Freebie Friday: Giveaway Bonanza!

Need help filling up your shelf? You’ve come to the right place! I think it was last month I started somewhat of a flurry of reviews that came one after the other, many of which have giveaways attached. Typically I hold drawings one to two weeks out, but this time Thanksgiving and upcoming Christmas kind of darted in and out of my schedule and plans, and dates became sort of wonky.

So, for your ease and mine, I decided to post a blog with links to all the drawings in one spot. Simply click on the link (book title) to the review for any book you like the look of and comment there – fancy schmancy not necessary – to get your name in the drawing. (And be sure to leave current contact info in the event you are our winner!) Since some peeps have difficulty commenting at WordPress, I’ve also linked to respective Facebook threads where you can comment instead. You do not need to comment at both; one works perfectly well. Unless otherwise indicated, blurbs are from Amazon and author names link to their websites and/or blog.

There is no limit of books you can enter the drawings for – enter them all if you like!

Drawing to be held December 16 

So without further ado, here are the prizes up for grabs:

Half Sick of Shadows: A Historical Fantasy by Richard Abbott (One paperback copy available, and this author also has December Deals from December 10 – 17)

Who is The Lady?

In ancient Britain, a Lady is living in a stone-walled house on an island in the middle of a river. So far as the people know, she has always been there. They sense her power, they hear her singing, but they never meet her.

At first her life is idyllic. She wakes, she watches, she wanders in her garden, she weaves a complex web of what she sees, and she sleeps again. But as she grows, this pattern becomes narrow and frustrating. She longs to meet those who cherish her, but she cannot. The scenes beyond the walls of her home are different every time she wakes, and everyone she encounters is lost, swallowed up by the past.

But when she finds the courage to break the cycle, there is no going back. Can she bear the cost of finding freedom? And what will her people do, when they finally come face to face with a lady of legend who is not at all what they have imagined?

A retelling – and metamorphosis – of Tennyson’s “Lady of Shalott.”


Lars D. H. Hedbor is offering our winner a choice of any one of his books in paperback. In this case, review links are below and blurbs at author website; click author name to access. (He also has a promotion for free e-copy of The Declaration; click book title to get yours straight away.)

The Light (Tales From a Revolution: New-Jersey)

The Smoke (Tales From a Revolution: New York)

The Break (Tales From a Revolution: Nova-Scotia) 

Excerpt from The Break

The Wind (Tales From a Revolution: West-Florida)

The Darkness (Tales From a Revolution: Maine)

The Path (Tales From a Revolution: Rhode-Island)

The Prize (Tales From a Revolution: Vermont)

 

 

 

 


Child of the Northern Spring by Persia Woolley (Blogger is gifting one paperback/hardback copy direct from online retailer)

Among the first to look at the story of Camelot through Guinevere’s eyes, Woolley sets the traditional tale in the time of its origin, after Britain has shattered into warring fiefdoms. Hampered by neither fantasy nor medieval romance, this young Guinevere is a feisty Celtic tomboy who sees no reason why she must learn to speak Latin, wear dresses, and go south to marry that king. But legends being what they are, the story of Arthur’s rise to power soon intrigues her, and when they finally meet, Guinevere and Arthur form a partnership that has lasted for 1500 years.

This is Arthurian epic at its best-filled with romance, adventure, authentic Dark Ages detail, and wonderfully human people.


Insurrectio and Retalio by Alison Morton (Two prizes: one e-copy of each book)

In Insurrectio

‘The second fall of Rome?’ Aurelia Mitela, ex-Praetorian and imperial councillor in Roma Nova, scoffs at her intelligence chief when he throws a red file on her desk. But 1980s Roma Nova, the last province of the Roman Empire that has survived into the twentieth century, has problems – a ruler frightened of governing, a centuries-old bureaucracy creaking for reform and, worst of all, a rising nationalist movement with a charismatic leader. Horrified when her daughter is brutally attacked in a demonstration turned riot, Aurelia tries to rally resistance to the growing fear and instability. But it may already be too late to save Roma Nova from meltdown and herself from entrapment and destruction by her lifelong enemy…

And Retalio

Early 1980s Vienna. Recovering from a near fatal shooting, Aurelia Mitela, ex-Praetorian and former foreign minister of Roma Nova, chafes at her enforced exile. She barely escaped from her nemesis, the charming and amoral Caius Tellus who grabbed power in Roma Nova, the only part of the Roman Empire to survive into the twentieth century. Aurelia’s duty and passion fire her determination to take back her homeland and liberate its people. But Caius’s manipulations have isolated her from her fellow exiles, leaving her ostracised, powerless and vulnerable. But without their trust and support Aurelia knows she will never see Roma Nova again.


There is Always A Tomorrow by Anna Belfrage (One e-book available)

It is 1692 and the Colony of Maryland is still adapting to the consequences of Coode’s Rebellion some years previously. Religious tolerance in the colony is now a thing of the past, but safe in their home, Alex and Matthew Graham have no reason to suspect they will become embroiled in the ongoing religious conflicts—until one of their sons betrays their friend Carlos Muñoz to the authorities.

Matthew Graham does not leave his friends to rot—not even if they’re papist priests—so soon enough most of the Graham family is involved in a rescue attempt, desperate to save Carlos from a sentence that may well kill him. Meanwhile, in London little Rachel is going through hell. In a matter of months she loses everything, even her surname, as apparently her father is not Master Cooke but one Jacob Graham. Not that her paternity matters when her entire life implodes.

Will Alex and Matthew be able to help their unknown grandchild? More importantly, will Rachel want their help?


Hearts Never Change by Joanne R. Larner (One paperback copy available)

Richard III as you have never seen him before! Richard has been King of England and France and Lord of Ireland for over twenty years and he is beginning to question his life. He misses his secret wife, Rose, who had to return to the twenty-first century when she found she was expecting twins, both for her own and the babies’ safety. Everyone around the king seems to be happily in a relationship. The realm is at peace and his son and heir, Richard junior, is of an age to take over the reins of government, so Richard makes a decision…


Good luck to all!!!

Update: Some of the older reviews for the Tales From a Revolution series are unlinked as they were done before the drawing was planned.

Feel free to comment there anyway OR at any other review from that series OR below on this post OR at this post’s Facebook thread, located here

Whichever is easiest for you; we’ll be checking them all. 🙂

Book Review: Fair Weather

Fair Weather by Barbara Gaskell Denvil
A B.R.A.G. Medallion Honoree

I absolutely adore time travel, and for that reason alone was fairly certain I would enjoy Barbara Gaskell Denvil’s Fair Weather. All right, there’s the medieval setting, which played a sizeable role in persuading me as well. Set partly in King John’s England, it also contains a murder mystery, which I haven’t read a lot of, though have found I tend to be fond of the furtive element.

As it turns out, enjoy is rather an understatement. I sped through this book of over 500 pages in four days, and though a quicker read is not always indicative of its worth, my online log shows the bulk of the reading done in the final 48 hours, and I remember these hours well: staying up appallingly late, the sense of urgency as I devoured pages with avaricious hunger until, finally, as I observed the bulk on the right side of my copy thinning out, the occasional warning to my inner self that it would soon be over.

From the very first page I was invested in the book, as Molly opens by confiding in the reader about her secret place. The very first large paragraph draws us into her existence, one in which even the pervasive smells of her other world—as we are to learn of—beckon from the streets of thirteenth-century London. Here is Tilda, an orphaned street waif, and Vespasian Fairweather, who has taken the little girl under his wing and taught her and others how to steal for survival.

As Molly’s visits to this time become more frequent, and grisly murders splinter her life and state of mind, she realizes she must find answers, quickly, before both worlds are destroyed. Encountering Vespasian, she senses he holds much of the information she seeks while necessarily protective of her own. What has he done? How much power does he really contain? Is he aware she is not native to his era? Seeking these and many other answers, Molly comes to understand that she must get much closer to the dangerous Vespasian in order to free herself of him and the menace looming all around.

Gaskell Denvil is an extremely talented writer. The murders do occasion some rather descriptive images, though I was able to make a clean break from the physical element each time as I moved forward in my reading. Many readers find this a troublesome proposition, given their horror at such acts as the author describes, or toward what they sometimes fear is their own severance from compassion. In other words: damned if you do, damned if you don’t. Molly, however, agonizes over the crimes, though via the deft hand of a creator whose perfect balance keeps it all from becoming overly melodramatic or without substance. Simultaneously, as the author leads us in, we feel right along with Molly, whose self-awareness works to keep us all in check. This in turn ties in with another deliciously mysterious and captivating element of the book I shall leave for readers to discover. Suffice to say the author handles the enigma that is identity exceedingly well—readers will notice certain passages that reveal her expertise.

Other techniques she engages are the sprinkling throughout Fair Weather of enchanting personification—

Shops shut early as winter dark still slunk in by mid to late afternoon.

—along with passages of graceful and shimmering imagery:

The electricity lightens my room in gaudy detail, but my eyes see only the spasmodic sputtering of lemon shadows from candle stubs.

Expressive in its striking eloquence, possessing perfect rhythm within each and every sentence, Gaskell Denvil’s poetic words convey so vividly what she points out for us to see. The ordinary isn’t simply transformed into magical, for this meanders throughout the world of the novel, recognized by characters and their observers; simple words are strung together like pearls until we are presented with a glorious necklace that transforms, as a whole, an entire sentence and, in turn, each scene.

This is not all: the author creates a world in which many complicated events and perspectives intertwine, and links within their history connect to larger figures and implications. In the hands of a lesser writer this could spell doom, and indeed a complaint of mine regarding some other fantasy novels is that they often tend to involve an overabundance of characters amongst unorganized events and too much deus ex machina. However, Gaskell Denvil’s management of her characters is in perfect balance: she allows them to be who they are, but they don’t run amok. They make sense in relation to each other, have limitations, sometimes can offer quick solutions and at others meet the consequences of when they cannot.


I tumbled into the pupils of his endless eyes. He was utterly in command of my mind.


Interestingly, characters’ comments occasionally seem to deliberately reach out to readers: “Time travel is more common than you think.” (“Yes! Yes!” I shout from within.) At other moments they engage in this while simultaneously reminding us that they, too, have a sense of history while we delight in the recall of figures we’d forgotten amidst our overloaded modern society, or in recognition of religious reservation, not a recent invention. “Purgatory,” said Vespasian softly from his high chair in the shadows, “is a dubious invention of the church.”

As Fair Weather progresses, its plot widens and we come to know more of the ancient demon Lilith and other mythological figures than before as we witness the rise of the battle between good and evil, acted out by individuals whose lust for power is so great, no act, vessel or other is sacred enough to be spared their malevolence. Gaskell Denvil—or is it Vaspasian himself?—does a superb job of revealing only what she wants to be known. Mystery, however, is not retained for its own sake, as we gradually are brought to understanding of the methodology of revelations and the harsh lessons and consequences of choosing to ignore events that do not seem to directly affect us. Not that the author wags any fingers—simply that her scenes are so vibrant, powerful and comprehensively created, it is easy to envision ourselves within the environment as we encounter surprises and questions are answered.

I also loved that these people defy easy characterization. While good and evil battle it out, there typically is an element of both within any entity, and their dimensions don’t always allow readers to determine so quickly whether one is to be trusted, liked, avoided and so on, placing us that much more into the mind of Molly. We observe the world through the eyes she herself sees it—and even that changes, given the times she inhabits, events that occur and her growing understanding of the nature of all matters, such as the spirituality of alchemy, what good really is and the nature of control.

I sat beside him. He didn’t move or seem surprised … I looked down at my own reflection in the water at his feet, my face partially obscured by floating weed and summery green algae. It was deliciously balmy … [b]eside me, still watching me[, h]is cotta was crumpled as a cushion, his hands clasped beneath his head. He cast no reflection in the pool at all.

“If you are who I believe you are, you know about that already. I have no intention of explaining myself further—even in dreams. Come back into my own world if you dare … and find out for yourself.”

“I shall, though not at your command ….” I lowered my gaze, knowing his eyes could read me. Cross and frustrated by his answers, I pointed to the pool. “Look,” I said. “Like the devil, you cast no reflection.” But when I looked up for his reaction, he had gone.

Despite its hefty bulk—oh and this becomes a great boon soon enough!—Fair Weather is a novel one will definitely return to, for its language is accessible, the story captivating and those who populate it will reach out to readers. It is commonly understood that great works reveal to us more each time we approach them, and this will certainly be so with Fair Weather, for we grow with its reading as does Molly, and getting to know Tilda, Vespasian and others is an enchanting maze into which we will want to re-enter repeatedly.

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About the author …

Having been born into a literary family where book shelves filled every room, Barbara Gaskell Denvil grew up assuming that writing would be her career. She began writing when she was extremely young and then went to work in the British Museum Library, with ancient folios and manuscripts.  This cemented her love of both literature and history. Moving on to work in traditional publishing, scripting, reviewing, editing and publishing many articles and short stories.

Her books now alternate between fantasy and historical fiction, drama, mystery, adventure and romance, with a passion for medieval settings and historical accuracy.

Miss Gaskell Denvil’s work has been traditionally published by Simon & Schuster, but she now favours self-publishing as it gives the huge satisfaction of individual control. And personal choice of genre and artistic inspiration.

… with a few extra words:

Bannister’s Muster is my new project. This is a children’s series (for age group 8 to 14) based partially in the medieval shadows of old London, and partially in a fantasy world. Book 1 – Snap – is already out and Book 2 – Snakes and Ladders – will be published in late November.

The launch will be held in the Eltham Library, Melbourne, Australia, on 2nd December. Everyone is invited.

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Sign up or follow Barbara Gaskell Denvil for news, review, historical, writing and research articles and more at her website or Facebook and Amazon author pages. Fair Weather and her other books are available for purchase at Amazon and Amazon UK.

Barbara loves to hear from readers, so do please get in touch

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A free copy of Fair Weather was provided in exchange for an honest review. 

Book Review (Updated): A Rip in the Veil

A Rip in the Veil (Book I in The Graham Saga series) by Anna Belfrage

This novel’s review in its original form appears here.

A Rip in the Veil is an indieB.R.A.G. Medallion recipient.

Previously having read and enjoyed The Prodigal Son, third in The Graham Saga series, I approached this first book with assurance and excitement. It is, after all, where the adventures begin, where the rip in the veil dividing time(s) occurs, at least in the case of Alex Lind. From my reading of that third in the series I knew she’d gone tail spinning through time back to the 17th century following a freak thunderstorm, though further details, of course, remained unknown to me. Reading the opening sentences of the first in the series, I was very aware of my transition into the beginning, and that enticingly soon these details would be revealed. I am quite sure anyone who has ever read Belfrage’s Saga out of order—which can be done—will understand.

ripHaving now read A Rip in the Veil for a second time it should be noted I didn’t like the book as I did before. I have grown since that reading, come to new awareness and made changes in my own life. I am different to that person who read the book last time. Through all that, I came out at the end of my second go-round with this result: I love it at least ten times more. Some of this could be attributed to a greater understanding I have toward the foreshadowing I hadn’t noticed the first time. It could also be said that having gone on to read—since The Prodigal Son—the rest of the series save its final installation, my affection for the characters has grown. All this would be accurate and surely contributes to my ongoing admiration for Anna Belfrage’s first in her timeslip series.

However, her strength as a novelist carries through more than in the ability to create strong characters with enduring appeal—an accomplishment in of itself not to be to sniffed at. Her words flow off the pages with the sort of enchantment that allows readers to recognize their beauty and rhythm, but also veils the utilitarian duties they pull on the side.

Further, true to the nature of a splendidly written book, one finds something else to adore they might not have taken in at first. In this instance one example would be phrases that capture our attention from where we stand now, not unlike the sun hitting stained glass at just the right angle or time of day. “The bright turmoil of oils,” for example, engages the imagination as it interweaves contemplation of an artist and her emotions; they unify in the moment and stir the sensations. There also is the author’s subtle sense of invitation into the story. We may share an understanding with a select character, or the author might slightly pierce the boundary between events as they occur and the observer holding the book, by acknowledging the observation.

“Jeans; everyone wears them where I come from.”

“Djeens,” he repeated, “well, you must be from very far away.”

“You could say that again,” she mumbled, hunching together.

and

[F]or an instant Alex thought she could see shame in his eyes. For an instant, mind you, and then his face hardened.

As Belfrage gets her tale going, readers also recognize what Alex herself does not, and her responses artfully contribute to the flow and continuity of the story as the author inserts detail clues for readers’ benefit; we learn ancillary information without being instructed, and the technique is used throughout the book, sparingly and subtly, also economically lending insight into players’ personalities.

The most apparent location these hints appear would be in dialogue, which also informs readers of how much each character knows about various events. In this way and others, Belfrage weaves a complex story, pleasurable and fascinating to follow—and I do mean fascinating: there were a number of occasions that gave me pause as I stopped to consider implications, how something could work, what might it mean in reality, and so on. The author’s prose lends credence to such a possibility, too: described with verbiage so on target and believable, responses and consequences so plausible, not an extra or out-of-place word, it becomes real as readers as well are drawn into the vortex with Alex, mysteriously and frighteningly into another time and, really, another place.

“Are you alright?” Matthew asked Alex.

“Yes,” she said shakily.

“Do you know him?” He cocked his head at the groaning shape.

“No.”

“Yes you do!” Two penetrating eyes fixed on her.

Alex shook her head, taking in a battered face, a dirty flannel shirt and jeans that seemed to have burnt off at calf length. He looked awful. The skin on what she could see of his legs was blistered and raw, made even worse by a large flesh wound. But he was here, an undoubtedly modern man. . . One person dropping through a time hole she could, with a gigantic stretch of mind, contemplate. Two doing it at the same time was so improbable as to be risable[. . . .]

[The man’s] eyes stuck on Matthew. . . His eyes widened, his mouth fell open, he cleared his throat and gawked some more, his Adam’s apple bobbing like a cork.

“Where the hell am I?” he said. “Where have I ended up?”

Indeed, sense of place is a strong element in Alex’s story and we see some overlap in time, eliciting more questions that contribute to an urgent sense of need-to-know. I also longed to learn how those Alex leaves behind react; here, Belfrage does not disappoint. Initially alternating with some frequency between her new/old world and the time she has left behind, gradually the narrative settles into Alex’s story within her current surroundings, only periodically bringing readers back to those seeking answers as to her whereabouts. This reflects Alex’s perspective of the experience, as she begins to make a life, her life, in this strange place she has landed. Like Alex, we acclimate to life without frequent news and knowing of her family.

son
The Prodigal Son is also a B.R.A.G. Medallion winner (click image for more details)

Perhaps the most significant element Belfrage employs throughout the book, this literary reflection of a character’s reality does extra duty as it is simultaneously employed with temporal distortion—texting her father from 1658, muttered comments Alex has to explain away—and a spot of pastiche, whereby her 21st century words, ways, songs, clothing names (e.g. djeens) are imported backward in time. Alex herself often brings this distortion to readers’ attention with her questioning of her new world (which is actually old) and how she could be there, given that at this time, she has not yet been born. Nor have any of her family, so how could they be searching for her? What may be the most satisfying yet, and perhaps a little surprising, is Belfrage’s manner of writing about timeslip—writing mostly in the destination era being the largest contributor to the sense of surprise—utilizing postmodern technique to do it. Moreover, her interweaving of the various strategies is absolutely seamless.

Through the book, we get hints of Alex’s history awareness as she periodically betrays, to readers only, her knowledge of what is to come in this historical era. The temptation for an author to lean on this type of understanding must be great; fortunately for readers and characters alike, Belfrage does not rely on it. In fact, she shies away from it in most instances, as Alex determinedly seeks to make her way in this era with more natural supports—and, of course, to avoid accusations of witchcraft. When readers may expect some historical event to be referenced, Alex moves on; she has learned quickly.

As Alex learns what she needs to in order to survive—including about Matthew’s vengeful younger brother Luke, and the wife once paired with Matthew himself—she also begins to see much in Matthew, joining forces with him to live a life of integrity in the face of religious persecution and inconceivable human cruelty. Alex sees this very quickly after they meet each other, during their journey back to his home, and through their time living there. She also captures the attention of someone who believes there is more to her than she tells, bonding with her and others as she makes her way through newcomer status and the daunting awareness of not knowing what she is doing, including in the presence of those who wish her ill.

Matthew has an ally in Simon, his brother-in-law and attorney, who protects his interests and indeed, his life, counseling the newlyweds in ways small and large. In a sense, as Matthew and Alex get to know each other, their story is timeless—two people with a bond who must learn to integrate their beings into a cohesive and workable whole. On top of their own challenges, ordinary and unique, the pair must also deal with the threats that remain, for despite Matthew having made it home, Luke’s anger has not subsided, and it menaces Matthew and those he loves at every turn. The Grahams do not claim victory over every challenge, and sometimes must learn to compensate, including with each other.

“I didn’t like the ‘obey’ part,” Alex grumbled as they walked back to Simon’s office [following their wedding]. “I mean the love and to hold and all that, fine. But to obey? It makes me feel like a dog. . . . Why should I obey you?”

“Because I’m your husband,” Matthew explained with exaggerated patience. “And you’re but a mindless wife.”

Will they always be so lucky? How do they keep Luke’s hatred at bay and can they continue? What of Alex’s strange circumstances? She was brought here against her will; what if the forces that carried her here reverse themselves? Can she ever go back? How can she stay under the conditions she will be required to live? These are just a few of the top questions that will arise from readers, who certainly will reach eagerly for the next book for answers as well as more of the Grahams, for while the book’s technical brilliance impresses the intellect, its soul captures the heart and imagination.

It is understood that certain factors affect any given reading, including order of books read. Did my awareness of Alex’s future, so to speak, with Matthew affect my perspective of the first in the series? Undoubtedly. Would I have enjoyed it as much had I not read the third book first? The only truthful answer I can give is that I do not know, though I am certain I still would be clamoring for the rest, as I had been. It has not escaped me, however, that like Alex, I myself have done a bit of time travelling by learning of a future portion of her life in the 17th century before being brought to the first part of her time there. While many of my questions arising from the third are answered in the first, the readings of both remain magnificent. When first I published this review in its original form, I had added, “and I will not be satisfied until I have read them all—and even then I may still want more.”

I assure you, even after having now read them all (except the most recent), I very much still want more. I will be reading this book again and again with the knowledge that Belfrage has created the Grahams and a tale vigorous enough to journey with us through time and all of our own changes.

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Update: I have read them all by now, and I want more. 

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Anna Belfrage can be found on Amazon, Twitter, on her website and at her fantabulous blog, where you can learn more about the author, the Grahams, her sew series, The King’s Greatest Enemy, other projects and her world.

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Links to previous Anna Belfrage-related reviews and interviews can be found here.

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Lisl is a contributor to Naming the Goddess and her poetry has appeared at Bewildering Stories and in Alaska Women Speak. She is currently editing her volume of poetry, Four Seasons, and scribbling away at a collection of novellas, tentatively titled Border Dwellers. She likes to color, cook, practices calligraphy and is learning to sew.

Book Review: Richard Liveth Yet (With Giveaway)

Richard Liveth Yet: A Historical Novel Set in the Present Day

(Book I in the Richard Liveth Yet Trilogy)

by Joanne R. Larner

See below for how you can win a free, signed copy of this fantabulous novel!

On occasion I receive a book for review that makes me a bit nervous. Perhaps I don’t typically care for that genre, or the setting isn’t one I am usually drawn to. In this instance I was thrilled to be asked to review Joanne Larner’s Richard Liveth Yet, as it had two strong points going for it: time travel and Richard III, both of which are amongst my favorites. And that great judgment everyone makes: the cover. A painting of the author’s “fantasy Richard,” it is attractive and true to how the last Plantagenet king probably looked, with a more subtly modern appearance to its frame.

richard-liveth-yet-book-i-coverHaving also previously read time travel featuring the medieval king and later criticism of how he too quickly adapts to his new surroundings, I wondered how the author would handle his transition in this book. I knew that covering every possible nuance of the immense amount of change he would encounter would simply be impossible, that a certain amount of summary, as with the aforementioned novel, would have to occur if the story was ever to take place. So I wasn’t preoccupied with Richard moving into the modern world too fast—it was more a case of anticipation, like unwrapping a Christmas present to see what’s inside.

As it turns out, Larner knows exactly what to pick out and wrap up, and how much to leave to the imagination. As I got started I could see the novel was, as described in a showcase blurb, a lighthearted story, easy to read, perhaps not seeking to take itself too seriously.

Having said that last bit, I would caution that the tale of Richard meeting Rose and what happens between them also develops some rather poignant and lovely scenes, strong enough to bring humor into the mix and provide an all-around delight for readers every step of the way.

Like her creator, Rose Archer is an osteopath, so her experience in treating musculoskeletal problems comes in handy when she meets up with the time-transported Richard III, who suffers from painful spinal curvature. Larner cleverly avoids potential awkwardness between the two—as well as between characters and readers—by displaying Rose’s suspicion that her friend Laura, knowing of her obsession with the medieval monarch, has set her up in this situation, only to laugh at her later.

Richard, for his part, is tense but curious, periodically restraining himself for fear of sorcery or the unacceptably alien. With his behavior the author also introduces the concept that in fact a medieval man might very well have enjoyed some of our ways or technological advances if given the chance to sample them—even if the introduction entails a bit of hesitation, or he balks at other elements. Indeed, why not?

As the story moves forward, Richard and Rose get to know each other better, she introducing him to the ways of her world and he talking about his life and history, both of them at times filling in the blanks for each other. As their mutual trust begins to build and Richard’s back problems come up in conversation, he agrees to therapy, and readers are treated to a taste of time-transport humor, which mixes in a bit of Richard’s own.

From the new patient’s case history sheet:

Name: Richard Gloucestre, aka Ricardus Tertius Rex

 Date of birth: 02/10/1452

 Age: 32/561

 Address: Middleham Castle, Middleham, Wensleydale; Crosby House, London; Nottingham Castle, Nottingham; Windsor Castle, Windsor; and many others.

 Occupation: King

 Phone number: (Puzzled frown)

 Road accidents (e.g. whiplash): Was whipped occasionally as a child!!!!

 Presenting complaint: Chronic mid and low back pain and stiffness, with associated headaches, twenty years’ duration, getting worse

 Medication: Willow bark

At some point, as readers themselves know, and Rose as well, though she tries to avoid it, Richard would encounter information about his own end in all its horrifying details. They both know he cannot remain in the twenty-first century indefinitely, and they begin to develop a plan to return him to face what he must. Looming before he left his time was the Battle of Bosworth, where Rose knows he will die. With the benefit of hindsight in all the historical details in our time, continual training and Rose’s treatments and instructions how to care for himself, King Richard sets about adding to his plans for complete victory in the dreaded battle that otherwise would lead to his demise and the start of the Tudor dynasty.

rose-as-perceived-by-author
Introducing Rose Archer, the female lead character from Richard Liveth Yet.

In her introduction Larner writes that she aims for historical accuracy, though she does—and this is true of most historical novelists—take some liberties in unclear areas. This would certainly be linked to one disputed event in which John Neville, who like his brother the Kingmaker died at the chaotic Battle of Barnet, is said to have been wearing Yorkist colors beneath his armor, despite his stated allegiance to Warwick and the Lancaster cause. While there are those who call into question this version of events, Larner utilizes it to show a side of the king she and Rose both see, one who mourns for even the divided dead, recognizing the tragedy of having to choose between treasured loyalties. “I wept for [John] and Warwick. It should have been so different.”

Even Richard’s pleasures of the new age reflect what concerns him. After a particular treatment Rose asks,

“How was that, Sire?”

 “Reem!” he replied. He had heard the expression on one of the reality TV shows and used it all the time now. He never ceased to surprise her, the strange things he liked about modern life. He enjoyed the reality shows because he said they were about ‘real people with real problems and emotions.’ It seemed to be true that he genuinely cared about ordinary people.

Rose is a person who enjoys getting to and doing things, seeing various sights, and having a time-traveling visitor doesn’t stop her. In fact, her active lifestyle becomes a method of research in the pair’s aim to restore Richard to the fifteenth century, in turn revealing the author’s strength in connecting her narrative to history and significant locales within it. We are given insight into how various places appeared in Richard’s day while he takes it in, as do we, within that new moment. It brings the worlds together in a manner that guidebooks by their nature don’t, and places within it a humanity absent from such literature. We witness Richard’s responses to the changes—for better or worse—and see a bit of the reality from his time: “real people with real problems and emotions” once walked these locales and through Larner’s story their spirits continue to breathe meaning and life, allowing their significance to remain part of what continually makes these places dear to those who live or visit there now.

Also addressed in the novel is the universal effect of music, which Larner presents as scene headings named after songs on “Richard’s Playlist,” an inventory of songs included on an iPod he is gifted. While the lyrics don’t always exactly match what occurs in each passage, the titles do reflect scene content and speak to the manner in which so often music resonates with events in our lives, providing a backdrop that can comfort or even exacerbate sadness in moments when we sometimes need to let that emotion play itself out. Not only a very creative manner in which to involve Richard with music, it is also cleverly mapped because this medium would be inescapable to someone traveling to our time, it being such a large part of our lives. It being vastly important is of course true for other eras, but newer technology enables its ever presence in the day to day, and it is absolutely on target that Larner has it play such a role in the book as it does.

As historical fantasy, Richard Liveth Yet covers a lot of bases: through a magnificently-written story readers learn a great deal about historical events and possible explanations, including very plausible bits of information coming from Richard himself. It does not seek to portray him as perfect, and indeed the king admits to some of his own flaws. Narrated in third person, it enables us to get a taste of both Rose and Richard’s perspectives, as well as a reasonable evolution of their friendship and all they both encounter presented with a weight that satisfies the thirst to know how he views the modern world, without dropping into tedium. It is an exceedingly readable tale encompassing the history with a touch of romance and of course a bit of magic, leading to a conclusion we don’t expect but that primes us for the sequels, A Foreign Country and Hearts Never Change.

Larner has taken great pains to match history with her portrayal of Richard, simultaneously cracking the stereotypical portrayal of a medieval man who naturally hates everything in the new time, and in which his presence within it only chaos can ensue. In so doing she adds to his character by showcasing his willingness to examine the alien, even to embrace some, and care about the people amongst it all. She also provides an address to the controversial decision regarding his final resting place, and Richard’s own views on the matter may surprise some, while they reveal Larner’s idea of what Richard III himself finds most important.

A finely crafted novel, easy to read and carrier of a wealth of information and ideas, Richard Liveth Yet is a joy to unwrap; to encounter and witness the characters’ own discoveries and connections is a privilege, and traveling the roads of time through their eyes is indeed a gift from the author, unforgettable as it settles into our own landscape, making us all the richer.

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For your chance to win a free, signed copy of Richard Liveth Yet, simply comment below OR at our Facebook page, located here. All names will be entered into a giveaway and a name drawn in three weeks. 

Update: Drawing November 21

About the author …

larner-author-imageJoanne Larner was born in London and moved to Rayleigh in Essex (UK) in 2001. She has wanted to write a novel since the age of thirteen and finally managed it in 2015. She was helped by two things: National Novel Writing Month and Richard III. Richard was her inspiration and she became fascinated by him when she saw the Channel 4 documentary The King in the Car Park in February 2013. She researched his life and times and read countless novels, but became fed up because they all ended the same way – with his death at the Battle of Bosworth.

So she decided to write a different type of Richard story and added a time travel element. The rest is (literally) history. She found his character seemed to write itself and with NaNoWriMo giving her the impetus to actually DO it, she succeeded.

In the event you simply cannot wait for the drawing and possibly win a free signed copy, you may purchase Richard Liveth Yet (Book I) at Blurb, Amazon or Amazon UK.

Richard Liveth Yet‘s sequel, A Foreign Country, is also available for purchase at BlurbAmazon and Amazon UK.

Her third book, Richard Liveth Yet (Book III): Hearts Never Change, is almost completed and should be published on Kindle and Blurb by the end of the year.

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To follow Joanne Larner and her writing, sign up or follow her at FacebookTwitter and her blog.

We are also delighted to note the music video, called “Richard Liveth Yet,” by the Legendary Ten Seconds, with images of locations from the book, and the book itself.

A lovely photo album of places and people depicted in Richard Liveth Yet.

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All images courtesy Joanne Larner.

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A copy of Richard Liveth Yet was provided to facilitate an honest review. 

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This post was updated to add specific date of drawing

Book Review: To Catch a Falling Star

To Catch a Falling Star by Anna Belfrage
Lisl reviews and reminisces about The Graham Saga

Winner of the B.R.A.G. Medallion

To-Catch-a-Falling-Star_pb-SW-600px-widthAs the eighth and final installment in Anna Belfrage’s The Graham Saga series, To Catch a Falling Star found me reluctant to read as well as hungry to devour it. I’d accidentally fallen in with Alex Lind, who beckoned me into her world—both of them, time traveler that she is—when I reviewed number three, The Prodigal Son. It transported me and, knowing I simply had to read all from the start, I set out, smugly comfortable with my fat stack of books, assured of a brilliant journey that would last for some time to come. Reading Falling Star’s opening lines began the end of this long journey.

Isaac Lind should not have drunk quite as much as he did that evening, but flushed by the success of his latest exhibition, he allowed himself to be dragged along, to be toasted in pint after pint of lager.

He caressed the wooden frame of the picture, a depiction of a somnolent courtyard[…] In the middle a fountain, a constant welling of water[…] In olive greens and muted browns, with the odd dash of whites and startling blues, the water spilled over the fountain’s edge to fall in transparent drops towards the ground[…] He tried to break eye contact with the falling water, but now he heard it as well, the pitter-patter of drops on wet stone, the trickling sound of water running through a narrow channel, and there, just where he had painted it, a minute point of white beckoned and promised, entrapping his eyes in a shaft of dazzling light.

Isaac’s mother, Alex, had fallen through a rip in the veil of time when he was just a toddler, and apart from one short encounter, he has not seen her since. His grandmother’s paintings having played a role in these events, this opening then serves as foreboding. Now 32, a veteran time traveler at it again, certainly he may be able to see his mother once more. Apart from the vagaries of shifting through eras, the relationship is complicated by mother and son’s personal history, pertaining both to Isaac’s birth as well as his perception of Alex’s “abandonment” of him. Indeed, she chose to remain in the seventeenth century where she landed, and by the time Isaac falls through once more, she has raised a family, homesteaded in the colonies and seen too much in the passage of her “adopted” time.

A Rip in the Veil is a B.R.A.G. Medallion honoree and winner of The Review's Book of the Month Award
A Rip in the Veil is a B.R.A.G. Medallion honoree and winner of  The Review‘s Book of the Month Award (click image)

Initially, Isaac’s appearance is welcome to those familiar with the saga, for he has not played much of a role in the previous installments, apart from his one “visit,” although Alex does guiltily think of him from time to time. But even new readers fall in quickly, given Belfrage’s masterful shaping of dialogue and events that fill in pertinent bits of information. Isaac is a sympathetic character and from the get-go, readers follow him hopefully.

As these events play out, Alex is experiencing a separation of her own. After years of feuding between her husband, Matthew, and his younger brother, Luke—often with terrible consequences—a truce of sorts has been called and the couple prepare to leave their colonial home, taking only a portion of their family back to Scotland. Having been forced out of their country in the wake of religious persecution, she now had grown roots in her new land and leaving it, and her children, is devastating.

Meeting up with Isaac once more, as well as returning to Scotland, produces mixed feelings within Alex. She must face her guilt and work through the confrontations with her confused and unhappy son, as well as the long-ago losses and compounded homesickness when she sees how far they have grown from Hillview, Matthew’s ancestral home. Her husband begins to bond more closely with Luke, who appears to be trying to sort out their past, and Belfrage give us greater glimpses into Luke’s life as well as his changing perceptions of his world and the individuals who populate it. Her treatment of the younger Graham brother is especially skillfully woven because we are kept in a questioning state: “Exactly how hard do old habits die?” Just when we think things have changed, something else occurs, bringing our assumptions into question, though knowing answers could come from any direction.

The author deals with historical reality with the skillful dexterity she utilizes in the preceding seven books. Religious persecution—in the colonies as well as Scotland—battles and factual historical figures all play a role she does not whitewash, even to the detriment of Alex’s relationship with Matthew. Belfrage moves us between eras and places with a hand so adroit we not only fall into the story, but also follow along with baited breath, around every obstacle and with an eye out for anything that might come between our players and their goals.

The prodigal Son, too, is a B.R.A.G. Medallion winner
The Prodigal Son, too, is a B.R.A.G. Medallion winner (click image)

Life being what it is in seventeenth-century Scotland, adversity and heartbreak are constant companions. Even here, what characters see and how they see it, wraps us into their destinies, makes us care about them all the more. At times they make the best of it, while on other occasions, not so much: “The night was bitterly cold, the stars strewn like shards of crushed glass on a velvet background.” But so often even the bitter language of their love rises within a bouquet of poetry, reminding us, and perhaps them, that life is too precious not to move forward.

While the story opens with Isaac and moves at one point for a long spell back to Maryland, it really is Alex and Matthew’s tale, with the degrees of separation surrounding them: they are the nucleus, and they move forward with heartbreak and laughter, sharing the story of their loves and their losses, accepting some realities, while left wondering about others. At their now-advanced ages, Matthew and Alex begin to wonder about future Grahams. “Was there anything left of them in the twenty-first century? Would there be someone living here, in their place, and would that person’s name be Graham?” Given the strange way they came together, how exactly would this work? Even this element of the story unites characters with readers, as Belfrage weaves time together in such a fashion that we recognize ourselves in those who came before, and how their choices affect the lives we live today.

Having completed this last of the eight novels of The Graham Saga, it is perhaps easy to overlook—this is how seamlessly Belfrage writes us all together—that the re-reading of the series sets us all upon a circular sort of journey, much like the one Alex possibly faces, when her seventeenth-century self passes on and time marches forward until her original era dawns, and she is born again. Will she re-live it all in the same way we will when we go back to the beginning?

To Catch a Falling Star ties together some loose ends, answers some questions as its creator draws the Grahams’ story to a close. Alex recalls her first night with Matthew on a Scottish moor, and Jacob, her young son, gone too soon. She caresses a carved wooden infant, much as she did the one Matthew had made for her on that moor, as she agonized over her feelings for the baby Isaac. As we—reader and Alex alike—recall the start of her journey, she and Matthew are passing into a new phase of life. “Colour was returning to their world, greys morphing back to greens and browns, reds and blues.” One can’t help but recall the colors Isaac sees just before his second passage, as one world spills into another, both then and now.

It is a difficult moment, for all the remembering, and new questions, about future as well as past, and knowing this is the end of the long journey once embarked upon with such pleasure, aware there was so much more ahead. Alex herself used to say she would make the same choice—to stay—if she were to do it all over again. For all the heartbreak, grief and terror, there is also immense joy, love and bonding of souls in these tales, these “desert island books,” as another author refers to them, and like Alex, we would do it all over again as well. And we will. We will.

About the Author ….

Anna Belfrage can be found at her blog, which also maps out The Graham Saga series for readers. Find her as well at Twitter, Facebook and at her Amazon author page, where you can also learn about her newest series, The King’s Greatest Enemy.

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See my review for In the Shadow of the Storm, book one in The King’s Greatest Enemy series, here.

This review previously appeared at the blog’s alternate location and a copy of To Catch a Falling Star provided in exchange for an honest review.

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Links to previous Anna Belfrage-related reviews and interviews can be found here.

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Lisl is a contributor to Naming the Goddess and her poetry has appeared at Bewildering Stories and in Alaska Women Speak. She is currently editing her volume of poetry, Four Seasons, and scribbling away at a collection of novellas, tentatively titled Border Dwellers. She likes to color, cook and is learning to sew.

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Book Review: Whither Thou Goest

Whither Thou Goest (Book VII in The Graham Saga)
by Anna Belfrage

Recipient of the B.R.A.G. Medallion

whitherPeople who populate today’s societies—ehem, us—have a tendency to believe our world is superior to that of the past: more conveniences, broader rights for women and minorities, better medicine. While these advantages have indeed developed, they come with trade offs and in the realization of these gains we’ve lost bits of our selves and relationships. In Whither Thou Goest, the seventh installment of Anna Belfrage’s Graham Saga, this theme comes closer to the fore as time-traveling Alex Lind and her 17th century husband, Matthew, make their way to the West Indies to rescue their unknown nephew from the horrors of indentured servitude—in reality, brutal slavery.

Matthew himself once suffered this fate and it is largely his history that decides for the Grahams they should heed the plea of Matthew’s brother Luke to rescue his son, a youngster persuaded into the Monmouth rebels now facing a terrible future as the consequence of his misguided involvement. There is no love lost between Mr. and Mrs. Graham and Luke, but they also conclude that young Charlie should not be left to such a terrible fate as a result of the animosity between his father and uncle and events not of his doing. Their decision reflects the book’s title as well as their own bond forged, a bond that, like that of Ruth and Naomi, was not “supposed” to be:

“What do we do?” she said, coming over to hug Matthew from behind. She rubbed her face up and down between his shoulder blades, feeling him relax.

“There isn’t much choice, is there?” he said. “I have to go down there and attempt to find him.”



“Wrong pronoun,” Alex told him. “It’s ‘we’, Matthew, not ‘I’.” No way did she intend to let him face the ghosts of his past alone.

“We,” he said, and twisted round in her arms to hold her close.

So they go, and readers follow along, though with the added advantage of seeing events occurring in other family members’ lives. There also are small delights throughout as readers recognize events from the Grahams’ past that led to these moments, links bringing on the awareness of Belfrage’s genius for tying it all together, and from and through such a distance as thirty years. The book’s pace is swift, but not quite as whirlwind as its predecessor, and the author engages in language realistic for the period yet also a comfortable fit for us. So comfortable it is, one never wants to take it off. The only disappointment in this series is that eventually each book comes to an end.

It is a testament to Belfrage’s prowess as a writer of historical fiction that she can manage to get so far into a complicated series of events and a seventh novel, and still maintain reader attention as raptly as in the first book. But more than that, just as history is never static, neither are people, and the author brings us along as Matthew and Alex progress through the years: readers never grow out of the series, but rather the characters grow with them.

Therein lies the ability for Alex to accept—even in many instances relish—the hand she has been dealt. A freak thunderstorm painfully threw her past where a veil customarily divides time and in meeting with Matthew Graham she recognized something so special she fought powerful forces attempting to yank her back. There definitely was a fair share of life in 1658 Scotland unfamiliar and not terribly attractive to Alex—by law and religious tradition loss of voice and stature, for one—so why did she opt to stay? While there were pros to life in 2002, her personal assessment of where she stood may have brought a realization that there, too, the voice she had was also suffocated by circumstance.

Now, in Whither Thou Goest, Matthew and Alex are engaged in welcoming 1686—they have been together for nearly thirty years. The opening passages introduce us to one of the contradictions Alex has grown with all this time:



The shrubs were beginning to show buds; here and there startling greens adorned the wintry ground[. . .].Winter was waning, and soon it would be brisk winds, leaves on the trees and weeks of toiling in the fields or the vegetable garden.



The beauty of the new life of coming spring is paired with the awareness of the backbreaking labor it brings, with only brief opportunities to savor it around an immediate need to work for survival. In Alex’s 21st century life she wouldn’t have had to do this; instead she would have faced other perils connected to food supply. The lifestyles are so different, but Alex recognizes the similarities as well, here and in many other elements, such as religion. She is content with her choice, a promise towards Matthew that “thy people shall be my people,” and Belfrage’s treatment of Alex’s attitudes towards various aspects of her life strikes a balance, much like the one Alex maintains as she adjusts and carries on.

A complex personality, Alex may differ with us on various perceptions of 2002 as well as 1658 and on, but the author gives Alex’s voice life in a way that even those most opposed could admit that she makes a good argument.

Like Alex, Matthew is a strong enough man not only to survive, but also thrive because he is willing to grow in a similar way. While Alex certainly caught him off guard that day when they both were on the run and she literally landed at his feet, the intervening years have led him down the road he shares with her. The pair do not always agree, but he has grown secure enough to speak of Alex’s mother—the woman whose hand initiated her daughter’s passage through time—as someone deserving of compassion, even if she was a witch as he always feared she may have been. In discussing her horrific death, Matthew speaks of her dying “well,” that she forgave her tormentors not only because they needed it, but also because she did.

There is a welcome peace about and within this installment—for reader as well as protagonists, especially given recent events in the Grahams’ lives. Not that Belfrage gives anybody too much of a break—the 1600s in Scotland as well as the Colonies, to where the Grahams have repaired, is a perilous time for all, and getting hold of Charlie is the easy part. Finding their way back to Maryland is the real challenge. Moreover, Alex comes face to face with an old nemesis only to learn painful truths about the world and her place in it.

Nevertheless a softening shift can be felt, and Belfrage winds the threads of this aura through her narrative like a subtle breeze come to cool a painfully hot day. Acceptance occurs a lot, between Matthew and Alex as well as each of them with others, and the bond they have, one that has been growing over the years to reach this point, is tangible to another. It is significant that Belfrage has this insight coming from a relative of the Burleys, dangerous and destructive men once driven to destroy the Grahams, as she shows us again through this contradiction how life often blooms from the seeds of destruction.



Tilting his head, he studied Matthew Graham and his wife, fascinated by how they automatically fell in step, a slight leaning towards each other. Her skirts brushed against his leg, her profile turned towards him, and she said something that made him laugh, bending his head close to hers. Her hand touched his, fingers widened and braided tight together as they continued down the dusty road.

He had never seen anything like it, never seen two bodies come together so effortlessly, so obviously halves of a perfect whole. Welded together, it seemed, and Michael stood where he was, his eyes glued thoughtfully to their backs until they dropped out of sight.



Here as in many passages, Belfrage utilizes ordinary yet such poetic language, painting a moving picture in which readers can easily see what she describes: the tender closeness of a man taking in the words of his wife, the curl of her swinging skirts’ material, the wide, deliberate yet instinctive opening and joining of fingers as they move in time to each other’s steps. What’s more, she does this undetected: the words and rhythm are so natural it is as if they are a part of ourselves; we only understand how much these characters have “over the years” come to mean to us. Like the paintings of Mercedes, Belfrage’s draw us in and bring us to another time.

There are, of course, no easy conclusions, and the novel ends with a few questions unanswered, a lead-in to the next—sadly the last—installment in the series. There are continued contradictions with which the Grahams find acceptance: an event Alex has painfully yearned for occurs, but at a price; Matthew helps his son build a bridge between his own two worlds; a cherished piece of his past is re-imbursed, though he may never be able to claim it; and, as in the opening passages, fragile life makes an appearance, life that will bloom, but only with perseverance.

Whither Thou Goest, to be sure, contains scenes of heartbreak and sadness, with painful reminders for some characters of a past and connections they will never completely be able to escape. But it also is a love story of sorts, in which promises and commitments are made, solace is taken from unexpected quarters, and individuals experience awakening, a blooming of new life amidst ruins to be cleared as futures are built. It is a story only Anna Belfrage could tell of a family readers will never forget and often wish to re-visit.

About the author …

Anna Belfrage can be found at her blog, which also maps out The Graham Saga series for readers. Find her as well at Twitter, Facebook and at her Amazon author page, where you can also learn about her newest series, The King’s Greatest Enemy.

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This review previously appeared at the blog’s alternate location and a copy of Whither Thou Goest provided in exchange for an honest review.

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Links to previous Anna Belfrage-related reviews and interviews can be found here

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Lisl is a contributor to Naming the Goddess and her poetry has appeared at Bewildering Stories and in Alaska Women Speak. She is currently editing her volume of poetry, Four Seasons, and scribbling away at a collection of novellas, tentatively titled Border Dwellers.

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Cover Crush: A Rip in the Veil

Cover Crush: A Rip in the Veil by Anna Belfrage

“Cover Crush” is an idea conceived by Erin at Flashlight Commentary and made into a fun series at indieBRAG featuring B.R.A.G. Medallion-winning books and their fabulous cover images. Of course, some of my fellow interviewers and I wanted in on the action, so you’ll see the series appear here periodically as well as over at indieBRAG and interviewers’ blogs too, such as A Bookaholic SwedeLayered Pages and 2 Kids and Tired Books.

Now I’m no professional artist, but as Erin says of herself, I am a consumer and like many people (whether they admit it or not!), my initial attraction to a book often begins with the cover image. I know what I like and if I see something that somehow links to a personal interest—a jacket design with lotus or peonies, for example, triggering an idea that the volume might have a Persian theme—I’m more likely to further investigate. Naturally not everyone will reach for the same titles, nor will we all agree upon what the images convey. Sometimes we don’t even come to our choices in the same manner.

Even a recommended work or one whose blurb initially caught my attention doesn’t escape scrutiny of its cover, for I occasionally gaze at it, seeing in its features the story, feeling its mood or interpreting meaningful details within the scene or design. At the very least a successful jacket will trigger the notion that this book is a good match for the person studying it. But a really fantastic image will go one step further and unite reader and story by eliciting some sensation or possibly emotion. Of course what the author has in mind is not necessarily apparent to the potential audience, but something beckoning will initiate that unification on some level.

ripIn the case of Anna Belfrage’s A Rip in the Veil, the illustration and title font simply invite exploration. As the blurb reveals, Alexandra Lind, on a muggy night in 2002, encounters a freak thunderstorm resulting in a rip in the veil dividing time. Alex is catapulted into 1658, where she meets up with escaped convict Matthew Graham as he makes his way back to his Scottish estate. Apart from this brutal shift and the need to come to terms with her fate, eventually arises the question not only of how Alex might return to her native time. Will she want to?

An excellent blurb that tickles the curiosity beyond the draw of time travel, and one hinted at on the cover image. Alex is seen walking away from our perspective, her back to us. Clearly she is moving toward another world; her back indicates this. However, implicit in our questioning also remains the timing. Does this scene represent the moment she first finds herself in 17th century Scotland? The measured pace she seems to be taking—the space between her feet as she walks is quite small—indicates hesitation, but is it her new surroundings she hangs back from? Or is return to her own time what lay ahead and she only reluctantly moves toward it? Her stiff posture contributes to the understanding of her feelings, but for which era, for a new audience, is as yet unknown.

Even when later into the reading and questions begin to be answered, there still remain possibilities, perhaps of Alex, in her self awareness, recalling the moment. This is hinted at as well on the cover as a whole, serving a dual purpose—is this indeed Alex in her own memory, or are we watching her through the gauzy veil draped in front of the image? The dreamy, filmy picture reaching us gives readers a sense of the divide between time, even triggers the consideration of another age really being quite close to us, just on the other side of that thin veil, and yet so far away.

Other elements, too, usher in a sense of place and time, such as the map very lightly embedded at the top, fading into the sky above Alex. The earthy colors are soft and subtle, reminiscent of old-world clothing. The title font is old fashioned, conjuring memories of parchment documents; a deliberate, practiced hand; sensation of another epoch. Not quite as subtle or soft are the images of a dead tree and branches upended in the mud, akin to the aftermath of a tsunami, as if that behind is dead to Alex. There are no flowers as there are ahead of her, no trees stretched out awaiting a new bloom, the promise of new life.

So we see all this, this imagery that creates a sensation of longing, and it beckons to Alex. But what exactly is it or, more precisely, when is it? Having read the novel (several times) I can tell you that even if you knew the answer, the greater satisfaction comes from reading about Alex’s journey. Not unlike that beckoning Alex in her own choices, we too elect to enter her world, experience the unification and see where—and when—it may take us.

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See my review for A Rip in the Veil here, and stay tuned for my review of that book re-visited!

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Follow and learn more about Anna Belfrage and her work at her website, Twitter and Facebook.

Also stay tuned for an upcoming interview with Belfrage and more book reviews of her fantabulous stories, including in her newest series, The King’s Greatest Enemy.

Book Review: Revenge and Retribution

Revenge and Retribution (Book VI in The Graham Saga)
by Anna Belfrage

A B.R.A.G. Medallion Honoree

The first installment of this series, A Rip in the Veil, opens with a frustrated Alexandra Lind hurriedly trying to make her way to an Edinburgh meeting when she encounters a crossroads and a thunderstorm, with inconceivably shocking and perilous consequences. The circumstantial combination creates a rent in the fabric of time, and results in a topological defect, as it were, an unstable vacuum that momentarily lifts the divide between eras and violently pulls her through, landing the frightened woman in 17th century Scotland.

revenge-retribution-coverMany of us have expressed the desire—for the sake of curiosity if nothing else—to travel through time, with the caveat that we make it back, of course. Alex, however, meets up with Matthew Graham, an escaped convict wrongfully imprisoned, making his way home, and later concludes she wants to stay. She isn’t idealistic about the shift; she’s not fond of a number of 1658 ways of life and misses parts of her old existence, but decides this time she has been brought to is where she is meant to be, and Matthew is who she is meant to be with. Interestingly, her son Isaac is a part of her old life she doesn’t seem to miss much; Alex carries emotional baggage related to the boy’s birth and she opens up to Matthew regarding this and other portions of her past.

Or would that be her future? This is a question Alex plays with throughout the series, and when we meet up with her again in Revenge and Retribution we find she has known, despite chronological numbers, where her future really is. Since A Rip in the Veil and four subsequent books in the set, Alex’s family have grown and the religious persecution they escape about mid-series has led them to the colony of Maryland. The lifestyle has been difficult but not without rewards and an alliance of sorts has developed between the Grahams and a local tribe of Natives. Alex fears the cost of this alliance, not only from some settlers out to exact revenge, but also the very group from which she has earned a measure of respect.

As in the series’ other installations, Belfrage is tasked with a precarious balancing act: she must weigh the sensibilities of the day with the reality that Alex carries with her: a consciousness often in defiance of those perceptions. So it is not unfitting for Alex to take some of the steps she does, though sometimes foolhardy, given her past experiences in this new/old time. Equally, it makes sense, historically speaking, to observe people referring to indentured servants and slaves the way we might speak of the weather: it varies but it is. Such competing concepts existing side by side—albeit one very much in the minority and hidden from most others—require careful maintenance to remain in the realm of the feasible, and Belfrage not only pulls it off, but also makes it appear easy.

Following a point in which Alex’s transport is threatened with exposure and she a dreaded accusation of witchcraft, she prepares for a hearing at which she will testify on her own behalf.

“What will they ask me?” Alex asked Matthew as he accompanied her to the meeting house later that same day. “It’s not as if I know the whole bloody Bible by heart, is it?”
“It will help if you don’t refer to the Holy Writ as the ‘bloody Bible’,” he said drily. “They’ll ask you from the catechism, and you know most of it.”
“Unfortunately, I don’t always agree with it.”
“That you must keep to yourself. Concentrate on the questions and on replying to them, not on voicing your opinions as to how Lot treated his daughters, or how unfair some of the laws are to women.”
“Hmm.” Alex wiped her hand surreptitiously against her skirts.
All in all, it wasn’t too bad, Alex thought afterwards, curtseying to one after another of the ministers. Despite being barraged by questions from Minister Macpherson, she had acquitted herself well enough to earn herself a wink from Minister Walker.

Although all the previous novels entail some violence and tragedy, within Revenge and Retribution the Grahams reach a turning point, even if they aren’t quite as aware of it as they ought to be. Several previous events, while not occupying large parts of the stories in which they are contained, foreshadow a system that now seems to be breaking apart, or leading to something much larger than anyone might have ever conceived possible. A darker force is ushered in, its influence silently spread, interestingly enough through the keeping of secrets.

We as readers, however, have all the links that individual characters lack, and see the ominous overtones hovering like a dark cloud, embodied at one point in a Voice:

After death—was the Voice dead?
The Voice laughed. Death was a relative in respect of time. For a person born in the future to fall back and die in this time, how could they be dead if they had as yet not been born? No, the Voice clarified, some people died—the lucky ones.

This is not a contemplation—philosophical or realistic—that has escaped Alex. She has learned to move forward, but is intelligent enough to be afraid of certain conditions, even when—especially when—she doesn’t know exactly what they entail. Belfrage’s treatment of Alex very wisely assigns her vulnerabilities peculiar to her, and her anger becomes more wild as events stack up against her. She finds comfort in her husband, Matthew, even following often bitter arguments that test boundaries: between the pair as a couple as well as over the times each comes from. Belfrage’s masterful, lyrical introspections show us both the strengths and frailties within Alex, and brings us, wherever she may be, to the scene as if we are experiencing the moment ourselves.

They lapsed into a comfortable silence, watching as the sun transformed the frosted trees into prisms of magical colour. It was very quiet, the migrating birds long gone, and the remaining sparrows and thrushes keeping low to the ground, or at least going about their business without expending energy on making noise. A crow cawed, it cawed again, and then it was all absolute stillness.

Within the pages of Revenge and Retribution is when Alex faces what may be her most difficult challenges yet. There is indeed a lot of violence and for this reviewer it was the most difficult to read of all novels in the Saga. Belfrage skillfully shows Alex in the same boat experiencing it all, as well as the manner in which she opens up to faith, finding some comfort within and reaching out to her past. Readers feel for Alex’s entanglements, and perhaps the most enthusiastic nod for Belfrage’s talent is how we respond as if Alex were a close friend, someone we care about who is confused and hurting. The author through the series enables each novel to be stand-alones, but rest assured readers will not be satisfied with that, as the next book will always be eagerly sought.

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Read my review for A Rip in the Veil (Book I in The Graham Saga)

Read my review for Like Chaff in the Wind (Book II in The Graham Saga)

Read my review for The Prodigal Son (Book III in The Graham Saga) (with author interview)

Read my review for A Newfound Land (Book IV in The Graham Saga)

Read my review for Serpents in the Garden (Book V in The Graham Saga)

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Anne Belfrage can be found at her blog, which also maps out the The Graham Saga series for readers. Find her as well at Twitter, Facebook and at her Amazon author page, where you can also learn about her newest novel, In the Shadow of the Storm, first in her new series, The King’s Greatest Enemy. 

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This review previously appeared at the blog’s alternate location and a copy of Revenge and Retribution  provided in exchange for an honest review.

Book Review: A Newfound Land

A Newfound Land (Book IV in The Graham Saga)
by Anna Belfrage

Winner of the B.R.A.G. Medallion

The fourth novel in Anna Belfrage’s Graham Saga series opens with promise: the sun on the eastern rim and Alex awake before anyone else, moving forward towards her morning refreshing, seeing the “stands of grasses to her right sparkle with dew, and just by the door her precious rose was setting buds.” By this time the Grahams had been here, in their Maryland homestead, since four years, long enough for Alex to derive a sense of comfort from the permanence of the building. Alex likes roots.

newfound landThat yearning would be understandable, given her circumstances: Thrown through a severed veil separating time from her native 2002 back into the Scotland of 1658, Alex has had to endure a great deal of building in order to create and maintain the life she has acquired. Now married to Matthew Graham, whose familial history entails bitter feuding, questionable circumstances of birth and death, and the attempted destruction of his life and marital family, she has also suffered with him the religious persecution that finally drove them out of Scotland and to the early Colonies.

By this time Alex has been in her adopted era since fourteen years, and the narrative shifts between her current here and now and the world she left behind, particularly with her father, Magnus, who later connects with Alex. In one scene between the pair Belfrage addresses the issue of how Alex manages to reconcile her previous lack of belief with her current faith in God, even if that faith isn’t exactly in line with Matthew’s. The exchange is painful but realistic in its provision of explanation, not despite but because of its passion as well as shortcomings.

“Your faith?” Magnus broke out in loud laughter. “Come off it, Alex,” he said once he had calmed down. “You’re not sitting here telling me that you’ve developed a belief in God, are you? What happened to my super-rational daughter?”

She gave him a cold look, stood up and moved away from him, crossing her arms over her chest.

“Alex, you can’t believe all that stuff.”

“I can’t? How would you know? You have no idea what my life has been like these last fourteen years or what events have shaped me, do you?” She looked out into the yard where Ruth and Sarah were playing a game of tag, and then turned to face her father. “In this life, God is a constant. Sometimes He’s all we have. So when I say our faith, that’s exactly what I mean: our faith. I may not be quite as much of a Bible reader as Matthew, and there are aspects of his belief I don’t agree with, but I’ve learnt the hard way to put my trust in God and hope He’ll keep me and mine safe. And so far He has.”

The Grahams need this protection because this installment introduces them to the Burleys, a set of brothers so corrupted and foul that nothing seems too extreme for them. They also encounter an unwelcome ghost from their past, lies intended to trap them, Indians with whom they fortunately get on, even if it is an uneasy alliance, and a host of ordinary events that pepper the lives of people over the years and ones part of a foundling community.

One of the larger challenges Belfrage herself encounters in portraying the relationship between Alex and Matthew is the bringing together of their two worlds. Like Magnus, readers may question not only how she adapts but also why she accepts some of the circumstances she does. Alex speaks well for herself on many occasions, not only to us but also her husband, who, while adamant in his determination to retain the patriarchal status as provided by the coverture system, also listens to and thoughtfully contemplates where his wife is from and what she says. The pair don’t always agree, but his serious deliberation exists, and the author maintains a balance not just for balance’s sake: she makes a considered approach to what is believable not only to us, but also to Matthew.

What works for Matthew might strike some modern readers as anachronistic, given the reputation 17th century men have for keeping women in their place. But Belfrage doesn’t deviate or follow a disingenuous path; Matthew is a strong enough personality that he would never allow this. He does come to “absorb” some of Alex’s perceptions or at least appreciate them, and though he makes himself heard, he also listens, forcing us to question our assumptions about his people’s humanity and sense of compassion.

Following an especially bitter and ongoing row over a minister tasked to educate their children in religious studies, the methods of which Alex objects, Matthew forces his wife to apologise for her rude behavior. Her refusal and subsequent avoidance of him—she is deeply hurt and angry at being humiliated via the minister’s relentless misogyny and Matthew’s failure to check it—in turn causing him despair at the “walls of impenetrable ice she was putting up around herself.”

When the pair at last arrive at a place where they can exchange words, he speaks his own hurt:

“Do you recollect, once, very many years ago, when you told me I was all you had?”

Of course she did; a dark night in Scotland when she’d pleaded with him to put her and her children first—before his religious convictions.

“It’s the same for me. You’re all I have, Alex. All I want and all I need, and when you choose to close me out as you’ve been doing these last few weeks, you leave me standing very alone in a cold and unwelcoming world.” He rested his forehead against hers. “I don’t like it out there on my own.”

As stated, however, Matthew is very much his own man, despite the control Belfrage holds over him.

“Another one?” Magnus sounded disgusted. “But David’s just seven months old!”

“As I said, it isn’t always easy to avoid.”

But, of course, in this specific case there’d been no question of attempting to avoid it. Matthew had set out to make her pregnant and she had silently acquiesced without really knowing why. That was a lie. She knew exactly why: because the loving had been spectacular, a reconfirmation that it was she and Matthew against he world—and because he’d demanded her submission.

Addressed in this installment as well are relations between the colonists and local Indian tribes, and Belfrage does an impressive job of bringing Alex’s 21st century sensibility into the mix without falling prey to what so many authors do: the subtle and sometimes not-so-subtle anti-Americanism that has more to do with sneering than valuable critical commentary. With this formidable skill she enables readers to continue stepping through time closer to what it really looks like as opposed to a whitewashed version of events.

Indeed these are times when alliances could mean the difference between life and death, and with the Burleys on the rampage, warring Indian factions spilling over borders—unrecognised by them, of course—and the ghostly past inhabiting, indeed invading, his present, a friend is never unwelcome. The Grahams are provided with a uneasy glimpse, however, of what such partnerships might cost, as well as the fearful understanding that paying it may be their only option.

A Newfound Land, while part of a series, is readable as a stand-alone novel. While the past is a large part of the events occurring in this installment, Belfrage takes care of that by skillfully and effortlessly weaving necessary details throughout the story via dialogue and other means, which readers don’t at first realise are for their benefit because the author does not rely on formulaic fillers.

Having said that, prepare yourself for the need to go back to the beginning—not owing to any lacking of the current book, but rather because Belfrage’s storytelling, melodic, detailed, filled with the passion and hunger for life and historical understanding, will make you wish to experience all that as you peel away the layers of events that brought Alex and Matthew together in the first place.

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Read my review for A Rip in the Veil (Book I in The Graham Saga)

Read my review for Like Chaff in the Wind (Book II in The Graham Saga)

Read my review for The Prodigal Son (Book III in The Graham Saga) (with author interview)

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Anna Belfrage can be found on Amazon, Twitter and Facebook. You can also learn more about Belfrage, her characters and her world at her website and blog, which also contain details about her upcoming series.

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This post previously appeared in 2015 on the blog’s alternative location.

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Book Review: A Rip in the Veil

Stay tuned for reviews of all The Graham Saga installments

A Rip in the Veil by Anna Belfrage

tee und kuchPreviously having read and enjoyed The Prodigal Son, third in The Graham Saga series, I approached this first book with assurance and excitement. It is, after all, where the adventures begin, where the rip in the veil dividing time(s) occurs, at least in the case of Alex Lind. From my previous reading I knew she’d gone tail spinning through time back to the 17th century following a freak thunderstorm, though further details, of course, remained unknown to me. Reading the first sentences of the novel, I was very aware of my transition into the beginning, and that enticingly soon these details would be revealed. I am quite sure anyone who has ever read Belfrage’s Saga out of order—which can be done—will understand.
Belfrage delivers and then some—wasting no time in getting her tale going, readers recognize what Alex herself does not, and her responses to them artfully contribute to the flow and continuity of the story as the author inserts detail clues for readers’ benefit: “Sahara heat in Scotland—okay, that was an exaggeration, but it wasn’t far off” tells us where these events take place and the technique is used throughout the book, sparingly and subtly, also economically lending insight into players’ personalities.

ripThe most apparent location these hints appear would be in some of the dialogue, which informs readers of how much each character knows about various events. In this way and others, Belfrage weaves a complex story, pleasurable and fascinating to follow—and I do mean fascinating: there were a number of occasions that gave me pause as I stopped to consider implications, how something could work, what might it mean in reality, and so on. The author’s prose lends credence to such a possibility, too: described with verbiage so on target and believable, responses and consequences so plausible, not an extra or out-of-place word, it becomes real as readers as well are drawn into the vortex with Alex, mysteriously and frighteningly into another time and, really, another place.

“Are you alright?” Matthew asked Alex.
“Yes,” she said shakily.
“Do you know him?” He cocked his head at the groaning shape.
“No.”
“Yes you do!” Two penetrating eyes fixed on her.
Alex shook her head, taking in a battered face, a dirty flannel shirt and jeans that seemed to have burnt off at calf length. He looked awful. The skin on what she could see of his legs was blistered and raw, made even worse by a large flesh wound. But he was here, an undoubtedly modern man. . . One person dropping through a time hole she could, with a gigantic stretch of mind, contemplate. Two doing it at the same time was so improbable as to be risable[. . . .]
[The man’s] eyes stuck on Matthew. . . . His eyes widened, his mouth fell open, he cleared his throat and gawked some more, his Adam’s apple bobbing like a cork.
“Where the hell am I?” he said. “Where have I ended up?”

Indeed, sense of place is a strong element in Alex’s story and we see some overlap in time, eliciting more questions that contribute to an urgent sense of need-to-know. I also longed to learn how those Alex leaves behind react; here, too, Belfrage does not disappoint. Initially alternating with some frequency between her new/old world and the time she has left behind, gradually the narrative settles into Alex’s story within her current surroundings, only periodically bringing readers back to those seeking answers as to her whereabouts. This reflects Alex’s perspective of the experience, as she begins to make a life in this strange place she has landed.

Perhaps the most significant element Belfrage employs throughout the book, this literary reflection of a character’s reality does extra duty as it is simultaneously employed with temporal distortion—texting her father from 1658, muttered comments Alex has to explain away—and a spot of pastiche, whereby her 21st century words, ways, songs, clothing names (djeens, Matthew calls jeans) are imported backwards in time. Alex herself often brings this distortion to readers’ attention with her questioning of her new world (which is actually old) and how she could be there, given that at this time, she has not yet been born. Nor have any of her family, so how could they be searching for her? What may be the most satisfying yet, and perhaps a little surprising, is Belfrage’s manner of writing about time travel—writing mostly in the destination era being the largest contributor to the sense of surprise—utilizing postmodern technique to do it. Moreover, her interweaving of the various strategies is absolutely seamless.

Through the book, we get hints of Alex’s history awareness as she periodically betrays, to readers only, her knowledge of what is to come in this historical era. The temptation for an author to lean on this type of understanding must be great; fortunately for readers and characters alike, Belfrage does not rely on it. In fact, she shies away from it in most instances, as Alex determinedly seeks to make her way in this era with more natural supports—and, of course, to avoid accusations of witchcraft. When readers may expect some historical event to be referenced, Alex moves on; she has learned quickly.

Prodigal Son coverAs Alex learns what she needs to in order to survive—including about Matthew’s vengeful younger brother Luke, and the wife once paired with Matthew himself—she also begins to see much in Matthew, joining forces with him to live a life of integrity in the face of religious persecution and inconceivable human cruelty. Alex sees this very quickly after they meet each other, during their journey back to his home, and through their time living there. She also captures the attention of someone who believes there is more to her than she tells, bonding with her and others as she makes her way through newcomer status and the daunting awareness of not knowing what she is doing, including in the presence of those who wish her ill.

Matthew has an ally in Simon, his brother-in-law and attorney, who protects his interests and indeed, his life, counseling the newlyweds in ways small and large. In some ways, as Matthew and Alex get to know each other, their story is timeless—two people with a bond who must learn to integrate their beings into a cohesive and workable whole. On top of their own challenges, ordinary and unique, the pair must also deal with the threats that remain, for despite having made it home, Luke’s anger has not subsided, and it menaces Matthew and those he loves at every turn. Matthew and Alex do not claim victory over every challenge, and sometimes must learn to compensate, including with each other.

“I didn’t like the ‘obey’ part,” Alex grumbled as they walked back to Simon’s office [following their wedding]. “I mean the love and to hold and all that, fine. But to obey? It makes me feel like a dog. . . . Why should I obey you?”
“Because I’m your husband,” Matthew explained with exaggerated patience. “And you’re but a mindless wife.”

Will they always be so lucky? How do they keep Luke’s hatred at bay and can they continue? What of Alex’s strange circumstances? She was brought here against her will; what if the forces that carried her here reverse themselves? Can she ever go back? How can she stay under the conditions she will be required to live? These are just a few of the top questions that will arise from readers, who certainly will reach eagerly for the next book for answers as well as more of the Grahams, for while the book’s technical brilliance impresses the intellect, its soul captures the heart and imagination.

It is understood that certain factors affect any given reading, including order of books read. Did my awareness of Alex’s future, so to speak, with Matthew affect my perspective of the first in the series? Undoubtedly. Would I have enjoyed it as much had I not read the third book first? The only truthful answer I can give is that I do not know, though I am certain I still would be clamoring for the rest, as I now am. It has not escaped me, however, that like Alex, I myself have done a bit of time travelling by learning of a future portion of her life in the 17th century before being brought to the first part of her time there. While many of my questions arising from the third are answered in the first, the readings of both are still magnificent and I will not be satisfied until I have read them all—and even then I may still want more.

Anna Belfrage can be found on Amazon, Twitter, Facebook, on her website and at her fantabulous blog, where you can learn more about the author, the Grahams, other projects and her world. 

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This post previously appeared at the blog’s alternative location.

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