2.5 stars
Posted on Les Romantiques - Le forum du site
Reviewed by Agnès
Review Copy from the Publisher
Somewhere in France is Jennifer Robson’s first novel. She is the daughter of Stuart Robson, an historian. It was the historical background that piqued my interest: the First World War, which we will probably see more of in the years to come, due to the centenary commemorations. And let’s not forget the ever growing success of the Downton Abbey TV series, which renewed the interest in this time period.
Somewhere in France is a pleasant enough read, the beginning is promising, but sadly it never rises above an honest story. I had a rather good time but thought all the way : what a pity, it could have been so much better !
My first problem is that the author never really chose a genre. Somewhere in France reads like Women’s fiction, Jennifer Robson herself calls it “Lilly’s story” in the acknowledgments, but it’s structured like a romance, with a central love story, the point of view of the hero and a detailed sex scene, as can be found in romance only. This kind of in-between situation makes the book neither an engaging romance, nor a good Women’s fiction.
It’s not an engaging romance because there is no suspense concerning their feelings, nor any evolution: they love each other from the start, the readers know it, the secondary characters know it, the only idiots who don’t are the hero and heroine. And as they never speak about their feelings, they spend the whole book thinking : he doesn’t love me, I’m not interesting enough for him, he is such a great guy ; she doesn’t love me, I have nothing to offer her, she’s such a great girl. For a romance reader, it’s just infuriating. One would think that, considering the very extreme situation created by war, that rather uninteresting stage of their relationship would quickly be dealt with and forgotten. But it drags on until the very end.
It is not a good Women’s fiction either, because there is no real evolution of the characters. Lilly is at first a useless aristocrat who dreams of finding a purpose in life by “serving her country”. At the end she knows how to drive and has served behind the front lines, but her only goal remains “to do her duty”, as she tells the hero near the end of the book. It seems to me that cataclysmic events such as the First World War changed far more radically the men and women who were dragged into their maelstrom. The characters’ psychology is far too linear, if one considers what they are supposed to have lived through.
My second problem is the lack of realism and emotion. The heroes work in a field hospital, we see terrible wounds and deaths, but in a detached way. The dead are unknown to us, very young men, that’s as far as the author will go to engage our feelings. Nobody dies who is close to our heroes, not even a small secondary character the reader came to know. It’s a very clean version of war, one where people do suffer, but never people we know, whose fate is of any importance to us. It all happens to “others”.
Then there is the field hospital where the heroes work, it remains in the exact same place for more than a year. So does the Casualty clearing station. The brother of the heroine, an officer who serves in the tranches, is also posted at the same spot during this long period of time. I���m ill at ease here, because the author did a lot of research, her father is an historian, she seems quite familiar with the First World War. I, on the other hand, am not a great specialist, but it seems to me that soldiers didn’t stay for months at the same place (especially in 1917, when the mutinies took place) in order to avoid discouragement and fraternization with the enemy. As for the field hospitals, I think they followed the offensives too. The author’s depiction seemed to me far too static and orderly, once more a clean war, rather unrealistic.
You’ll say: no romance, no character’s evolution, no historical realism, what’s left in this novel ? Descriptions which, in the end, grow a bit tedious of what they eat, what they wear, an improvised dance gathering, the daily care for the ambulances, a day off in Paris. All things that, given the dramatic context, should be of no importance to the characters… or should they? In the wonderful novel All quiet on the west front by Erich Maria Remarque, the author shows us how soldiers in the tranches clung to this kind of small things to avoid losing their minds. I remember crying over a scene where the hero receives biscuits from his mother and remembers how they tasted before the horror.
The comparison is not in favor of Somewhere in France. Sébastien Japrisot’s A very long engagement also comes to mind, a wonderful love story set during and after the First World War, that shows how the conflict heightened the emotions and feelings. Compared to these two novels, Somewhere in France reminds me of these old Hollywood movies where the actors played in front of a screen with a flick behind them. Lilly and Robbie’s story is played in front of a white sheet with images of the First World War behind them, and it’s sadly not very captivating.
Then there are French sentences… French readers know what I mean… they are of course a little bit off. When English people are supposed to say them, it’s not that important. Even though Jennifer Robson insists that Lilly speaks a « flawless French ». But when French characters speak like Google translation, it’s a little bit more problematic… lol
If you love a First World War setting, are in the middle of a withdrawal crisis from Downton Abbey or feel like an uncomplicated little story, you might try Somewhere in France. It’s a pleasant read, but sadly not one to remember.