It was pretty clear that this was a debut novel from Stuart after reading her sophomore work, "The Tower, The Tortoise, and The Zoo", which has all the imagination, magic, and whimsy readers see here, but with far more sophisticated editing, specifically pacing and realizing that as good as your material is, most of it is better off not being included. This seemed more a collection of vignettes of characters readers learn to love, rather than a cohesive while that makes for a fluid novel.
For example, whenever Émilie gives tours of her château, it takes several pages on account some origin story she creates for the visitor. First, these stories detract from the main narrative. Secondly, after the first few, it is easy to lose interest.
Examples of that creativity, humor and wit I now attribute to Stuart:
- Guillaume Ladoucette and his best friend Stéphane Jollis, a baker, often take fishing trips, but the unspoken real goal of this trip has nothing to do with fish, but their rivaling rivaling picnic baskets. Always with an innocent "Bring something to eat?" "A snack," the innocent response, although each has spent the entirety of the previous day, or even all night, preparing it. When they inevitably get around to eating, they offer each other tastes. Cue declination, "But then I wouldn't have any room for... this!"
- ... what follows are extremely descriptive, highly sensory descriptions some delicious dishes. This, Stuart is good at. Food is interwoven throughout the story as a warm, welcoming escape; emotional signals for the characters, delicious fantasies for the readers... I love that, unlike most other "food in fiction", it is not actually a main focus.
- Guillaume's parents' meeting. Her parents forced her to participate their trapeze act. He saw the fear in her eyes in the audience. He came to congratulate her. She dotted over him for the rest of his life, the trapeze act instilling a paranoid fear of death in her for all her days.
- The age old castle Émilie Fraisse, Guillaume's lifelong love interest (unfulfilled up to now because, succumbing to his fears, he never responded to her letters) returned to town to live in after a failed marriage.
- Amour-sur-Belle's status as the least appreciated town around leads the government to choose them for a testing round for communal showers in an effort to conserve water.
- To raise said minimal appreciation, an effort is made to fabricate population numbers by inviting all known relatives (+2) and the use of a box of wigs provided by Guillame (+ many, -much running and strangely familiar looking faces). Unfortunately, census representatives send for a surprise double-check.
- The historical artifacts relevant to barbering that Guillame collected over the years.
- Guillaume's talent for procrastinating. How he spends all day elsewhere, across town, another town, the same room- choosing pastries, researching his many calendars that guide his gardening, locating better, newer, thicker, more colorful paper, vivifying the candle store next door, having dinner, examining the contents of his desk hutch, etcetera- anything, rather than write his love letter.
This is magical realism, yes. But it is stretched a little far. The physical ailments resulting from a broken heart. The fact that Guillame has not yet embraced his lover because he has been afraid to respond to an innocent letter she sent him as a teenager. How Lisette Robert's stunning beauty had been a lifelong burden for her (attracting numerous suitors that are inevitably disappointed, as nothing could ever live up to her physical attributes).
To be fair, it is quite lyrical. Crossing into pose poetry, utilizing multiple literary devices. With her frequent switch from prose to prose poetry, readers may find it difficult to appreciate Stuart's writing, unable to switch mindsets. The potential is here; what she needed was a good editor and more practice at her craft. Evidence of this can be seen in her sophomore novel.