One Moonlit Nightis a rich, beautiful novel set during the war that is easy to get immersed in with its romance, secrets and war… Follow down to the blurb and my full review below. Firstly, thanks to publisher Simon and Schuster for inviting me to review on the blog tour.
The unmissable new novel from the million-copy Sunday Times bestselling author of A Beautiful Spy
Loyalty and betrayal, hope and despair, One Moonlit Night tells the captivating story of a husband and wife separated by secrets as well as by war.
Accept it, he is dead. No, it’s not true. It is. Everyone thinks so except you.
Forced to leave their family home in London after it is bombed, Maddie and her two young daughters take refuge at Knyghton, the beautiful country house in Norfolk where Maddie’s husband Philip spent the summers of his childhood.
But Philip is gone, believed to have been killed in action in northern France. Despite overwhelming evidence to the contrary, Maddie refuses to give up hope that she and Philip will some day be reunited.
Arriving at Knyghton, Maddie feels closer to her missing husband, but she soon realises that there’s a reason Philip has never spoken to her about his past. Something happened at Knyghton one summer years before. Something that involved Philip, his cousin Lyle and a mysterious young woman named Flora.
Maddie’s curiosity turns to desperation as she tries to discover the truth, but no one will speak about what happened all those years ago, and no one will reassure her that Philip will ever return to Knyghton. The extraordinarily powerful new novel from bestselling author Rachel Hore.
Having enjoyed A Beautiful Spy, it now gives me great pleasure in telling you how goodand compelling One Moonlit Nightis. It is an eloquently written book, set in the second world war, that has a whirlwind romance to get caught up in before war breaks out and the lovers, now man and wife – Maddie and Phillip are then separated because he has to fight. They built up a family with two daughters, whom he has no choice but to leave behind, as they then seek refuge. It is like that ultimate emotional romance that plays out as glee that two lovers are together in such a romantic fashion, and scenic areas are painted in the minds eye throughout, which all turns to sorrow and into page-turner.
As the war rages on there is tides of emotion as Phillip may or may not be alive. Everyone except from Maddie thinks he is dead. You really feel for Maddie in this situation. It also turns out that she didn’t really know her husband as well as she perhaps thought as there are so many secrets to be uncovered about events that happened years ago that he never talked about. The complex mystery about the man whom she married starts when a folder belonging to Phillip is handed to her and realises there are certain things that she had no idea about. It means she has to go to Knyghton, in Norfolk, a place where Phillip spent summer-times in. As well as meeting members of his family and the Land Girls, there is also a photograpgh, that poses many questions and further deepens the mystery of secrets that swirls round and compounds in the book, along with love, loyalty and betrayal. There is much intrigue to be sought and many questions to be answered right up until a well thought out ending.
Interview with Stage Actor/Author/Goodwill Ambassador – Ronald Rand
Today it gives me great pleasure to share an interview with you all, that I conducted with actor Ronald Rand. He is an actor, author and goodwill ambassador. Ronald Rand has appeared in many theatre plays, his latest is Let It Be Art about the life of Harold Clurman, which he tours worldwide. He is also the founder of newspaper – The Soul of The American Actor. His book is Solo Transformation On Stage is available now to purchase and includes a forward by Stephen Lang, most recently famous for playing/voicing the part of Miles Quaritch in the Avatar movies by James Cameron. The cover quote comes from the actor Christopher Plummer. Thank you very much Ronald for allowing me to interview and for your fascinating answers about your author and stage life, as well as telling a bit about being a Goodwill Ambassador. Ronald Rand also interviews some acting greats. Discover a bit about this too, as well as some photographs Ronald Rand has kindly sent over and granted me permission to use.
It gives me great pleasure to welcome Ronald Rand onto my blog. So, let’s begin…
You wrote a book that enlightens audiences to the art of solo performance. I’ve seen some actors do this in the UK, such as Simon Callow and Julie Hesmondalgh. I always come away wondering “How do you learn all those lines and how does the way you feel going out on stage differ to that of having a full cast around you?”
Ronald Rand: First, I would like to thank you for this special gift and privilege for this interview and to answer your questions. Congratulations on having such a very fine blog, Bookmarks and Stages.
Well, when I first began acting, I had to have been around six years old, and of course, I was worried like many actors are, about forgetting my lines. Thinking it was all about memorization. But as the years progressed and I’ve worked more and more as an actor, over time I’ve learned that the lines in a play are a natural extension of a person’s thoughts. And if they’re well written by an excellent playwright, they should roll, as The Bard said, “trippingly from the tongue,” because they’re connected to the action of what the person is doing. When I have had to learn lines to perform in a different play other than my solo play, I learn them through their connection to what the person is doing each moment to get what they need.
In my solo play, LET IT BE ART! Harold Clurman certainly has a lot to say but the words he says come as expressions of what he needs to say at the moment as a natural action in his storytelling. Because I bring Harold Clurman to life after a two- hour transformation process in what I refer to as the ‘creation room,’ not a dressing room, when Clurman arrives, he’s not coming on a stage, he’s arriving at his apartment in New York City and very soon he encounters three of his students (who are actually the audience). And the things he says are a natural extension of him living his life, just the same as you do when you’re talking to others in your daily life. What you’re saying is certainly not lines in a play.
You see, in his reality he’s returning from having seen a play in Brooklyn and he’s merely going on with his life; he’s not coming on a stage. As the actor inside I’m aware that, of course, it’s a stage but Harold Clurman couldn’t care less, he’s in his apartment living his life. I still have to make sure that he’s where he’s supposed to be, and hopefully he will say the words that are in the play when they need to be said. Do I have any idea that he will? I never know for sure, since he’s living his life completely.
When you ask about having a full cast around me. Well, actually Harold Clurman is talking to three acting students in his apartment (a part of the audience), and at another time in the play, he ‘breaks the fourth wall’ and talks to a group of actors who have come to the first get-together when the Group Theater was born in 1930, (which is also the audience.)
And throughout the play, through Clurman, you meet Lee Strasberg, Cheryl Crawford, Alfred Stieglitz, Stella Adler, Clifford Odets, Constantin Stanislavski, Aaron Copland, even Jacqueline Kennedy Onassis. That’s a pretty amazing cast! So there’s all these vibrant folks coming to life on his journey through his life. So, in a sense, you might say, there is a ‘full cast’ but they’re not around “me,” they’re with Clurman, and when he heads off to the theater at the end of the play, that’s when I return for the curtain call.
What prompted you to write a book about the transformation of an actor into the person who they are going to play? I must say it is absolutely fascinating as there is so much to explore and I’ve only ever seen this a little in the film and play – The Dresser.
Ronald Rand: Thank you so much for your kind words. SOLO TRANSFORMATION ON STAGE: A Journey into the Organic Process of the Art of Transformation came about because of the pandemic. I was in the middle of my 20th year touring in my solo play, and I had completed a performance of LET IT BE ART! at The Ritz Theatre in Sheffield, Alabama to a sold-out audience. They actually stayed almost as long as the performance for the question-and-answer period which I always have at the end of the show. This was in late February 2020, and after that my tour was shut down and I was sequestered like everyone else.
Well, one day I was sitting at my desk, and I thought there has to be some way that I can reach out to people since I can’t do it on stage, and it occurred to me that perhaps I could contribute by sharing the organic process I go through using the Art of Transformation, and share how Stanislavski’s acting chart, ‘The Method of Physical Actions’ makes it possible.
Now I know there’s certainly several books written by actors, some who talk about their process and their life acting on the stage. However, there’s only a few about the art of solo performance, which is a world unto its own. But I think my book is the first to go through an organic process and the transformation necessary to create your own solo show. But more than that, it’s about how to make your dreams come true drawing upon the richness of who you are.
I believe it’s important for the actor today to realize that transformation is necessary. I see so many actors play elements of themselves acting like they’re somebody else, but transformation takes many years through learning about one’s craft and gaining a mastery to bring to life another human being on the stage.
It’s really a never-ending discovery process to sustain a performance for an hour or longer requiring great discipline, focus and a continual stream of storytelling. That’s why I wanted to go into this kind of process more deeply through SOLO TRANSFORMATION ON STAGE, and reveal how I use Stanislavski’s ‘Method of Physical Actions’ chart. The same chart he gave to my teacher, Stella Adler when she studied with him in Paris in 1934. She was only American to study for over five weeks with him, and she brought his chart back to the Group Theatre in America.
When I was fortunate to study with Stella Adler for over five years, I gleaned great insights from her teaching which helped me understand the chart in a deep way, and I have tried to bring forward many of the insights through my master acting workshops.
Still, there is always something mysterious about what takes place inside what I refer to as the creation room because for me that’s where creation begins to allow another person to come so that they can live their life through the playwright’s creation. Did I have any idea that this process would evolve this way when I began working on the role of Harold Clurman? Certainly not. At the very beginning, I looked at Clurman as a role or as a character. But I’ve come to believe there is no such thing as a character. There is only the person, a human being who must come and live their life. And I have to allow creation to occur by being an open and willing vessel.
You say that Harold Clurman chose you and you became passionate about his ideas. What were the ideas that then gave you the impulse and drive to bring his life to the stage?
Ronald Rand: I think I first became fascinated by the Group Theatre back in high school when I was studying acting with an excellent drama teacher, David Feldman, at Coral Gables High School in Florida where I was born and grew up. Feldman was a dedicated and unusual high school drama teacher, giving us exercises by Boleslavsky and Michael Chekhov, talking about the Moscow Art Theatre and Vakhtangov, showing us films by Elia Kazan and Sidney Lumet, talking about the impact of the Group Theatre and what they did that changed the course of the American Theater.
The productions we would act in had to have been on the same level as those Off-Broadway. All of this had a great impact on my life at the time. When I completed high school and travelled to New York City and studied with Stella Adler, of course, her great impact was to show us the size an actor must rise to inhabit the great roles. I had to throw out pretty much everything I had been doing before since so much of had to with imitation and indicating, now it had to be based on creation and truth. Through her great art of script interpretation, we’d learn how to dissect a play and be an instrument and be in service to the playwright’s work. This is what the actor is responsible for.
And at the same time, I was fortunate to study with Harold Clurman. Every moment transformed my very being through his overpowering passion, his pulsating vibrating thoughts, revealing all the possibilities of how to see life, and acting and what the theater is capable of.
Did I have any idea at the time that I would write a play and bring to life Harold Clurman? Of course not. But later when I read in the introduction to Clurman’s book, The Fervent Years, Stella Adler wrote that she feared that the legacy of Harold Clurman might be lost, and I thought that would be a great tragedy.
That’s what led me to consider writing a play about Clurman. But I actually began a play about the Group Theatre instead and ended up playing Clurman in many staged readings across New York City for several years trying to get it produced. It was finally produced at Northern Illinois University. After that, maybe it was a voice inside that directed me to now write a play about Clurman. But even after reading and re-reading everything he wrote, looking at my notes from my classes with him, watching videos of him, I had to sit down, put everything aside and ask him: “What do you want to say?”
All of a sudden, the floodgates opened and the words that needed to be said came.
So, this is one of the secrets of writing your own show, tapping into the subconscious, and listening. I have to believe that’s why I was chosen to bring his passion and humanity alive, not only for audiences in America but across many different countries. Because what he has to say to us is universal and necessary to hear, especially today.
You talk about the person you are portraying being almost like an extension of yourself and you transform into the character you become, do you ever feel that this influences or affects parts of your own life and how do you separate the two as the psychology, Affective Memory, and molecules that you talk about in your book come into play?
Ronald Rand: Certainly, there’s no question bringing Harold Clurman to life through my play, LET IT BE ART! for over twenty years has had a great influence on my being. It’s also an enormous responsibility to allow his vibrancy and dynamic passion, his great humour, and humanity to come alive in every single moment.
When I decided to dedicate my life to sharing Clurman’s great being, it was after I had worked in numerous films and television shows, but now I made a deeper commitment that I couldn’t work on any production that reflected any kind of negativity, evil or destruction. I have to allow myself to be in a state of affirming the best in our humanity in order to embody Clurman.
Every decision we make in our life, our choices every day is a reflection of our moral values, and we should strive to bring forth love, beauty, and art in all its richness.
And at the same time, we’re always surrounded by invisible molecules moving around us. When I wave my hand through the air, or communicate Clurman’s great passion on stage, everything’s traveling across a sea of molecules. Everything we see, all inanimate objects are made up of invisible molecules, even though they look solid. So, we have to understand and appreciate how it’s all a flow we’re a part of and allow for the greatest energy to come forth, a willingness to affirm our deepest humanity to help others on this planet through the talents we’ve been given. That’s our responsibility, and why transformation becomes all the more necessary to be a vessel in service so that another human being can live and breathe and come and tell their story.
You have advice to always take time and stop between performances, how does this aid your next performance? How do you keep performances feeling fresh for you and the audiences?
Ronald Rand: Sometimes as a performer we’re called upon to do eight performances a week. At other times it so happens that there may be a larger break between one performance to the next. When that occurs, one has to find ways to constantly refresh and refuel one’s persona and keep one prepared, ready for the next performance; it’s always like being ready to run a marathon. Being in a state of readiness is the way I exist because this is my life’s calling which I will be doing to the end of my time. Especially today when as Clurman put it, “We live in an age of amnesia and for the most part, nobody remembers anything that happened the day before yesterday, so you naturally have to say it all over again.”
When audiences all over the world no matter what country I perform in, no matter what language they speak or their background or culture, once they come in contact with Harold Clurman, it’s as if they’re transformed and become excited because what he’s telling them is about something eternal and necessary to be heard today.
When I’m called upon to bring Harold Clurman to life in a performance, it’s never been done before in this particular setting, at this particular moment so everything is completely fresh, and the theatres are always different. Whether I’m performing in the courtyard of a palace or outside on a grassy knoll at a university, or in a tribal hut or a cave theater or inside a thousand seat auditorium.
You mention so many actors, directors from theatre and film in the past and present, such as Charlie Chaplin, Simon Callow, Lin Manuel Miranda and many more… How does studying such a wide range of people and their creations influence you and how important do you think it is for actors, whether they are new or established to know the heritage of theatre and the stories they tell?
Ronald Rand: Well, when I began as an actor, I slowly became aware of my heritage, or as we’re called, being a part of a ‘tribe.’ In high school I read everything actor biography and autobiography I could get my hands on, from Edwin Booth, Ira Aldridge, Salvini, Eleanora Duse, Sarah Bernhardt, Edmund Kean, Michael Chekhov, Vakhtangov to Stanislavski but it’s not only the theater I familiarized myself with. During college, I read countless books on philosophy, psychology, anthropology, the great religions of the world. I read every great novel, poem, and play written by the greatest writers of all time from the Greeks to the present. One particular book, Actors on Acting brought me further in contact with actors from different cultures taking me all over the world
It’s a personal decision to decide to learn about one’s history but I consider it a responsibility. If you’re a baseball player, you certainly want to know about Babe Ruth and Joe DiMaggio and Jackie Robinson. Why shouldn’t you if you’re an actor know about your heritage? That’s why I’ve included in my book a rich diversity of some of the greatest performers who have inhabited the stage from Ira Aldridge to Cicely Tyson and James Earl Jones. There is a great ‘well’ I talk about in my book, SOLO TRANSFORMATION ON STAGE, that each of us can draw from, and it will only greatly fuel the ‘leap across the footlights’ and touch the very souls and hearts of the audience.
Towards the end of the book, you had the great opportunity to interview other actors, such as Adrienne Barbeau, Christopher Plummer, Spalding Gray, to name but a few about their own transformations. What did you learn and come away with for your own thoughts or performances from them?
Ronald Rand: I’ve been very fortunate over the past nearly twenty-five years to do over fifteen hundred interviews through my newspaper, The Soul of the American Actor, and it’s brought me in touch with these particular performers that I’ve included in my book. Some of whom have become good friends. By sharing the more than twenty interviews in the book, and their journey as a solo performer, the choices they’ve made and how their particular shows came to life has been extremely inspiring for me, and I hope will also be for the reader.
Eve Ensler talks about how she created The Vagina Monologues, Ben Vereen shows how the world around him deeply affected his choices as a young performer, Christopher Plummer plumbs the depth of his rich being, Stephen Lang (who wrote the Foreword to my book) and Laurence Luckinbill, both highly seasoned performers offer great insights into the extraordinary courage it takes to come on a stage alone and become someone else.
Through the ages up to today, when you see someone like Ralph Fiennes or Simon Callow, Ruben Santiago Hudson, Anna Deavere Smith, or Ian McKellan, you’re experiencing a great thread of our humanity in the stories being revealed. Every time I experience a solo performance, it further awakens my own understanding about what it means to be alive and how much more there is to know about this world.
It’s interesting that you say that in your masterclasses people such as lawyers, therapists, teachers, taxicab drivers and those from other professions come and are a part of your workshops, as if there is a common thread to be realised. What would you say is the common thread and why are so many wide-ranging people attracted to your masterclasses?
Ronald Rand: It has been a special gift and privilege being able to teach my
‘Art of Transformation’ master acting workshops around the world for the past twenty-five years in over twenty-five countries, and across twenty states at over seventy-five theaters, universities, colleges, and acting schools. And yes, several times a diverse array of those who have attended my workshops come from many different backgrounds and professions. Why do they come? I think it’s because of transformation. We’re all constantly changing every single day, and every choice we make literally transforms us.
When I have individuals from many different backgrounds in my workshops, they’re excited to dip into some of the exercises and learn about Stanislavski’s ‘Method of Physical Actions,’ because for some, they may have thought “What would it take to become an actor?” and they find it fascinating and some realize that they have it within themselves to let their imagination loose, and in one of the exercises, I literally ‘take them off and they all fly like a bird.’ I want to give them a chance to feel this kind of freedom which is not something that always happens in their daily lives.
We have to allow ourselves to dream the biggest dreams we can dream. To achieve everything, we’re born to achieve and enjoy every moment we’re alive. And the more we understand about what moves us forward, perhaps we can be in even greater service to others, especially at a time like this.
Your book is more thought-provoking than I imagined, in a good way. You talk about the late Chadwick Boseman and basically about empowering others. How important do you think theatre is for telling the stories and making the most of what you have to say in this medium, since no one knows what is going to happen in our future?
Ronald Rand: Yes, we live in an age of great uncertainty and there are forces at work constantly trying to upset the balance and harmony of life. However, we know, deep in our beings, the most powerful forces on earth like love, truth, peace, and justice, to name a few, represent the highest ideals of who we are as human beings on this planet.
I mention Chadwick Boseman in my book because he understood the responsibility he was given as an actor and when he became a ‘star,’ he recognized it was part of his responsibility to help empower others. This is certainly what we can do as artists. To help others find their path, and that’s why for me, because the theater is ‘alive in the moment’, through our storytelling we can literally transform others to reach a place where a revelation may come, or the experience may propel them to take a good look at their lives.
Well, while we may not know the future, we actually have the power to shape its potential, and bring a deeper awareness to the others through art. and I’ve personally experienced how a solo performance can touch people in a very deep place.
You have a very accomplished CV, including being a US Goodwill Cultural Ambassador and US State Department Fulbright Specialist Scholar. How did you come to have these positions, how long have you done this for and what are some of the things do they entail?
Ronald Rand: On my first world tour with LET IT BE ART! I was invited to Tbilisi, Georgia to perform at The GIFT Festival. I was welcomed as a Goodwill Cultural Ambassador as a representative from my country to theirs bringing goodwill and as a ‘bridge of understanding.’ And over the years it has happened many times, which is especially meaningful to me.
This coming summer, I have been invited to Iceland’s Act Alone Festival to bring Clurman’s great passion and ideas as the “Elder Statesman of the American Theater.” So, it continues been an enormous responsibility bringing him alive to audiences in several many countries.
When I was first chosen as a US State Department Fulbright Specialist Scholar during my five first five years, I was able to spend six weeks at the University of Sarajevo’s Academy of Dramatic Arts teaching their wonderful students, and at the same time, I was invited to direct a production of Murray Schisgal’s hit comedy, LUV, at one of their most prestigious theatre’s, Chamber Theatre 55 in Sarajevo. The production was in Bosnian, which was an extraordinary learning experience, and I directed three of Bosnia’s finest young actors.
During my second tour as a Fulbright Specialist Scholar, I taught and performed in my solo play for six weeks at the University of Malaya in Kuala Lumpur, and then the Malaysian Cultural Ministry invited me as the first American master to bring Stanislavski’s ‘Method of Physical Actions’ across Malaysia to hundreds of students at their State Theatre and schools. Truly a most amazing experience!
On my third tour as a Fulbright Specialist Scholar, I travelled to Uruguay to teach actors and actors and students for five weeks at the Paysandu Theater Group and also ended up directing a workshop production of Thornton Wilder’s Pulitzer Prize-winning play, Our Town in Spanish with several of the actors of the company.
Being a Goodwill Cultural Ambassador and a Fulbright Specialist Scholar has allowed me to share what we have in common and to learn from one another. It’s up to us to feel empathy for others – this is what makes us human. We must care about others with the greatest of compassion and love, giving our best towards the betterment of all.
It’s always been my goal to inspire and empower people to learn and grow in the most truthful and compassionate way by sharing our creativity and transformation. And it’s about collaboration. I encourage those I’m teaching to feel the rhythm of life, to listen with their heart and soul, to become as expansive as possible, to give more of themselves to others through their craft which I believe adds to the healing which needs to take place between peoples.
When I taught students in Mostar in Bosnia & Herzegovina, I learned the young student actors are constantly faced with pressures on a daily basis in a very difficult environment divided along ethnic and religious lines. I told them: “Art teaches us we each carry the tools to transform, not only our own lives but to share truths about how to live with those around us. Storytelling can help you shape your frustrations into creative expressions through transformation, finding ways to teach each other a way towards peace, through love, through the power of art, you can inspire others to come together to live in harmony.”
If history has taught us anything, it takes a willingness to build trust, and by coming together in person a dialogue can take place, transforming into an entirely new dynamic of understanding, of empathy – sharing what is basic in all of humanity.
Through SOLO TRANSFORMATION ON STAGE, I talk about that through solo performance, we can go further than we ever thought possible. There are no barriers of language or cultural misunderstandings when our performing is done with an open heart, vision, a willingness to share knowledge, and to learn from one another honestly.
Today I am excited to let you all know that To Love and Be Loved By Amanda Prowse is now available in all good bookshops (physical and online) and in libraries. Discover more about it in the very compelling blurb, that may well have you racing to find out all about Merrin and the village she is from.
In this life-affirming tale from bestselling author Amanda Prowse, one woman built a new life to escape her humiliation. Now, can she put the shame behind her and finally find happiness?
Young and desperately in love, Merrin had the whole world ahead of her. But just as her new life was about to start, the ground beneath her feet was cruelly swept away. Devastated by the humiliation, she ran far away from the beloved fishing village she had always called home to lick her wounds and escape her gossiping friends and neighbours.
It hasn’t been easy, but six years later Merrin has forged a new life for herself far from the sea, burying the impulsive girl she once was. But when tragedy strikes, she has no choice but to return to the village she swore she’d never set foot in again.
Reluctantly back in the arms of her community, Merrin begins to realise what she’s been missing out on all these years. As she begins to remember the person she used to be, she is forced to make choices about her future, and to question the past. What does she want from her life? Who is important to her? Who is to blame for everything that went wrong? And can she forgive them, let old wounds heal and finally be her true self again?
Charming, uplifting, but without life’s complications in a Scottish town – The Bookshop of Second Chances is one you won’t want to miss! Thanks to Team Books And The City – part of Simon and Schuster for inviting me to the blog tour to review and for gifting me a copy of the book in exchange of an honest review. Please find more about the book in the blurb and the rest of my review below, as well as some buy links. Please note, I am not affiliated to anything.
Set in a charming little Scottish town, The Bookshop of Second Chances is the most uplifting story you’ll read this year!
Shortlisted for the RNA Katie Fforde Debut Romantic Novel Award 2021.
Thea’s having a bad month. Not only has she been made redundant, she’s also discovered her husband of nearly twenty years is sleeping with one of her friends. And he’s not sorry – he’s leaving.
Bewildered and lost, Thea doesn’t know what to do. But, when she learns the great-uncle she barely knew has died and left her his huge collection of second-hand books and a house in the Scottish Lowlands, she seems to have been offered a second chance.
Running away to a little town where no one knows her seems like exactly what Thea needs. But when she meets the aristocratic Maltravers brothers – grumpy bookshop owner Edward and his estranged brother Charles, Lord Hollinshaw – her new life quickly becomes just as complicated as the life she was running from…
An enchanting story of Scottish lords, second-hand books, new beginnings and second chances perfect for fans of Cressida McLaughlin, Veronica Henry, Rachael Lucas and Jenny Colgan.
The Book of Second Chances starts on Valentine’s Day. The day for lovers and shed loads of romance, but it is the exact opposite for Thea. She’s not got a lover anymore and needs to work out what furnture she wants and to top it all off, she’s also just lost her job. Just the year before, her Great Uncle Andrew died in Scotland. She’s pretty restrained, perhaps too nice, after all that, but then she also has her interests to protect too. You get a feel for her character and how she deals with things.
When a surprise letter is found from a solicitor, Thea’s life dramatically changes. It ups a lot of gears and suddenly she finds herself travelling to Scotland to a huge estate she has inherited, including a lodge and an array of precious first edition books. Jackie has created a history of the lodge, as though this was a true story and has made it feel like it is real and been around for centuries. It feels authentic as a result of her research and/or knowledge. It sounds amazing and many people would jump at the chance of staying, but Thea’s recent past holds her back initially as she considers selling it.
Readers, along with Thea then start to meet the locals, like Jilly and Cerys and get an impression of the surrounding areas.
This is also great for librarians who will appreciate the mention of The Dewey System and shudder at even the mere thought of repairing a book with sellotape. The chat about social media also seems so familiar too. There are lovely snippits of book and music as well.
The bookshop is absolutely wonderful, but all isn’t well with Charles and Edward there with a longstanding feud, with a dark and brooding atmosphere, as Thea discovers and ends up being caught up in. Life then becomes rather complicated for Thea in ways she wasn’t expecting, since she is trying to work out how to leave the complex life behind. Thea, however shows she is pretty reslient most of the time, which works really well for her characterisation. She has her principals, but there’s always that bit of a tug between going home to Sussex or staying in Scotland and making an area there her home. There is also the unescapable fact that there is romance brewing and that bookshop really providing a second chance at life, but you’ll need to read to find out all the nuances and if Thea really thinks this is so and will work well for her or not. It’s not a straight-cut decision to make, which brings some realism in this otherwise relaxing read.
The Bookshop of Second Chances is overall a warm, cosy delightful read that is highly enjoyable.
Ever Rest is a terrifically absorbing book with suspense, almost lyrical text, from the characters to the concepts and scenery. It’s just so interesting too, like a behind the scenes of people’s lives in a way you don’t often see in the music world. It’s beyond those glossy magazines and newspaper articles, to the actual people in a band and people’s lives, right to a hearstopping moment, where the book begins… Thanks to Roz Morris for getting in touch to request a review on my blog and for gifting me with the book.
Please carry on down to the blurb and my review to find out more.
Twenty years ago, Hugo and Ash were on top of the world. As the acclaimed rock band Ashbirds they were poised for superstardom. Then Ash went missing, lost in a mountaineering accident, and the lives of Hugo and everyone around him were changed forever. Irrepressible, infuriating, mesmerizing Ash left a hole they could never hope to fill. Two decades on, Ash’s fiancée Elza is still struggling to move on, her private grief outshone by the glare of publicity. The loss of such a rock icon is a worldwide tragedy. Hugo is now a recluse in Nepal, shunning his old life. Robert, an ambitious session player, feels himself both blessed and cursed by his brief time with Ashbirds, unable to achieve recognition in his own right. While the Ashbirds legend burns brighter than ever, Elza, Hugo and Robert are as stranded as if they were the ones lost in the ice. How far must they go to come back to life? A lyrical, page-turning novel in the tradition of Dear Edward by Ann Napolitano, Ever Rest asks how we carry on after catastrophic loss. It will also strike a chord with fans of Meg Wolitzer’s The Interestings and Taylor Jenkins Reid’s Daisy Jones for its people bonded by an unforgettable time; fans of Ann Patchett’s Bel Canto, for music as a primal and romantic force; and Jon Krakauer’s Into Thin Air for the deadly and irresistible wildernesses that surround our comfortable world.
It’s begins with a heart in the mouth moment, with a phone call no one on earth would ever want. This book is an excellent read. It would be great for reading alone or reading for a book club with the beautiful scenery against the suspense and the music beat.
Take a look at that cover! It is so cleverly conceived. It’s like a piece of modern art. There’s someone at the top of Mount Everest, but looks like either a CD or a record, where music, life and Nepal converge and all is not well and the cover looks torn, as lives have been tearing apart. The title is also a bit of a play on words and quite intelligent , 2 separated to mean one thing (Ever Rest) and bring them together and drop the “R” to create the mountain name – Everest.
Ashten from the band – The Ashbirds went missing in 1994 in Nepal. 18 years later, there’s some movement on this case and the intrigue to read on to see whether his body was ever found or not.
Elliott is an intriguing character and it feels like he is enraptured with Elza and her story as he sees pictures everywhere in the press and suddenly feels like he has a need to check out the press a lot to see what’s going on with her life. He is particularly fascinated about how she gets on in life, now that her fiancee, Ashten, is still missing in Nepal. There are sightings of bodies up Mount Everest that may have been him and not. It brings an absolutely captivating mystery element to what is essentially literary fiction. The other characters – Hugo, Ari and Markson and Robert are also interesting too as they are kind of stuck with being associated with the band and also in what happened to Ashten.
Readers are treated to a back story and it’s like a behind the scenes of the music business and a band reaching the top of their game and all the pressures that comes with that and the very serious rifts. Then band members, such as Robert wanted a solo career. Then what it takes to bring a band back together after so much history and complications.
The books also gives a bit of insight into how the press are and the assumptions they make in some of the questions they ask and also from the other-side, how certain magazines are courted and decisions made to give that exclusive story to.
It also brings about themes of grief and acceptance in different ways and moving forwards in life and what people have to deal with and how things affect them.
This is a thought-provoking story about the press, the music business and its highs and lows and also, almost poses the question as to how you would feel if someone you knew was high up on a mountain and one went missing and the other did not, as what happened to Hugo and Ashten, and then as Elza did, meet Hugo again some time later. It gives a lot of scope for book clubs to discuss and for readers not involved in one, a lot to really get involved with, to find out the outcome, which is more than worth hanging in there for…
This Shining Life is beautifully written. It’s timely, poignant and warm. If you like Rachel Joyce’s books, you’re sure to like This Shining Life. I highly recommend it! Discover more in the blurb and my full review and a bit about the author. That is when you can take your eyes off the gorgeous cover. Thanks to Random Things Tours for inviting me onto the blog tour for reviewing and for them and for publisher – Double Day for gifting the physical proof of the book.
For Rich, life is golden.
He fizzes with happiness and love.
But Rich has an incurable brain tumour.
When Rich dies, he leaves behind a family without a father, a husband, a son and a best friend. His wife, Ruth, can’t imagine living without him and finds herself faced with a grief she’s not sure she can find her way through.
At the same time, their young son Ollie becomes intent on working out the meaning of life. Because everything happens for a reason. Doesn’t it?
But when they discover a mismatched collection of presents left by Rich for his loved ones, it provides a puzzle for them to solve, one that will help Ruth navigate her sorrow and help Ollie come to terms with what’s happened. Together, they will learn to lay the ghosts of the past to rest, and treasure the true gift that Rich has left them: the ability to embrace life and love every moment. Wonderfully funny and achingly beautiful, this is a story about love in all its forms: absent, lost and, ultimately, regained.
Meet Ollie, Nessa, Angran, Rich, Ruth and Marjorie, the main characters who take a few chapters or so at a time to create this beautiful book. What hits and made me take a sharp intake of breath, was the first line of the first chapter, after the prologue. What is said is insumountable and very matter of fact. It’s a strong opening! Every so often, one line punctuates the opening to a chapter, that is stark and true and just fabulous. No beating about the bush, it tells of a life event how it is and for what it is. In this instance, I like that and it fits the book so well. You’ll have to read the book to find out what it is…
This book will tug at anyone’s heartstrings, like the saddest tune from a solo violin at the very least, and certain short, sharp sentence (I won’t say what or it will spoil it), may pierce hard through your very being and reverberate round. It’s terrific and matter of fact! The book is also full of love and the warmth that brings.
Grief is inescapable at the moment and that’s what makes this book, perhaps even more timely and poignant. It beautifully portrays grief and being surrounded by it within a family very well and truthfully. It shows how people have different ideas for what to do when someone dies and how grief isn’t the same for everyone. It’s also about the love of dead loved ones and the comfort from the living.
There is also the mismatched presents that Rich had left, which further shows his love of life and the people around him. It also keeps people busy as they try to fix them out.
The book, although emotional, is far from depressing. It has that warmth and some pockets of humour. There’s other parts of life being shown as having being lived, such as a a well stocked up picnic. The nature provides a layer of peacefulness along with the layer of anguish of death, love and life that converges together.
The peacefulness of nature is conveyed exquisitely against the forefront of the sting and in Ruth’s case, especially, the almost suffocation, sometimes claustrophobic feeling of grief closing in and confusion of grief, that all of the characters feel in one way or another. It is all brought with tenderness, but an absolute realism, right to the very end and with the comfort and love of the supporting characters.
About the Author
HARRIET KLINE works part time registering births, deaths and marriages and writes for the rest of the week. Her story Ghost won the Hissac Short Story Competition and Chest of Drawers won The London Magazine Short Story Competition. Other short stories have been published online with Litro, For Books’ Sake, and ShortStorySunday, and on BBC Radio 4.