oursin: Photograph of small impressionistic metal figurine seated reading a book (Reader)

What I read

Emily Tesh, The Greenhollow Duology: Silver in the Wood, Drowned Country (2020), following recommendations last week, and yes, just the thing for a day involving bopping around on public transport for dental scan.

Dorothy B Hughes, The Expendable Man (1963): noir thriller which I saw something about suggesting of interest for one of my side-project, so slightly skim-read it (yes, of interest).

John D MacDonald, The Girl in the Plain Brown Wrapper (Travis McGee #10) (1968).

Celeste Ng, Everything I Never Told You (2014), which was, sort-of well done litfic but somehow you could tell where it was going?

Agatha Christie, Hercule Poirot's Christmas (1938) - the one in which the Spanish Civil War is a background plot point....

Martha Conley (pseud of Marta Randall), Growing Light (1993) - odd that someone who wrote such very individual and memorable sff wrote a mystery (just one, as far as I can see) which is fairly bog-standard for the period.

John D MacDonald, One Fearful Yellow Eye (Travis McGee #8) (1966).

Gave up on The Constant Rabbit and also a recent cosy mystery that just wasn't doing it for me.

On the go

Polly Stewart, The Good Ones (2023) - described as 'literary suspense'.

Up next

Well, Blood and Mistletoe has arrived well in advance of anticipation....

oursin: Photograph of small impressionistic metal figurine seated reading a book (Reader)

What I read

Finished Queer Beyond London, which as mentioned, really good, but quite dense, and a LOT going on in time and space and through different generations...

Two more Patricia Wentworths, and possibly Will o'the Wisp struck with particular force after a series of fairly dry puzzle mysteries with flat characters, and I'm not sure I was quite as impressed with Touch and Go (1934) and Dead or Alive (1936) though still okay and will probably read the several I still have unread on the ereader. Shall be, ahem, interested to see if there is more gaslighting of characters, instances of other characters being supposed dead but possibly and malignly alive, back stories involving abusive marriages (we wonder about PW's first marriage, a bit), the classic 'your apparently nice and devoted relative is trying to kill you/bang you up in an asylum/stymie your hopes of marriage'. But honestly, PW manages without, on the whole, actual murders and dead bodies (though a couple of people do turn out to be dead after all). (I was, I should say, from the repute of her later 'Miss Silver' series, expecting something a leeetle more in the cosy direction.)

Mrs Gaskell, Cranford (1853) - a little while ago I was looking up the episode about the bank failure to answer a question for somebody, and thought, boy, it's a long while since I last read Cranford.

Georgette Heyer, The Nonesuch (1962) - I actually needed a bit of a break from PW's 'gaslit woman in peril' partway through Dead or Alive. This was one I remembered absolutely nothing about - while Sir Waldo may be setting up orphanages on a quite estimable plan, I'm not sure he's quite such an SJW as the eponymous Arabella - and I have a low suspicion that it's actually a setup for a fourth act misunderstanding about the relationship he has to the 'brats'...

Also the latest Literary Review.

On the go

Also in the category of, boy, it is decades since I read that, Jane Austen, Persuasion (1817). No, I am not going to see the new movie, it sounds dire, wasn't there an adaptation of Mansfield Park that tried to do something similar? Point thahr u hav misst it.

Up Next

Well, there is yet more Patricia Wentworth lined up on the ereader; or a swathe of Victorian classics I have not read in this age - Tenant of Wildfell Hall perhaps?

oursin: Photograph of small impressionistic metal figurine seated reading a book (Reader)

What I read

I finished Always the Bride and posted my further thoughts about it here. Do rather have anticipations about the other forthcoming biography...

Further exhumed 'Golden Age' mysteries: Moray Dalton, The Art School Murders (1943) - set far enough into the War for blackout to be an issue, but still early enough that call-up doesn't seem to be affecting characters. I was fairly prepossessed until this pulled a rabbit suspect more or less out of the hat towards the end without sufficient foreshadowing.

Francis Vivian, The Singing Masons (The Inspector Knollis Mysteries #6) (1950) (assume this is contemporarily set but not a lot of period feel for the era). BEES! Bee-keeping! Hives! Possibly rather TMI on apiculture generally. But in fact the murder is not down to bee-sting of allergic person (unlike one of Ruth Rendell's non-Wexfords), although victim is (plot-relevantly) thus set up. Another colourless hawkshaw from the Met. There was such elaborate pushing at 'X must have done it, Y couldn't possibly', that I was betting on some means by which the woman carted off to hospital with a miscarriage could nonetheless have managed to commit murder first (I was wrong). The actual solution was - well, yes, I had a side-bet on him.

I'm not sure if this was a freebie from the publishers or a Kindle Deal: Patricia Wentworth, Will o'the Wisp (1928), which is more suspense/domestic gothic than crime mystery. And really good. After a row of puzzle mysteries with flattish characters (the Dalton was not that bad) this really stood out.

There was also the most recent issue of The Scribbler.

On the go

Matt Cook and Alison Oram, Queer Beyond London (2022), which is very good but not really something to sit down and read end to end perhaps. It's got a lot about how different LGBTQ scenes and subcultures were in the different cities studied, with their own different traditions (boho alternative Brighton, radical Manchester e.g.), and how these changed over time, with social/political change, impact of HIV/AIDS, Section 28, the pink pound, gentrification, equality legislation etc etc. And even how in the same general area there could be several different subcultures going on (It wasn't just that Leeds had a very strong separatist lesbian thing going on, there were huge rifts between different groups?).

Up next

I have several unread Patricia Wentworths on the ereader, so very likely one of those. Plus, new Literary Review

***

Honestly, the idea of this thikks bludd wiv cold: The internet is a constant recommendations machine — but it needs you to make it work:

Part of the whole promise of the internet is that platforms and services would take the web’s infinite supply of everything — the stuff to watch, read, look at, play with, buy, eat, invest in, comment on, listen to, or have feelings about — combine it with a deep understanding of who you are and what you like, and feed back to you an endless supply of all your favorite stuff.
Fortunately, the panopticon doesn't actually work. Heaves sigh of relief.

oursin: Brush the Wandering Hedgehog by the fire (Default)

Thinking over my remark in yesterday's post about having read several books that were well on in related series, that these particular volumes were not perhaps the place to start, I wondered, Why Not?

In the course of many decades' reading I have read a fair number of sequences myself out of order, for a whole range of reasons, either because that was the only one in the library/bookshop just after I'd heard the author recommended, or because the library didn't have one episode in the series, or just not realising that something was volume X of the Whatever Saga.

And how often does it really, really, matter?

I suppose if the reader really, really, dislikes spoilers and knowing what's going to happen, it's not a good idea to start in the middle. And it can be very annoying/confusing when narrator or characters allude to something that's happened in earlier books.

This was my experience on plunging into Dunnett's Lymond series at The Ringed Castle, which is possibly the worst possible place to start: it's number five in the sequence, it rests on an intricate structure of stuff that happened in parts 1-4, and it's also getting stuff in place for final volume. The result being that I read vols 1-4 in reverse order just to try and work out WTF was going on, and then circled back to vol 6. I'm not sure this is entirely the best recommended procedure, on the other hand, it didn't do me any harm, and I'm fairly okay with spoilers anyway, on the grounds that if a book is worth re-reading even when you know how it's all going to come out, reading it the first time in the knowledge that X thing is going to happen at some point in the narrative isn't going to be a major blight on my reading experience.

What can be annoying is reading something and not having access to one particular book in the series - the local library in my home town was missing Pigeon Post from the Arthur Ransomes, and it became a book I particularly yearned for and dreamt about finding.

When I was a child, we would sometimes go to the cinema, and for various reasons of timing, would arrive somewhere in the middle of the main feature, would watch it through to the end, see the newsreel, second feature, cartoons, ads, trailers, etc, and then watch the main feature through to the point where we came in (you could do that in those days). I don't remember having any problems with that.

Of more recent years, while pursuing Buffy and Angel via terrestrial channels (or by waiting until the DVDs came out) I would occasionally find myself somewhere which had access to channels showing either future episodes in the series or whole different series than the ones I was on. And I watched them.

In Isherwood's Lions and Shadows he describes writing his second novel, The Memorial, as writing 'an epic in an album of snapshots' of the same characters at different points in time, in which each episode adds a new meaning to the ones before, so that the readers goes back the first with all the 'difference made by knowledge'. A different kind of surprise.

Does order matter? Are spoilers a complete deal-breaker? Is suspense essential?

May 2026

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