By the late 1980s,
after having had my filled of Robbins, Collins, Sheldon, I was ready to
discover new authors. In came Lisa Robinson’s WALK ON GLASS (1983, Charter Books). I picked that one up during one of my hunts for used
bookstores. After having amassed enough trashy paperbacks to fill at least two
shelves in my reading room, I went back home and I started the novel right away.
I remember how good a time I had with it. Like its many predecessors, it had something
of a roman à clef. It would be interesting to see if the fun is still palpable
after all these years. But what I do recall most is that WALK ON GLASS was penned by then-syndicated music columnist Lisa
Robinson. I had glimpsed at her articles in some New York paper once or twice and
thought them to be quite interesting. And since I’ve always been attracted to
the glitter or not so glitter aspect of show business it came as no surprise that
I found her novel to be just as fascinating.
Indeed, the music
industry is the main focus for this tale of love gone wrong during the rise and
fall of a singer/songwriter. Unless I’m very much mistaken it goes something
like this: she’s on top of the charts, meets the man of her dreams and—surprise,
surprise—ends up being cheated on. Then she breaks—big time, so much so that
you wish you could do a MOONSTRUCK on her. Snap
out of it! But since we all know that without cupid doing his thing, novels
like this one would barely exist, we suffer greatly with her and hope that she
rises above. She does eventually, like any good heroine can. What’s even more rewarding,
however, is that beyond her fall out, WALK
ON GLASS is an insightful encyclopedia of who’s who in the music biz. Expect
to be enthralled by this and by those inside scoops which in the end mostly reveal
that screwing one another for a few bucks is certainly one’s main priority. I
have no doubts that it still is today.
WALK ON GLASS is sadly Lisa Robinson’s sole novel. I would have
loved for her to continue on her path as a novelist. She is currently a
contributing editor at Vanity Fair. Her memoir THERE GOES GRAVITY: A LIFE IN
ROCK AND ROLL was published in 2014 by Riverhead Books. I may check that one
out, as you all should WALK ON GLASS.
Two years after the ratings success of LUCKY CHANCES, NBC gave the greenlight to the third chapter in the Santangelo
saga called LADY BOSS. Again, the
teleplay was going to be written by Collins herself and she was also going to co-executively produce the whole thing. The big difference is that Kim Delaney was going to
replace Nicollette Sheridan as Lucky. Just as the character of Lenny was now
going to be portrayed by sexy Jack Scalia. In fact, only hunky actor Phil
Morris returned. If you recall, he played Lucky’s illegitimate half-brother
lawyer. But truth be told, I couldn’t care less who was or who wasn’t going to
be in it (this is how interchangeable those actors are). All I wanted is to see
the end result which I finally did on that Sunday in October of 1992.
I was in a serious relationship at that time. Turned
out the guy was one mean S.O.B. but back then I was in love. Or what I thought to be love. But moving on… I remember
sitting my ass down after work and playing part one of the miniseries and I just
couldn’t be happier. I had devoured Jackie’s novel the year prior and thought
the adaptation was relatively faithful to the book. 25 years later I still find
LADY BOSS to be grand.
Kim Delaney is great as Lucky. She puts some much-needed
spunk into the character. Nicollette Sheridan’s take is much too basic. Here we
finally get a three-dimensional enough performance that is more relatable. Same
goes for her other-half Jack Scalia. His Lenny is much more charismatic, much more
at ease in his own skin, therefore more in control of his performance. Or is it
just that I still have the hots for him? I mean, who wouldn’t? Look at the guy.
Clearly he’s the perfect choice for a leading man.
The whole whacky storyline in which Lucky infiltrates (disguised
as a frumpy secretary) a Hollywood studio to expose the shady goings-on before
taking it over works with a capital W. Of course this little game of hers does
not bode well with her actor hubby, who, despite being unhappy there, is set against
the idea of her becoming his boss. But Lucky being Lucky ends up doing what she
wants, and of course the marriage suffers. The mini also features a
Madonna-like star whose celebrity status brings her all sorts of problems, such
as the presence of a low-life brother (!) who gladly sells stories about her to
the rags. There’s also the presence of the late Joan Rivers as a Cindy
Adams-like columnist who warns screen-legend Yvette Mimieux (in her last role
before disappearing from the limelight) that her rich husband is screwing another
woman. And yeah that is president-to-be Donald Trump making a cameo appearance.
Add to the mix the recently departed Vanity who plays Phil Morris’ client-love
interest and you got yourself one heck of a firecracker miniseries.
Directed by THE OTHER SIDE OF MIDNIGHT Charles Jarrott,
with a catchy opening title theme composed by KNOTS LANDING Dana Kaproff, it is fair to say that JACKIE COLLINS’ LADY BOSS is stronger than its
predecessor. Evidently the glam miniseries were fizzling out by then but from
the looks of this one, it hardly shows. So I’m glad to report that the trend went
out with a bang. We have yet to see this title graduating to the DVD market,
however, but let’s not despair. HOLLYWOOD WIVES did eventually get there. So I
gather that the rest of Jackie’s adapted work will see the light of day.
This week’s blog entry is dedicated yet again to the
oeuvre of Judith Krantz, most specifically to PRINCESS DAISY, one of my favorite novels of hers. I was supposed
to scrap anything regarding this author on account of the many homophobic
references inserted in SCRUPLES. But the big trashy junkie that I am just couldn’t
stay away. And truth be told, I’m glad I didn’t, for Judith Krantz is more than
a bigot writer. She’s also one heck of a trashy storyteller. She knows how to
lure her readers just the right way with her tales of the rich and the rotten,
and PRINCESS DAISY is the perfect example.
Indeed, Princess Margaret Alexandrovna Valensky has it all:
loving parents, a title preceding her name and money that grows on trees—until
tragedy strikes. Before you can say, oh
here we go again, Daisy's charmed life is turned upside down when she is forced
to face a painful past and an unsure future. And what a future it is, filled
with beautiful people, royal settings, designer clothes and plenty of sex. Suffice to say, PRINCESS DAISY is one hot read. Krantz creates an exciting bunch of
characters; unidimensional, perhaps, but fun as they go at it without any
filter just to get a piece of the happy pie. Yes, the author may spread it
thick on the over-the-top scale, but who cares. The novel works, and that’s
what’s important. It is as grand and as sinful as those secrets her heroine so
desperately wants to hide. So go on, do as I did, forget about SCRUPLES and indulge
in this one, for PRINCESS DAISY sure
is classy stuff in escapism fiction.
As you can see, re-reading this novel wasn’t as
strenuous as I thought it would be. Sure, one of the antagonists is a sick and
twisted individual who of course has homosexual tendencies, but this offensive depiction
didn’t bother me as I thought it would this time around. Maybe the trick is to
develop a thicker skin. Or to simply realize that villains in over-the-top
novels are just as harmless as their creators if you don’t take them too
seriously. Besides, the novel is from another era. I’d like to believe that people,
including writers like Judith Krantz, have slackened on some of their beliefs since
then. But with the re-enforcing of backlash toward minorities since Trump has
been elected the next president, however, I may just end up eating my words.
In the mid-2000s I had access to this TV channel where
I could enjoy all types of exploitation films. It was called Drive-in Classics,
and every now and then I would get caught up into some ‘70’s grindhouse movies.
Little films I would never have discovered
had it not been for that now-defunct channel. So I owe big thanks to the folks
behind Drive-in Classics for introducing me to this week’s featured title which
since then has become one of my favorite flicks to watch.
Filmed in 1976 and picked up by Roger Corman for
distribution, NASHVILLE GIRL tells
the tale of a beautiful and talented songstress who desperately wants to become
the next big thing in country music. So one day she packs up her bags and, with her precious
guitar in hand, heads off to Nashville. She soon finds out that reaching for
the top has many setbacks. Indeed, hardly a day goes by that she isn’t used by men.
At first she recoils from them but soon learns that to make it in show business
one has no way but to submit. Fortunately, this leads to a once in a lifetime
chance to work with a legendary married country star who takes her under his
wing and makes her sing with him to great success. But what starts out as a
platonic relationship soon turns to brute force when he becomes obsessed with
her to the point of raping her. Fed up with the ways of the world and now a
country star herself she vows to make it on her own. As the credits roll we are
left with the notion that she will get there.
Just like in THE
LONELY LADY, SHOWGIRLS or VALLEY OF THE DOLLS, NASHVILLE
GIRL uses the same Girl Caught in a Male
Dominating World theme and delivers a highly enjoyable exploitation flick
that has solid performances and some catchy tunes. Monica Gayle shines as the used,
abused aspiring country singer who eventually becomes wiser as the film
progresses. She may not have the aggressive spunk of a Neely O’Hara or the
slutty way of a Nomi Malone, or even the naïve streak of a Jerilee Randall but
boy does she hold her own. So good of an actress is she that she’s able to go
beyond the clichés to make her character appear sympathetic. A tough job to do
really when one is surrounded by nothing but sleaze. Moreover, what the film
achieves in the looks department despite its meager budget is worth the price of
admission alone. I’ll repeat it here: they sure don’t make them like that
The film was a solid success at the box office, mostly
due to its appeal overseas. It was then re-released in 1980 as COUNTRY MUSIC DAUGHTER
to cash in on the success of the Loretta Lynn biopic COAL MINER’S DAUGHTER. It
took some 30 years for me to discover NASHVILLE
GIRL, and though I had also seen and enjoyed the Sissy Spacek vehicle
recently, it’s Monica Gayle’s performance in NASHVILLE GIRL that stuck with me. Which makes me wonder whatever
happened to her? Her IMDb bio reports that she stopped acting in the late ‘70s,
which is truly a shame, for her talent should have been celebrated in the subsequent
years. I hear that she’s also a blast in SWITCHBLADE SISTERS. I need to check this
one out ASAP.
You can still purchase NASHVILLE GIRL on DVD or Blu-ray wherever digital films are sold.
Often enough when
a horror novel is described as a page-turner it usually ends up in my dud pile.
Color me picky but as much a chance I give it (and believe me I do) it always
seems to fail grabbing me. Give me a cool writer like Hunter Shea or Brian
Keene, or heck even Bryan Smith whose latter work, last time I checked, is way stronger,
and I’ll give you at least a dozen brand names who doesn’t necessarily fit my bill. This next spotlighted fellow,
however, does. I’ve been meaning to discuss him (and the others mentioned
above) on this popular blog which I’m so proud of, but it took one of his
latest to finally make me take the plunge and do this.
I admit, the name
Tim Curran might still be unfamiliar to some, but to lovers of dark fiction he
is one celebrated talent. He’s been at it since 2000 and already has a dozen
novels to his name if not more. My first taste of his well-defined craft came
with RESURRECTION, which was all about the zombie invasion. It was a lengthy
read (600 + pages) but it was as involving as it can possibly be and moved like
a speeding bullet. Plus it had many gruesome moments which are always a welcoming
Like many of my
fave authors, Curran is less known for his epic characterization and
overstuffed narration. He’s what you call the perfect antidote to too much
cerebral fiction (which he himself has been known to point out regarding other
people’s work). Take BLACKOUT for example, one of his latest projects with
DarkFuse. Again, readers of non-stop action will have a field day, especially
if they are into alien invasions in small towns. What happens to these ordinary
folks in the space of a mere six hours can only be described as cheesily fun.
Plus, there are plenty a yucky images to spare, most having to do with what’s
coming through the darkened sky. I won’t reveal too much but let’s just say that
what the author does with this will probably leave no one unfazed. Moreover, the
explanation he provides for the UFO attack winds up being rather interesting if
not original. Well at least it is to me, since I’m no expert in the field of
What I’m good at,
though, is talking about labels regarding minorities. I’m always touchy when it
comes to derogatory comments made toward them, especially in novels. While I’m
also well aware that some used in texts may not always reflect the authors’
beliefs but more the characters behaviors, I always wonder why these writers would
not opt for safer words—like in one scene in this particular novel between two
aggravated neighbours. To make a long story short it all comes down to this:
hey Curran and his publishers, not all readers are straight; so if I were you,
I would lose the bigotry vibe if you want to reach an even wider audience. That
being said, BLACKOUT is still worth checking out, if you can overlook that type
of unnecessary gibes.
delicate subject here: Jackie Collins. I still have a hard time coping
with her passing. In my eyes she was going to live forever.But
moving on: the moment I found out that a three-part TV adaptation of her
grandest oeuvre CHANCES was happening I got goosebumps all over. Finally after
all these years someone has had the good sense to greenlight this project. The HOLLYWOOD
WIVES miniseries was long gone and its proposed sequel HOLLYWOOD HUSBANDS never
got made. So it was only natural that the next step should be bringing CHANCES to
the small screen. Of course I had already read the novel and its sequel LUCKY
on which this proposed miniseries was to be based. In my mind both books should
have had separate identities but I was willing to accept whatever Hollywood had
When LUCKY/CHANCES finally aired on NBC in October
of 1990 it came as no surprise that I was in heaven. Seeing it all materializing
right before my eyes proved to me right then and there that indeed there was a
God and her name was Jackie Collins. I finally could enjoy something that was
right up my, and her, alley. I recently re-watched the miniseries and let me
tell you that contrary to the reruns of TV’s SEX IN THE CITY it does age well
despite a few noticeable flaws, starting with the overall look of the film. Oh
don’t get me wrong, everything is glammed up to the hilt, whether the focus is
on the swinging ‘20s, the flower-power era of the ‘60s or the glamourous days
of the late ‘70s—early ‘80s. No, what I’m referring to is the prosthetic
effects used on the actors to age them. I never realized how foamy and phony
they all looked. They almost distracted me from all the drama: drug addictions,
sexual situations, Machiavellian manipulations, you name it. And dead bodies, so
many dead bodies: in the streets, in swimming pools, in exploding cars...
Make no mistake,I am all well aware thatLUCKY/CHANCES is a direct rip-off of Mario
Puzo’s THE GODFATHER with its tale of rival Mafiosos in Vegas that traces 40-some
years, but to soap fans everywhere it’s still must-see TV. Nicollette Sheridan,
fresh from her KNOTS LANDING days, gives it all she’s got as Lucky Santangelo—the
mobster’s daughter who wants to prove her worth as a business woman—and comes
out relatively unscathed. She may not be the greatest actress alive but she
does have her moments in the lead. So do most of the cast like Grant Show, Michael Nouri, Audrey Landers and Sandra Bullock in one of her first roles. Of course
they all look sensational with their chiseled faces and saccharine smiles. You
do not venture into a Jackie Collins novel or a TV adaptation expecting any
What made me
cringe a little, though, is realizing how stale and clichés some of that dialogue
appears despite Collins having written the teleplay. Actor Vincent Irizarry barely
helps either as kingpin and ladies’ man Gino Santangelo. His performance is as
amateurish and stiff as that fake moustache he sports during the mini’s second
half. But most of all I blame this on my advanced years which have made me more
cynical towards what is supposed to be good or not. As camp appeal goes however
LUCKY/CHANCES (as the HOLLYWOOD WIVES mini which has been too harsh a review on this blog) is by far one of the
best thing to watch on TV besides THE REAL HOUSEWIVES OF BEVERLY HILLS or THE ROYALS
on E! It may be far from being artsy fartsy but, boy, does it deliver. Now, the
only thing left to say is this: when is JACKIE
COLLINS’LUCKY/CHANCES coming to
DVD in North America, Mr. Distributors? When?!!!
Click here to read all about its adapted sequel, the LADY BOSS miniseries.
Like many of you I was introduced to PEYTON PLACE during the height of its
popularity as a prime-time soap in the late '60s. I was very young then but I remember
catching it quite a few times, having no idea that it was based on an
international bestseller. Fast-forward to the mid-‘80s and wouldn’t you know, I
ended up with a copy of the novel itself. It was right in the middle of my
trashy phase and I couldn’t go on without tasting the merits of that infamous title.
I made it in a jiffy, so much involved I was in it. The novel seemed barely my
cup of tea in regards to the lack of glitz and glamour but it made up big time by
delivering one heck of a compelling story.
Indeed, those looking for a little change in their
reading experience may have come to the right place when it comes to this 1956
soaper set in a small town during the 1940's. Protagonists Constance Mackenzie
and teenaged daughter Allison lead off a colorful cast of characters whose
secrets and sins end up having major consequences. Nearing the end of the novel
the story verges to a legal drama, but the involvement factor still reigns as
the reader gets caught up deeper into the whole scenario. Grace Metalious'
narrative goes from the lyrical (any setting description) to the very real (a
character's rape, among others). Some revelations seem rather tame nowadays
(Constance's big adultery secret, for example), but, as a whole, PEYTON PLACE still stands the test of
time thanks to a talented author and its universal appeal.
Of course I had to catch the film adaptation after
reading it. Took me a while (VHS commercial tapes weren’t as easy a grab in
those days unless living near a big video rental store) but when I finally did,
it was pure magic. But more on that in an upcoming blog entry, just like I plan to
draw attention to PEYTON PLACE's sequel RETURN TO PEYTON PLACE one of these days. In the meantime get yourself a
copy of this timeless classic and move it up on top of your reading list. It’s
Whew! What a roller-coaster ride of a read. Tim Waggoner’s EAT THE NIGHT (DarkFuse) is by far the weirdest
novel I have come across this year. Not that it’s a bad thing. Au contraire. It has originality, a
strong narrative, a fast-paced execution, and most importantly: a pulpy flavor
to it that makes the time spent reading this effort all the more worthwhile. It
is a rather short novel, under 200 pages, but I wouldn’t have it any other
The plot is sort
of hard to define. Without saying too much, it involves a crazed long ago famed
guru/singer who comes back from the dead to haunt a woman who has a haunting
past of her own. When she discovers—after having had a bitch of a nightmare—a
hidden basement in her newly-acquired house, her life as she knows it is under
assault. It’s only when she pairs up with this antacid chewer agent of a secret
organization called Maintenance (think MEN IN BLACK) that she’s able to merge
past and present and confront evil head-on.
I know, I know. Written
this way scarcely does the novel justice but trust me on this. If you dig crazy
imageries, like someone being forced-fed skin from peeled-off faces or
witnessing a decapitated head talk its head off (yes, I went there), you’ll have plenty to enjoy. My
personal fave moment rather involves a mail carrier who turns into a bug and
attacks a road vehicle. Always been a sucker for big threatening creatures in
books or in films. Speaking of the latter, EAT
THE NIGHT reminds me of those cool independent movies that become surprise
hits from word-of-mouth advertising. I can easily see this one hitting the big
or small screen, depending who gets interested in it. Personally, I would see
it in theaters. We need some good-old fashioned B-grade films adapted from
succulent novels such as EAT THE NIGHT.
It’s a no-brainer, really.
This is the
second title that I have read from Waggoner, the first one being LIKE-DEATH from
the now defunct Leisure line. Having had enjoyed EAT THE NIGHT so much makes me wonder what I have been missing for
the last decade or so. Pick this one up and see exactly what I’m talking about.
Thanks to NetGalley and the publisher for the chance to
read this novel in exchange for an honest review.
I’m always a
sucker for bad girls in cinema. Give me a Neely O’Hara, a Nomi Malone, heck
even a Bette Davis in an awful wig (BEYOND THE FOREST) and I’ll be your film
buff for life. It’s no wonder that I fell for Gina Lollobrigida’s character in
the delectably bad GO NAKED IN THE WORLD
distributed by MGM in 1961. In it she plays Guilietta, a high-priced call girl
who loves swinging her curvy derrière and hanging out in hippie joints. When
she gets stood up by an old coot one evening she meets handsome Anthony
Franciosa who has no idea that she’s a lady of the night. Strange, for you take
one look at her and you connect the dots quite easily. But I digress.
When the script
calls for them to fall madly in love, loud papa Ernest Borgnine hits the roof
and with good reasons. He’s had her many times over, so did his friends and
associates. To paraphrase Elizabeth Taylor’s character in the award winning (!)
but rival BUTTERFIELD 8 (another MGM film), she’s the slut of all time. When he
reveals this to Franciosa, sonny-boy cries liar but soon learns the truth and quickly
ends the relationship with Lollobrigida. Miserable as any manly man of the ‘60s
can be, he drowns his sorrow in cheap booze and hotels until he decides to face
his problem head on. So he kills his dad. No, just kidding, but it’s not that
farfetched of an idea since their relationship can only be described as very volatile.
Son wants to be his own person, dad wants him to be more like him...
Like I said, Franciosa
sobers up.He soon rekindles his
relationship with Lollobrigida (he’s in LOVE, people). Before she quits the
business she warns him how hard it’ll be for him to get used to the idea of her
past life. He acts as if it’s nothing at all but we the spectators know better.
Our hunch is quickly confirmed when loud papa shows up in Acapulco where the
two have moved to start anew. He bribes Lollobrigida to stay away from his son.
She refuses but quickly changes her tune when she realises that, hooking or not, she will always
be trouble for Franciosa. So she kills him. Nah, she instead pretends to go
back to her old ways. This is the best part of the film. She flirts, she
drinks, she dances (she even gets gang-raped off camera) all in the space of a
few minutes while Franciosa looks like a kicked dog. Later on, unable to live with herself any longer and all clad in white (wouldn’t you know? repentance), she throws
herself into the ocean to forever be with her maker. Anyway, so ends her misery
and ours who are this close from running screaming from the room.
GO NAKED IN THE WORLD is based on the Tom T. Chamale’s
novel and directed by MILDRED PIERCE screenwriter Ranald McDougall (helped by
non-credited Charles Walters). As much as I enjoyed the film, I came away from it
with a splitting headache. I blame this mostly on Borgnine’s constant shouting which
made me lower the volume on my remote and put on the close captioned. Bombshell
Lollobrigida may have top billing for this but it’s Franciosa who carries the
film, which is a shame since the whole reason to catch this flick is to see her
in action. In fact, she should have put
her foot down and convince the high rollers to use her more, like any good
sleazy chicks in high-budget films should. Just ask any other celluloid bad
girls, Stanwyck, Davis, Taylor. THEY knew how to make the most of it. Judging
by the shaking of her bonbon in that next to last scene of the film, I’m sure
Lollobrigida could have succeeded just as well. Nonetheless, give this film a
try. It has its moments.
Robert McCammon has always been one of those writers
labelled a-must by fans and reviewers alike, and with good reasons. His ‘80s
novels and his subsequent ones have all managed to impress for their classic
blend of chills and thrills. Even those considered sub-pars by the author
himself have been given the seal of approval from around the globe. So it comes
as no surprise that his latest is no different. Called LAST TRAIN FROM PERDITION (Subterranean Press), a follow-up to I
TRAVEL BY NIGHT published in 2013, we find yet again the vampire gunslinger for
hire but on a new mission: to locate and bring back home a wayward son of a
wealthy gent. Accompanied by his female human sidekick, he’ll stop at nothing
to accomplish his mission while trying his best to contain his vampire urges. His
main goal however is to return to life of humanity, and if he plays his cards
right, meaning finding the queen bee who has turned him into a vampire, it
might certainly happen. In the meantime he puts up a fight, draws his gun whenever
he has to (which is often) and tries his best to stay afloat in a universe so
filled with baddies and bloodsuckers.
I admit, I never had the chance to read the first
novelette, so I had no idea what I was really getting myself into other than
the fact that it was to be the second installment in a historical horror
western trilogy.Thankfully McCammon summed
up the previous plot before moving on. Declaring that I was totally in love
with this effort would be a total lie, since I never had been too fond of
western horror. BUT I got to admit that storywise it is pretty involving, and
the action is almost nonstop. For some strange reasons I was reminded of 30
DAYS OF NIGHT while reading this, probably because of its vampire theme and the snow-covered
Montana setting. While limited on gore but with plenty of dreadful moments to
spare—even more so in the second half where a train is at a standstill while
things with fangs are on the attack mode—LAST
TRAIN FROM PERDITION is worth checking out, especially if you’re into
strong narrative and vengeful Cowboys and Indians. I for one will definitely give
the last installment a go, most probably when stuck in between sleazy novels,
since we all know that a good healthy balance in reading choices does a mind
Thanks to NetGalley and the publisher for the chance to read this novel in exchange for an honest review.
Yvonne Navarro’s 1993
debut novel AFTERAGE
is a well-crafted vampire story with a twist. The twist being that it is barely
a vampire novel in the traditional sense. Set in Chicago, where the population
has almost dwindled due to a vampire invasion, the story revolves around the
ongoing battle between good and evil. In one corner we have the struggling
humans trying to survive the plague as they seek refuge and other survivors. On
the other corner, we have the rulers, the villains themselves, led by evil
queen Anyelet, who yearns to control what’s left of the remaining population.
Both want freedom but none are equipped enough to go for it. Fangs and stakes
are barely the point in this novel. The focus is more on the interaction
between characters. Navarro makes sure her people are equally well-defined and
the setting is rich in flavor before moving on to the next stage, the action
And that’s where some
readers may get miffed. Nothing major really happens before the last 30 pages
or so. Oh, you may get a teaser here and there; heck, you may even drool over
the novel's sudden turn into dark fantasy territory, but an edge-of-your-seat
page-turner this is not. Navarro goes rather for the gloomy atmosphere and in
the end it pays off quite well. Some scenes are rather unsettling if
not darkly beautiful. Topped by short chapters divided in many sections, AFTERAGE even adds
a celestial apparition to shake things up. This may not always work as it
should (this presence is never really explained as it comes and goes
as it pleases) but it gives the reader another reason to enjoy this
effort. Bottom line: if you dig slower but always intriguing plots à la quiet
horror, you’ve come to the right novel.
AFTERAGE is available wherever digital books are sold.
It has been a
while since I ventured into the world of V.C. Andrews. The last time I did so was in 2004 with the
first in the Gemini series which I enjoyed tremendously. Why then did I fail to
check out its sequels? I have no clue, except to say that perhaps I got
sidetracked by the many glam novels that have been coming my way. So when THE MIRROR SISTERS (Pocket Books) suddenly became available on NetGalley for an honest review I said
what the heck not and dove right into this thing.
THE MIRROR SISTERS tells the tale of two identical twins who are brought
up and home-schooled by their cray-cray mom. Dad is around but prefers to make
himself scarce—which is clearly understandable considering the family atmosphere.
I mean who would want to confront this obsessive-compulsive impossible woman? One
day he bows out and the twins, without a fatherly presence in the house, suffer
even more greatly at the hands of mommy dearest, especially when their hormones
hit the roof and they are tossed into the real world. Add a sibling rivalry, a
sisterly switcharoo, a kidnapping of one of the twins and you’ve got yourself
one intense VCA read you’ll devour in no time.
Indeed, reading THE MIRROR SISTERS made the impossible
happen: my fervent intention of going back to VCA. Yes boys and girls, I’m
seriously thinking of visiting or revisiting every series written by the
original author or those now ghostwritten by Andrew Neiderman. That’s how much
I had fun with his latest. Those expecting a dark tale of family angst may be
pleasantly surprised. All the ingredients are there: secrets, lies, sins,
jealousy, manipulation… Neiderman even manages to incorporate some of Andrews’s
infamous gothic mood. Just have in mind that like any first VCA book in a series
this reads like a YA novel—even though the first person narrative is clearly told
by an adult—and I’m pretty sure THE
MIRROR SISTERS will be a breeze to go through. But who am I kidding here.
It’s V.C. Andrews, people. Either you dig her or you don’t.I do.
THE MIRROR SISTERS is now available wherever digital or printed books are
I would love to
say that I’m up-to-date with Avery Aster’s impressive backlist but, alas, life has
a way of throwing some unexpected curveballs, and before you know it, you find
yourself way behind schedule. Nothing would please me more than to spend my
free time getting into this author’s oeuvres but let’s face it: there are too
many novels, films, miniseries that strike my fancy and so precious little
time. A title I did manage to get into, however, is his latest in the Manhattanites
series, AMANHATTANITE’S CHRISTMAS, offered by NetGalley in exchange for an
honest review. So without further ado:
Reality star and
songstress Neve Adele is on a downright spiral. The only thing that can save
her failing career, not to mention her once-lucrative empire, is taking part in
the much-publicised Celebrity Newlywed Boot Camp on TV. Problem is she’s
husbandless—until sexy Sheldon Truman enters the picture. He’s a recovered
alcoholic fighting for custody of an autistic child and he needs the cash.When the two hook up, major fireworks—on and
off screen, but will their union last? But more importantly, how do they go
about winning this thing, especially when Neve’s longtime nemesis and expert
schemer Tara Storm is part of the cast?
It goes without
saying that I had a ball reading AMANHATTANITE’S CHRISTMAS. The author
clearly knows how to entice and deliver. His duo-team protagonists are
sympathetic ones and their involvement with one another makes for some torrid
entertainment. Told in the first person with either character’s point of view
in alternate chapters, the plot moves along real nicely to a satisfying if too
abrupt of a conclusion. I would have taken another 100 pages of this work in a heartbeat
instead of the two very ‘smexy’ excerpts offered at the end of this novel. That’s
how good this fifth installment of the Manhattanites really is. Let’s just hope
the author has plans later on to deliver a longer version, just like he did
with his first two novels in the series.
AMANHATTANITE’S CHRISTMAS is now available digitally on Amazon.