CBR17 Book 15: "The King's Messenger" by Susanna Kearsley

Page count: 512 pages

Rating: 4 stars

StoryGraph Easy Reading Challenge 2025: All Alone - Read a stand-alone book

Thanks to NetGalley and Sourcebooks Landmark for this ARC. My opinions are my own. 

It is 1613 and Prince Henry, James I's eldest son and heir has tragically died. Rumours whisper that it might not have been by natural causes. Queen Anna is distraught, and King James is determined to punish the guilty. 

Andrew Logan is one of the king's messengers and he's tasked with going to Scotland to apprehend Sir David Moray, Prince Henry's closest companion, and bring him safely to London to face 'trial'. Logan will not be travelling alone, along for the journey will also be an experienced scribe, Lawrence Westaway, who will write down anything that Moray says or does during the trip. Because Lawrence is elderly and of ill health, Westaway's daughter Phoebe will also accompany them. Complicating matters somewhat is the secret Logan needs to keep from everyone around him. He has the Second Sight, and can occasionally catch glimpses of things that will happen. In a time where the least unusual behaviour could have you accused of witchcraft, Logan dares not tell Phoebe that he can see her father's poor health will shortly lead to his death. 

While the queen is mourning her son, she doesn't necessarily believe Sir David is responsible for his death. She wants him brought safely to her so she can speak with him, Logan's orders are to bring him directly to the king. Logan suspects that by arresting Moray, he may be complicit in the man's demise. It doesn't help matters that Logan and Phoebe don't exactly get along. She believes him to be a brutish and uncivilised man, swayed by the words of others in her acquaintance. He believes her to be a judgemental snob who has coldly rejected any of his overtures of friendship since they were younger. 

The journey from Edinburgh to London is long, however, and the travellers spend a lot of time in each other's company. Logan arrests Sir David as his ship from France arrives in the port in Leith, and on their return journey to London, the group are also joined by a young stablehand who idolises Logan and wants to become a royal messenger like him. Sir David is obviously grieving the loss of Prince Henry deeply and it becomes obvious to everyone in the group almost immediately that he is an innocent man, and that taking him to London would be to commit an act of injustice. Their return to London will also be dangerous, as one of Sir David's Scottish kinsmen is pursuing them with a large band of his soldiers, determined to spirit his cousin away to safety.

Searching my blog, it turns out I haven't actually read a single of Kearsley's novels since 2014 when I finished The Firebird. It surprised me that it's been so long, I remember the ones I read quite well and liked all three. She writes very well-researched and engaging historical fiction, sometimes with a light supernatural element, such as Andrew Logan's occasional glimpses into the future in this book. Based on the plot descriptions of this book online, I was expecting more of a suspense book, possibly something involving espionage - which is not the case. In some ways, it's a road trip novel, only the mode of transportation is horses, and it takes a considerable amount of time riding from Edinburgh to London, even when keeping a brisk pace because rebellious Scotsmen are in pursuit. I actually preferred this quieter story to the one I thought would be happening, so in my case, it worked out fine.

In several of the Kearsley books I read in the past, there are two parallell storylines, one set in the past, one in the present day. Here, it's all in the early 1600s, chiefly 1613, but several of the POV characters, like Sir David and Queen Anna have flashbacks to previous events, mostly concerning Prince Henry. There is absolutely romantic tension between Logan and Phoebe, but it's not exactly a sweeping love story that dominates the plot. It becomes clear to the reader (who gets to read the POV of both characters) that a lot of their mutual distrust and animosity comes from misunderstandings early on in their acquaintance (and in Phoebe's case, that she's listened to people who spread malicious gossip, some of which is clearly untrue). 

I was also worried, when I realised how much of this book deals with grief of losing a son (Sir David may not have fathered Prince Henry, but he cleary loved the young man as a son, probably much more than King James ever did), which since I became a mother is one of my biggest nightmares. Sir David and Queen Anna's flashbacks were sad, but thankfully there was nothing to emotionally destroy me.

The King's Messenger is out this week in the US. In the rest of the world, it's apparently been out since August 2024, so there are already lots of readers out there that share my view on the quality of this book. It was a lovely read, and made me determined to check out more of Kearsley's back catalogue before another decade passes.

Crossposted on Cannonball Read. 

CBR17 Book 14 : "Two Friends in Marriage" by Jackie Lau

Page count: 233 pages

Rating: 3 stars

Disclaimer! This was an ARC sent to me by the author. My opinions are my own. 

During the Covid pandemic, it becomes very obvious to both Evan Mok and his friend Jane Yin how lonely they both are and how much they wish they had someone to share their lives with. They agree that if they are both still single after Jane's thirty-third birthday, they will get married and buy a house together. By the time Jane's birthday has passed, neither of them is in a romantic relationship, and both have pretty much given up on finding long-term happiness with anyone. So sticking to their pact seems like a good idea.

They pretend that they have been dating for a while, to avoid awkward questions from Evan's family. Jane doesn't really expect any questions from her side of the family. Her mother died of cancer when she was little (by turning thirty-three, Jane has now lived longer than her mother ever did), and once her father remarried, he seemed to entirely lose interest in Jane and her life. He claims he's too busy to make it to the wedding and she doesn't have much of a connection to her stepmother or younger half-siblings. So one of the benefits to Jane in marrying Evan is that she will actually have in-laws who seem to care. 

Once they find a house they like, their quiet life together seems to be going very well. Of course, it wouldn't be a proper marriage of convenience story if the two didn't start catching feelings for one another. Evan is bisexual and Jane is one of the friends he's known the longest. He never felt any attraction towards her before they got married and moved in together, but now he keeps having to fight feelings he's sure his quiet wife can't return. Jane, for her part, is asexual and has been happily celibate for nearly a decade. So she's even more surprised when she starts having pants feelings for her husband. Both are worried that they are going to hurt/upset/freak out their significant other by confessing these feelings - oh noes!

I don't think I've read a single Jackie Lau book that I didn't at least in parts enjoy, but some of her books are absolutely less to my taste than others. This is the third book in the Weddings with the Moks series (only one sibling left to pair up, now) and it's fine, but nothing more. While I like Evan's parents (this is now the third book where they have appeared), I didn't really connect with Evan or Jane, and as a result, I didn't really care what happened to them. There was nothing really drawing me into the story, and if this hadn't been an ARC that I felt a responsibility to finish and review, I possibly would have DNF'd it. 

It probably doesn't help that a couple of weeks before reading this, I read another "marriage pact" romance that worked for me on every single level, and which I had trouble putting down. In a Rush by Kate Canterbary had characters I adored, a great supporting cast, and a storyline that engaged me and kept me wanting to spend more time with them. Evan and Jane are both very aware that they're not very exciting people, and that seems to come across in the writing. Obviously, perfectly ordinary people deserve romance and their happy endings too, I just needed something more from this book to keep me entertained. 

I'm still looking forward to the final book in the series, hopefully Mok brother number 4's romance will be more to my tastes.

CBR17 Book 13: "Animal Farm" by George Orwell

Page count: 95 pages

Audio book length: 3 hrs 3 mins

Rating: 4 stars

Nowhere Books Bingo 25: Banned Book

Buzzword Cover Challenge 25: Cover featuring an animal

On Manor Farm, somewhere in England, an old boar gathers all the animals in the barn and makes a powerful speech about how animals suffer at the hands of humans and should rise up and take power for themselves. Shortly after his death, the animals of Manor Farm do just that - they violently fight back when Farmer Jones and his farmhands try to control them and chase the farmer, his wife and all the other humans on the farm away. All animals will be equal, everyone will contribute to the farm to the best of their abilities, walking on two legs and using collars or human attire is forbidden, and no one will use the farmhouse anymore. The pigs manage to teach themselves to read and write and seven lofty commandments for the governing of Animal Farm are painted on the barn walls. Things seem very idyllic for the animals at first, but it doesn't take long before some of the animals take a more prominent role in the rule and governing of the farm, and as a result, decide that they deserve more than their allotted share of the resources. 

This is where I have to confess to never having read Animal Farm until this year when we're teaching it to the tenth-graders. Unlike Et dukkehjem, which I have read and taught a bunch of times, we never used this book on the curriculum before, and because I like to read for escapism and to avoid traumatic and depressing reading experiences, I've tried to stay away from George Orwell's novels. While it's not a long book, only a novella really, an allegory stuffed full of political satire isn't the easiest thing for rather sheltered Norwegian tenth-graders to process, and quite a few of our pupils are having a tough time with it. Of course, when we planned the curriculum for this year in August, none of us English teachers had any idea how much more relevant it was going to become (thanks for that, America), although the machinations of the pigs seem almost quaint compared to the geo-political nightmare taking place in the United States right now. 

I had to read up on Soviet/Russian history in the 20th Century after reading this, so as better to understand all the things the book alludes to, to then teach it to the kids. The ones who are generally interested in history and current events, seem to be getting a lot more out of the book than the others. Some of them are questioning why they have to read a book about a bunch of animals - hence the need to try to tell them the real-world events that inspired the book. It's going to be interesting to see what they think once we finish the book, it's not exactly a fun or heartwarming tale - rather than a depressing dystopian fable. 

I'm glad I read it, but it's deeply tragic that not only have we not learned anything from history and books such as this, but power-hungry despots with seemingly no grasp of actual decency are being allowed to do much worse as we speak. Poor Orwell is probably rolling in his grave. 

Judging a book by its cover: Red and black, very Communist colour scheme and the entire layout of the cover looks like a propaganda poster of some kind. The fateful windmill is front and centre, along with a slightly sinister-looking pig. There are countless editions of this book, and just as many different cover designs. I kind of like this one. 

Crossposted on Cannonball Read

CBR17 Book 12: "Deep End" by Ali Hazelwood

Page count: 464 pages

Rating: 4.5 stars

Buzzword Title Challenge 25: Water words

Warning! Mild spoilers for some plot points later in the review. 

Scarlett Vandermeer is struggling, both with her academic subjects at Stanford and her diving. While physically fully recovered from a bad accident a year ago, Scarlett has a block that prevents her from even attempting the type of dive that had her hospitalised and having to go through several surgeries to fix her broken body. She needs to get her grades up if she wants to get into med school, and she has reluctantly agreed to go to therapy to see if she can get past the mental block that is hindering her diving but doesn't really feel as if it's working. 

Lucas Blomquist is a world champion swimmer and has won multiple Olympic medals. He's one of Stanford's top aquatic athletes and the loyal boyfriend of Scarlett's diving teammate Penelope. When Lucas and Penelope quietly break up, however, Penelope drunkenly suggests that Lucas and Scarlett hook up, because "they're into the same thing", BDSM. While Lucas is apparently a great, loyal and caring boyfriend, sexually he and Penelope just aren't compatible, because Pen isn't into kink at all. Scarlett, however, is. After a few weeks of extreme awkwardness around both Pen and Lucas, she and Lucas actually communicate and discover that their kinks seem to be extremely well-matched. Scarlett is wary about starting anything with her friend's ex, but once she and Lucas spend more time together, she can't really help herself, and they agree on a mutually beneficial arrangement. 

For reasons known best to herself, Pen doesn't really want to publically break up with Lucas, so Scarlett and Lucas can't really be public with their hook-ups. Soon they are nevertheless spending a lot of time together, working for the same professor on a biology project, and getting more and more obsessed with one another. Scarlett's history with PTSD and her self-esteem issues make it difficult for her to trust anyone. Her growing friendship with Penelope also makes her unsure about her relationship with Lucas, are they really as over each other as they claim?

I understand that Ali Hazelwood's books aren't for everyone and that her writing style can be annoying. By now, it's becoming obvious that to me, her writing works perfectly for me, and with each new thing she publishes, I like her even more. I also love that as she becomes more successful as a writer, she publishes stories she's clearly wanted to write for a long time. She gets criticised for writing the same story over and over, and yes, she does have a tendency to feature huge, hulking guys and vulnerable petite heroines. Would I love for her to have a towering, Amazonian heroine and a short king hero in the future? Absolutely. But she's been changing up her formula more and more. In the last two years, she's written YA, and paranormal romance (book 2 is out in October!) and exploration of kink is getting more prominent in some of her books. I've seen some people say this is her best book to date, but I still think I prefer Not in Love and Love, Theoretically. Part of that is because Scarlett and Lucas both felt so young (this is definitely New Adult) and part of it is because of Penelope. 

Over on Threads, the algorithm has clearly realised that I like Ali Hazelwood, so I see a lot of posts about her writing, especially this new book. Penelope is clearly a divisive character, and without spoiling too much, her actions towards the end of the book are objectively shitty towards both Scarlett and Lucas. A lot of people seem to think that what she does is unforgivable and to some, her mere presence in the book, apparently ruined it for them. I liked that Hazelwood introduced a close female friendship between two characters who were both rather messed up (Scarlett and Penelope both have their issues), and as a result, mistakes were eventually made. 

I think that over the course of the story, some of Penelope's demands on both Scarlett and Lucas' time were a bit unreasonable, and personally, I would have told her to bugger off occasionally, but as they are written, that is not something Scarlett or Lucas would do. Scarlett's choice to eventually forgive Penelope is one of the things that made me like this book more. Female characters so easily fall into archetypes. The bitchy, sabotaging ex is such a stereotype in a lot of romances. Penelope is so much more than that. She is genuinely a great and supportive friend to Scarlett. She's happy that Scarlett and Lucas find a connection she wasn't able to have with him. When a series of events mean that her life is less than great, she says and does some pretty awful things. Does that mean that she's an utterly irredeemable character? Once again, these characters are young. They are in their early 20s, only starting out in life. I respect and like Hazelwood more for including a complicated friendship dynamic in the book and for letting Penelope be more multi-faceted than the standard jealous ex-girlfriend trope.

Scarlett is another of Hazelwood's vulnerable and skittish heroines. Because she used to be effortlessly good at a lot of things, like professional diving and academia, it's very difficult for her to adapt to life becoming more challenging. She has PTSD from the behaviour of her emotionally abusive and controlling father, which makes her very uneasy around most men. She has a great relationship with her stepmother, who is an important part of the great supporting cast of this novel. Scarlett doesn't really believe she deserves good things, so in her mind, her relationship with her perfect boyfriend specimen Lucas Blomquist is never going to be a lasting thing. Their hook-ups are only supposed to be temporary, and as she keeps catching deeper feelings, she struggles to accept them and own up to them.

Thankfully, Lucas really does seem to be the perfect man, almost annoyingly so. I really would have liked for him to have some sort of flaw, but no, he's understanding, and supportive, if a bit of a perfectionist, and from the descriptions of him, he looks like a mix between Alexander Skarsgård and Michael Phelps. I don't think Hazelwood has written a single book where the hero doesn't fall first, and that is also the case here. Because Lucas is also more emotionally mature, he is able to acknowledge his own feelings, while patiently waiting for Scarlett to catch up, giving her time and space to join him in being head over heels.

Lucas is also Swedish. The previous time I read a novel with a Swedish protagonist, Olivia Dade's Ship Wrecked, one recurring term of endearment drove me nuts and it annoyed me enough that I couldn't rate the book more than 4 stars. In this, there are some uses of Swedish, but they are actually accurate and suitable for the situation, so I wasn't bothered by them. The way Hazelwood describes Lucas and his brothers and the place they come from felt authentic to me as a Scandinavian. I suspect that the audiobook will be harder for me to get through, though, unless they have an actual Swede narrating Lucas' parts. 

As far as I can tell, not in any way being into kinky stuff (happily Asexual and celibate, over here), all the BDSM stuff covered in this book, from Lucas and Scarlett's lists when they compare what they are into, and throughout their relationship, is very respectfully and accurately described. The spice level seems to be getting a bit higher with each new Hazelwood, but I still think that a lot of readers would find this relatively mild, comparatively speaking. It's certainly not anything like, say, Christina Lauren's early romances (they've gone a lot more tame now) or anything by Kit Rocha, or Katee Robert. 

Judging a book by its cover: If my Threads feed is anything to go by, a lot of people have been clutching their pearls over the level of spice/smut in this book. With a cover like this, what are you expecting? Those are clearly not the hands of people who are just waving at each other. Personally, I love that there are no people on the cover, that way I'm free to picture the characters exactly as I want inside my head. 

Crossposted on Cannonball Read

CBR17 Book 11: "Et dukkehjem (A Doll's House)" by Henrik Ibsen

Page count: 100 pages

Rating: 5 stars

I don't know if a spoiler warning for a nearly 150-year-old play is necessary - but I will be revealing significant plot points when writing about this historical drama, so if you want to remain unspoiled, go read the play (it's only three acts, it's a relatively quick read) or watch a dramatisation, and come back when you're done. 

Nora and Torvald Helmer are a middle-class couple living in Christiania (what Oslo was named for a few centuries in the before times) in the late 1800s. They have three children, and some servants (a nanny and a parlour maid). The play takes place around Christmas and in the days following. This was a time when women didn't have any legal rights and the central conflict of this play comes about because Nora, in the past, took out a loan (forging her father's name on the contract to do so). She did it to save her husband's health but has always had to keep her illegal act a secret. Now her past is coming back to haunt her, with the man she borrowed money from, Krogstad, blackmailing her to keep his job. Nora needs to ensure Krogstad isn't fired, or he will tell her husband the truth, and the ensuing scandal could mean Torvald loses his new advantageous job as a bank manager. 

I honestly don't remember how many times I've read this play by now. I first read it in high school, with a Norwegian teacher who showed absolutely zero enthusiasm about the work, and as a result, I wasn't exactly impressed by it and remembered it as boring and pointless. Et dukkehjem/A Doll's House is now part of the curriculum in Norwegian for our tenth-graders at the school where I work and I myself have taught the play at least four times now. Unlike my high school teacher, who really just assigned us all the play to read with some accompanying work tasks (if I recall correctly), my colleagues and I read through the play act by act with the students, who take turns reading out the various parts, and we watch different dramatisations for the kids to compare and contrast. The last time I taught tenth grade, and again this time, we also showed them the first season of the Norwegian web series Skam as another comparison point, which they seemed to really like. I have no illusions that I'm instilling a great love of 19th Century realist literature in my pupils, but I'm hoping that some of them find their introduction and work with this play less off-putting than I did in school.

Suffice it to say, my opinion on this play has changed massively from my first reading of it (probably because I didn't really pay attention to it when it was one of many assigned texts). Ibsen himself claimed not to have set out to write a feminist rallying cry, but the drama remains relevant and extremely popular to this day (Ibsen remains one of the most dramatized playwrights worldwide, after Shakespeare). Nora's change from a sheltered, rather naive housewife to a woman determined to put herself first, sacrificing everything to discover who she really is, even knowing how difficult it will be is really impressive, especially given the time it was written. Torvald really is an absolutely insufferable misogynist (he's utterly odious and I had forgotten that not only does he speak to Nora appallingly, but he also mansplains why knitting is unfeminine to her friend Mrs Linde, as well), who is given several chances to redeem himself, and consistently fails at it. He sees Nora as a decorative object, a sweet plaything and constantly belittles and rebukes her if she tries to talk about anything non-frivolous. The only one who sees at least some parts of the true Nora is Doctor Rank, her husband's best friend, who would probably have made her a much better husband, had she met him first. Part of the tragedy of this play is that it's quite clear that Nora loves her idiot of a husband until his true character is finally revealed and it becomes impossible for her to lie to herself any longer. 

By the end of the play, having had it proven without a shadow of a doubt that her husband will never see her as anything but an air-headed object, Nora makes the choice to leave her family behind (it's not like she'd ever be granted custody of her children, anyway), because she cannot live the lie that she has discovered her marriage is. This was a hugely shocking finale at the time of the play's release, so much so that in Germany, Ibsen was forced to write an alternate ending, where Nora changes her mind and stays with Torvald, after all. It is rumoured that he originally considered this for the play in the first place until his wife exclaimed "Either Nora leaves, or I do." 

I cannot in good conscience rate this play any lower than 5 stars. It's a classic for a reason. I used to prefer Hedda Gabler, but the protagonist of that play is just so mean. Re-reading it yet again, I was also struck by what a massive undertaking it must be for any actress portraying Nora. In the three-act play, there is literally one short scene in the third act where Nora isn't present on stage and has most of the lines. No wonder it must be a gift of a part for an actress to play. 

Judging a book by its cover: My thin paperback copy of the play is a pleasing shade of purple, with a grumpy-looking cartoon Ibsen glowering from one side.

Crossposted on Cannonball Read.