
Louisa attends a ‘Moving On’ grief counselling group with others like her who are struggling to move on. This provides a surprising amount of humour given the dark subject matter. However the longer Louisa seems to be stuck the more those around her start to move, to develop their interests and take new paths in life, perhaps none more so than Louisa’s stay-at-home mother, who discovers a whole new side to herself when she starts reading feminist literature. The additional characters have their own personalities and story lines but are never quite as fully rounded as the protagonist. The repercussions of Will’s decision have rippled through both his and Louisa’s family, and the question of what happens when we live for our own fulfilment is explored. Further, the introduction of several new characters reenergise both Louisa and the plot line. Moyes does give in a little to sentiment, with a few very convenient and slightly unrealistic plot twists occurring towards the end of the novel, but the reader forgives this because of the excellent writing and shared desire to see our protagonist succeed.
With moments of humour, happiness and occasionally deep sadnessAfter You brings Louisa, and the novel, to a satisfying new position. However it will not touch the heart in quite the way Me Before You did and it is worth noting that to fully appreciate the complexities of After You it is ideal to have read Me Before You. The slightly open ending begs the question of whether there will be a third episode for Louisa, and having devoured the novel I can only hope that there is. Very few authors delve into what happened next and the messy aftermath of Will’s death must have left the author (and reader) a little apprehensive about picking up the story, but the doubts quickly fade away. This is a satisfying and enjoyable novel that will entertain Louisa fans everywhere.
Jojo Moyes, After You (Michael Joseph, 2015). 978 0 – 718 179618, 407pp., hardback