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227 pages, Kindle Edition
First published October 23, 2012
A powerful novel; and a depressing one.
It is not without some difficulty that I write this review.
First off: this isn’t my usual genre. I’m not entirely certain of what my usual genre is, to be honest—fantasy is what I read most (by a long shot), but I also like Syfy, LGBT, and books that can best be described as ‘philosophical’.
I even enjoy the occasional Dan Brown. You could say I like most of everything.
The interesting thing about this book (which no doubt caused great headache for Sarah) is that it fits into several of those genres—but not quite. It’s got two gay characters as the central protagonists; but the book isn’t really about their relationship.
Really, this book is a philosophical tale.
The premise is about a gay man experiencing retrograde amnesia after an accident—and incidentally forgetting about the love he felt for the man he was with (and for whom he left his wife).
But, actually, this book isn’t about falling in love, or dealing with amnesia.
It’s about being stripped to your core. It’s about waking up in the sad reality of lower-class Britain, and being in a failed marriage. It is about who you really are.
My thoughts aren’t well collected today. Apologies. I am away on holiday and have to use my laptop; in addition to jet lag, I sure miss my big, HD monitors.
Anyway, what really hit me about this book is: it’s sad, emotionally loaded, and at times deeply depressing. I think it a true reflection of what is faced by the poorer members of the UK.
The salaries. The unemployment. Benefits street Britain.
And, at the end of the day, Connor and Nate do face these issues. But Goodwin chooses not to lecture us on this, and instead presents these issues as part of everyday reality. Neither has she let it override the story.
I initially wanted to give this book 3 stars. After all: the writing is rather lackluster, the plot is hardly Dan Brown, and at times it feels a little amateurish.
Let me elaborate. The writing has mistakes; there is no point in pussyfooting that. I’ve even been kind enough to compile a glossary of all the mistakes I’ve found, and stuck it at the end of this review.
Worse than the mistakes, however, is the fact that this author has not been very ambitious with her prose. Nearly all of it is written with a dry, almost monotonous passivity exacerbated by the lack of semicolons, colons or even dashes.
To a degree, this reflects the setting of the book. But still.
My advice to the author: work on your prose. I won’t bore anyone with tedious examples; if you read it, you’ll immediately see what I mean. I’ll just use one example to illustrate my suggestions.
But my question was answered for me, as we reached the top of the stairs and stepped into a vast, wood floored space, hung over with bare bulbs that burnt a feeble orange. Six snooker tables, all looking the worse for the wear, were set up on one side of the vast room, next to a folding table with a minifridge and a kettle on it.
Reviewer comments: the above paragraph is too long, extraneous, and lacks adequate punctuation. Moreover, it seems very passively written.
I would suggest something along the lines of:
But my question was answered for me. We stepped into a vast space: the floor was wood, looking as worn as the tread of boots that had scuffed it for ages past; and lightbulbs hung over it, suspended by wires that seemed ready to snap at any moment. Their light was a feeble orange that seemed as devoid of alacrity as the eyes of those they lit.
There were also six snooker tables—looking no better for wear than the rest of the warehouse—which were set up on one side. A minifridge housed drinks and a kettle.
Obviously any re-writes I would choose to make would be imbuned with my style of writing; however, I hope the weakspots in the writing have been revealed.
Plot-wise, well: I understand that this not the type of book to benefit from that. Although I could see some of the bombshells from a mile away—perhaps, in future, the author should work on adding some more mystery and threat to her novels.
Still, the characters were well-painted; and their relationship really did add conflict and worry to the tale.
In fact, I would say Nate and Connor are one of the most realistically human characters I’ve had the pleasure of coming across. In the case of the former, I truly felt his dichotomous conflict over whether to be a good man and allow Connor to decide the status of his marriage with Emma; or whether to give in to his visceral emotions.
His sense of loss and confusion at discovering a major part of his pre-amnesiac life was also well done and realistic. Most importantly of all though: he felt like a real person—in a bad situation, confused, hurt; and so terribly in love.
As for Connor?
I felt his disorientation. I felt his lust. I felt his bewilderment.
And I felt his love. When he hit rock-bottom, I came pretty close to joining him. Well done Sarah. This character is almost too good to bear reading.
My only niggle in the character-space is that the other characters—especially Emma—felt… pale, in comparison. In fact, Emma and her friends seemed little more than a patina of black and white emotion. It’s not like I didn’t understand their plight; just that I couldn’t feel for it.
Gregory—a side character from the Amnesiacs Anonymous—seemed superfluous, for the most part. And yet I understand that to develop him would have cost the story: Connor and Nate are very much the stars of the show here. And yet I wonder if he could have, somehow, been made less irrelevant.
An imperfection that makes part of the tale, I guess.
Let us conclude.
This is a tale that is not especially well-written, could do with some more plot, and has some rather weak side characters; but its central characters are nothing short of bestseller envy.
Most of all, there is a deep power to this book. I am transported to Nate and Connor’s lives utterly; and I feel for them completely. Few books leave me lost in the tide of its emotions.
A tide of negative emotions.
That's the real weak point of this book. I can overlook the writing, and the plot isn’t terribly important in the face of the character’s struggle.
But it is a struggle, and this book is very depressing at times.
Which would have been fine, if—at the end of it all—there was a rose of beautiful hope. But Goodwin leaves us with no more than a seed.
And that just isn’t enough.
Rating: 4/5.
Replace the word ‘smelt’—which is always the process of decomposing a metal oxide in the presence of heat and carbon—with ‘smelled’.
Do not italicise abbreviations or acronyms—it’s unnecessary and annoying.
p.42 font size typesetting error.
p.96 paragraph indentation formatting error and unintended paragraph break.
p.132 use word ‘cum’. Also, minimize browser not web.
p.192 used ‘buy’ instead of ‘but’.
p.223 ‘I’ not capitalised repeatedly.
p.298 it’s/its error.