The Four Winds

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 Texas Panhandle, 1921. Elsa is the eldest daughter of the wealthy Wolcott family in the fast growing town of Dalhart. Like the proverbial ugly duckling, Elsa is shunned by her parents and prettier sisters and confined to her room to save the family from embarrassment - and at 25, is well on her way to spinsterhood. But Elsa dares to dream - of a home of her own, a child to love, and even, perhaps, a career - and she knows that 'if she didn't do something soon, something drastic', she would be doomed to spend the rest of her life under her parents' roof!

Her defiance comes in the form of a daring red, silk dress and a visit to a local speak-easy - where she meets Rafe, who seems to have walked out of the pages of the romance novels Elsa loves to read. But life is not a romance novel - and Elsa is quickly disowned by her horrified parents when they find out she's expecting. Forced into a loveless marriage with Rafe, Elsa finds the silver lining in the situation through her loving in-laws, and the land they own. 

Happily ever after, Elsa? Well, we're in the middle of a Kristin Hannah novel - so I can say with absolute certainty that Elsa has many more mountains to climb! This first part is all about setting up Elsa as a stoic, always sacrificing herself for her family's happiness, always finding ways to 'disappear'. I have to say, I don't get the whole Wolcott family dynamic - can a parent, especially a mother, really not love he child because she is ugly? What happened to a face that only a mother could love? Also, why did they force her to get married? Why didn't they have her 'go away', have the child, and then return with none the wiser? So many questions...

Anyway, back to the story. We next meet Elsa and her family in 1934 - right in the middle of the Great Depression, and the Dust Bowl era. Over-farming, soil depletion and a devastating absence of rain have changed the fertile plains into a cracked and parched land. No crops can grow, animals are dying, and to add to the despair - vicious dust storms that last for days sweep through, literally filling everything and everyone up with dust. Elsa is soon faced with an agonizing choice - stay, and die of starvation and 'dust pneumonia' - or set forth into the great unknown, head to California - the promised land of milk and honey. 

I really wish Elsa had made the choice to stay. No, really. I get that her son was literally dying, and there was no food or water - but the story of surviving the drought and fighting for the land she loved, that I would have loved to read! Instead, Elsa decides to pack up her truck and take to the highway - and there we are, smack dab in the middle of an airbrushed version of 'Grapes of Wrath'. Steinbeck's spare prose makes the Woad's journey and subsequent disillusionment unforgettable - and the inevitable comparison makes Hannah's version seem a little too fluffy. All the boxes are checked, the horrifying squalor of the migrant settlements, the evil landowners and their greed, the sneering locals dismissive of the Okies, even the flash flood - but most situations are almost too easily resolved for Elsa and her children.

Oh the children. Hannah never really explains why Elsa's daughter, Loreda, turns on her with such venom. The nuances of the mother-daughter relationship are never explored. Elsa simply assumes that Loreda is rejecting her like all the people she has loved in her life. I get that the author wants to show Elsa as a noble, long-suffering martyr - but there's a point when that really becomes too annoying. Reminded me of an iconic Gulzar dialog from the movie Ijaazat - "Phir wohi sacrifice, sacrifice, all the time" - just absolutely made for Elsa! And the little boy, Ant - why was he so clueless? 

The part that struck home for me was the whole 'them vs us' sentiment that runs through the book. Although the setting is in the 1930s, almost a hundred years later, we find this country dealing with the same discontent and inequality. The fear that migrants will take over, that the migrants are a threat to our safety, that their lack of morals will destroy our society - how many times have we heard this rhetoric recently? A character in the book asks - 'This is America - how could this be happening here?' - how many times have we asked ourselves that same question recently? It really is true that the only thing we learn from history is to never learn from history.

Social message aside, this really is Elsa's story - and her long (very long) journey to find her voice and to stand up for herself. It is a grim narrative - but I kept reading, hoping for Elsa to find her happily ever after. And when she didn't - no, absolutely not, no way I cried. Well, maybe just a little. Yes, I did - I cried at the ending - there, I've said it! 

'Grapes of Wrath' this is not - definitely worth a read, though! Happy reading!

The Plot

 

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Jacob Finch Bonner is a one-book wonder. His promise has since faded, his second and third novels having sunk without a trace - and he is now making ends meet by teaching in a dubious MFA program in a remote corner of Vermont. Reading through drafts of novels by his students, offering them critiques to make them 'publishable', Bonner is desperately struggling to hold onto his own credibility as an author. Then he meets Evan Parker - ostensibly a student, but totally disdainful of anything that Bonner can offer. Evan claims to have a plot which is a 'sure thing' - which Jacob thinks is  a typical narcissistic boast of an amateur writer - until he hears the plot. 

Years pass, Jacob is now working as a glorified housekeeper at a hotel which runs workshops for budding authors, still waiting for Evan's blockbuster novel to sweep the world off its feet. So when he discovers that Evan has died without his novel being published - Jacob decides to grab this unexpected lifeline - and writes the novel himself. His version of Evan's story - 'Crib' - goes on to achieve the spectacular success Evan had predicted - NY Times bestseller list, book tours, book signings, even a Hollywood deal! At the peak of the Crib wave, Jacob receives the first of a series of anonymous letters, accusing him of being a thief. Jacob's glamorous new life quickly unravels as he digs into Evan's past to find the poison-pen and where his wildly successful plot really came from!

Right off the bat, a completely audacious move by the author to have a sure-shot, blockbuster story as a subplot of her novel!! I kept thinking - if it's such a great idea, why not write it yourself?!! Even better, she actually has 'excerpts' of Bonner's novels in the book - a very unique novel-within-a-novel situation! 2 books for the price of one!! Except that Bonner's 'Crib' is not quite as thrilling as we're led to believe - which kind of puts a damper on the whole thing. And the excerpts read more like a novella or a short story than an actual novel - this, this is what the everyone is apparently reading? 

What is even more problematic for me is the idea that Jacob is guilty of plagiarism - how can it be plagiarism if Evan never published! Last time I checked, you can't really copyright an idea for a book - so in my mind, even if Jacob had taken Evan's plot right after the MFA program, and raced him to the finish - there's nothing that anybody could have done about it. Yes, ethically it's not the correct thing - but this whole plot swings on the fact that Jacob 'stole' the idea for his book, and is then racked with guilt - and I was just not able to get on board with that. True, he got the idea from somewhere else - but HE WROTE THE BOOK!!! Also, I find it very strange that Evan would so nonchalantly share his idea with Jacob - wasn't he even a little worried that Jacob would take it and make it his own? 

To be honest, it's an okay book, I would even say a good thriller. What turned me off was the condescension towards amateur authors. I get it - Bonner's job is to critique new authors - but there is no sense of mentorship, no 'hey, I did it - let me help you too'! To read Jake's derisive thoughts about his students is very off-putting - "Clive Cusslers and mom bloggers and would-be David Foster Wallaces and Donna Tartts - all of them far less gifted than they believed they were" - and that's just a glimpse of the vitriol the author has reserved for all aspiring writers. As a proud 'mom blogger' - who may or may not have an idea for a book - it was very distasteful and unnecessary. Title of Chapter 1 is 'Anybody can be a writer' - and while the author means it sarcastically, I choose to believe in that phrase!

On a personal note, this post marks my return to blogging after a long break. I hope to be more diligent about posting about the books I'm reading, and I want to thank my readers for staying with me during this hiatus!

Happy reading - and yes, happy writing!

The Wife Between Us/The Last Mrs. Parrish

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After the success of Gone Girl and The Girl on the Train, there has been a glut of these psychological suspense-thriller books. The Wife Between Us and The Last Mrs. Parrish are both part of this brigade - bestsellers with 'shocking twists' and 'dark secrets' - frankly, the only shocking thing for me was how alike these books are!!

'Assume nothing' - warns the tag line!! The book starts with Nellie, counting down the days to her wedding with the suave Richard. And then we meet Vanessa, presumably Richard's ex-wife - reeling after the breakup of her marriage, drowning her sorrows with alcohol, struggling to find her feet and in her free time, stalking Richard's new fiancee. A standard love triangle - well, assume nothing!! Nellie is a pre-school teacher, but it is soon hinted that she is fleeing from a deep, dark secret in her past. Her chance meeting with Richard takes her from her free-spirited life with her best friend, Samantha, to the isolation of a suburban mansion. On a parallel time track, we see the slow unravelling of Vanessa's marriage - her almost desperate longing for a child, her paranoia and her slow descent into insanity. Still not assuming anything, liking the suspense - when unexpectedly, the author has the big reveal - smack-dab in the middle of the book! And then Emma comes into the picture. So who's the wife? And the ex-wife? There are still a few twists and turns to come, but these come across as contrived and the plot really goes downhill - I really wish the author had held onto the Nellie/Vanessa suspense a little longer. 

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And then we come to The Last Mrs. Parrish. Amber Patterson and Daphne Parrish bond over a common tragedy - both have sisters that suffered from and succumbed to cystic fibrosis. The two women are like chalk and cheese - Daphne is at the center of a glittering, social circle in the exclusive Bishops Town, Connecticut. She and her husband, Jackson, are the perfect couple, and their life is a fairytale come to life. Amber, on the other hand, is a nobody - with dark secrets in her past, and nefarious intentions for the future. Skilfully playing upon Daphne's feelings for her deceased sister, Amber worms her way into the heart of the Parrish family - first family dinners, then birthday parties and vacations, and finally a job as Jackson's assistant. But Amber is no ordinary social climber - she has her eye on the big prize, the title of Mrs. Parrish - and she sets out to undermine Daphne at every turn. Will Daphne keep turning a blind eye to Amber's schemes? Or will she fight for her picture-perfect life? Or is there more to the story than meets the eye?

The similarities are hard to ignore - both the books explore dark corners of relationships, the ugly truths behind beautiful facades, the broken realities of seemingly perfect marriages. Prince Charming husbands who turn into monsters behind closed doors. Wives who are prisoners in their marriages, and who turn to guile to escape their gaoler husbands. Glittering public lives, devastating skeletons in the closet. Yes, the similarities are impossible to ignore. One more thing in common? Both these books did not appeal to me in the least bit. I am a huge fan of thrillers - but there is no redemption in either of these books. Even the wronged wives - I understand that they were desperate to get away - but their methods? At the end of the day, I'm old school - even through shades of grey, good must always triumph over evil. And that is where these books fall short. This genre is definitely not my favorite at the moment! I wish I could end with my usual 'Happy Reading' - but I have to be honest, 'happy' is not where these books will take you!

Padmavat (2018)

Sanjay Leela Bhansali's latest masterpiece has finally hit the theatres - albeit with a small change in the title. 'Padmavat' - as the film is now called, is unambiguously a work of fiction based on the poem written by Malik Muhammad Jayasi, instead of 'Padmavati', a biopic of Rani Padmini of Chittor. The disclaimer at the start of the film goes to great lengths to stress that this is indeed a work of fiction, that's followed by a second disclaimer that the film does not intend to offend or insult, and then there's a third one regarding the authenticity - by the time they got to the 'No animals were hurt...' disclaimer, I was half asleep. And this was before the opening credits. 

I have to admit I was curious - after all that controversy, who wouldn't be? The legend of Rani Padmini lives on - the queen of Chittor who committed Jauhar to escape the enemy. Tales of her beauty brought Alauddin Khilji to Mewar, and in his wake followed devastation. A Sultan who laid waste to Chittor to possess a legendary beauty. A queen who in a final act of defiance, chose death over dishonor. The script pretty much writes itself, doesn't it? But how much of this is legend, and how much real history?? Allaudin Khilji, of course, was a powerful ruler from the Khilji Dynasty that ruled the Delhi Sultanate in the early 14th century. The siege of Chittor and Mewar's eventual defeat is also history. But Rani Padmini remains more elusive - there are several versions of her story, none completely accepted by historians. So does the film really distort historical fact, or is it mere cinematic liberty??

No doubt, the film is lavishly presented. The sets are breathtakingly beautiful - be it the intriguing Buddhist caves of Singhal, the Chittor palace or Khilji's court - the attention to detail is hard to miss. Deepika looks ethereal - at first, in a simple hunter's costume and later resplendent as the Rajput queen - historically accurate or not, her costumes and jewelry are out of the world!! Why just Deepika, every character in the film is gorgeously garbed!! It truly is a feast for the eyes - every scene is lovingly crafted, and the grandeur and the glamour are almost worth the price of the ticket. Almost. It's a bit ironical - fire seems to be the central theme of the film, right from the embers on the opening credits building up to the Jauhar at the climax - but the story never really catches fire, the characters are so very dull and really, there's no other way to put this - the film is one big yawn-fest. 

Ranveer Singh tries valiantly to bring his almost maniacal energy to Alauddin Khilji - his kohl-lined eyes, scarred face and unruly curls create a picture of menace - but I would have liked to see a coldly calculating portrayal rather the half-crazed Khilji that Ranveer presents. In his desire to possess everything nayaab in the world he comes across as a petulant, entitled child rather than a wily, ambitious ruler. To firmly establish him as the bad guy, with no respect for women, we have scenes of extreme debauchery that quite literally, had me cringing. It just seemed so unnecessary. And then confusingly, this immoral profligate develops a softer side - lamenting the lack of love in his fate!

As the foil to Ranveer's blacker-than-black Khilji is the righteous Raja Ratan Singh. Shahid Kapur, quite frankly, seems like a lost boy who wandered on to the sets by accident. He is simply not regal enough to pull this off, and he is not helped by the never-ending dialogues of guroor and usool!! And while principles are well and good, a king simply does not have the luxury to cling to these principles while his kingdom is on the verge of defeat. Forget Deepika's exposed midriff, this is what the Karni Sena should have protested against - the spineless portrayal of the elite Rajputs - Ratan Singh's trust in principles is simple-minded, and downright disastrous when faced with a feckless enemy. 

'Padmavat', Padmavati' - either way, the film completely revolves around the character of Rani Padmini - and a lot of times, she seems to be a better ruler than her husband! Deepika shows flashes of fire, and is regal as Rani Padmini - but for the most part, she has reverted to her 'Mastani' mode - wide, unblinking eyes, long lines of dialogues rattled off with pauses in the oddest places, her voice flat, unemotional. And she has zero chemistry with Shahid - the whole grand passion angle is never convincing. The unibrow - I really didn't get that at all - what was that supposed to signify? 

Then there's the elaborate Jauhar - I get that in the 13th and 14th centuries, Jauhar and Sati were an integral part of the lives of Hindu kings. It is a barbaric notion today, a wife self-immolating on a husband's funeral pyre, or all the royal ladies jumping into a blazing fire to save their virtue. Both of these were much-abused - compromising the basic right of a woman to live, and equating a woman's 'worth' to her virtue. While these practices are now illegal, millions of women still struggle for these basic rights - and I wish that Bhansali had chosen to tone down the Jauhar scenes, rather than make it a glorious spectacle. Like the rest of the film, the thousands of women dressed in red racing to 'draw the veil of fire' led by a luminescent Deepika is an arresting visual - and the subtext is clear. These women will remain 'pure' and 'unsullied' by this highest act of dharma - death before dishonor, remember? It is extremely disturbing, especially when the camera lingers on a pregnant woman and a couple of young girls. The lack of sensitivity is jarring, especially from a so-called 'sensitive' director.

Left to its own devices, 'Padmavat' probably would have sunk under the weight of its pretensions. Again the irony - banning the film, protests and the controversy will be the fuel which will drive this mediocre film to record-breaking earnings. If I was more cynical, I would even think that all this outrage was simply an elaborate publicity stunt - to paraphrase Khilji, there is but one principle in war and love - victory at the Box Office!!

The Women in the Castle

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Not another novel set during World War II - that was my first thought when I picked up 'The Women in the Castle'. That being said, as cliched as it may sound, this novel is a bit different from most WWII novels. The author writes about an unusual subject - the widows of the resisters who tried and failed to assassinate Adolf Hitler and thus end the atrocities of the Nazis during the war. So, yes, this is not just another World War II novel - but does it live up to the intriguing premise?

The novel opens with a glittering party at Burg Lingenfels - the titular 'Castle'. Despite the dark clouds of war gathering over Nazi Germany, the hostess, Marianne von Lingenfels, is determined that her guests should enjoy the night - but ominous news from Berlin brings the festivities to an abrupt end. It is November, 9, 1938 - a date that will infamously go down in history as Kristallnacht. A date that marks the beginning of the end of the privileged life that Marianne knows. A date that the plot to remove Hitler takes root at the Burg - amongst the conspirators are Marianne's husband, Albrecht and her childhood friend, Connie.

7 years later, the war has ended - "Connie was dead, Albrecht was dead, Germany itself was dead, and half the people at the party were either killed, destroyed by shame, or somewhere between the two" - Marianne returns to the ruins of Burg Lingenfels, along with her children. She has a promise to uphold - a promise she made on the fateful night of the party to protect the families of the resisters - and in the aftermath of the war, her tireless search to gather up the surviving widows and children begins. She first locates Connie's son, Martin, in a Nazi 'reeducation' home. Together they travel across a ravaged Germany to Berlin, where they rescue Martin's mother, Benita, from the clutches of a Red Army colonel. And then Marianne finds Ania Grabarek and her sons, refugees in a 'Displaced Persons' camp.

Putting to use her indefatigable energy and formidable organization skills, Marianne gathers these widows and children to her, hoping that shared experiences and losses will bond them into a makeshift family. A born leader, Marianne takes to her heart the title of 'Commander of women and children', but to her surprise, she discovers that not all those she has rescued wish to follow her. Her black-and-white approach to good and bad will not serve her well in this gray, post-war world - and she is unable to accept that the other widows might not view their martyred husbands with the same reverence and loyalty as she does. Benita's attempt at finding love with a reluctant ex-Nazi and Ania's deepest, darkest secrets soon threaten the fragile ties of friendship between the women...

This is certainly not a classic World War II novel in any sense. But in setting out on a different path, I felt that the author missed out on bringing to the reader the horrors of the war. Even the plot to kill Hitler is not elaborated upon. Marianne's quest, is far too easy - there is no sense of struggle or desperation. She sets out to find her widows and does find them with the insouciance of someone putting together a guest list for a tea party. In the devastation that is Germany after the war, Marianne and her 'family' have food, water and shelter. Their biggest challenge is when some starving Russian troops commandeer a horse to eat - and even that horse belongs to a neighboring farmer, who also conveniently happens to have another horse to work the fields - so the hardship never fully comes across.

Marianne's past is never fully explained - I really wanted to know why she never married Connie (she clearly carries a torch for him even after he's dead), where does she meet Albrecht, why does she marry him? We never scratched the surface - always cool and composed, what does Marianne really feel? And honestly, her righteousness - insisting on her children looking at the posters of the concentration camps, sharing their presents with prisoners - it does get to be a little annoying. How can a person go through a war and deprivation, and not change at all?? Benita's character serves as little more than a foil to Marianne's - her past is better sketched, but I never really did get why a man like Connie would marry such a naive villager - I wish she had shown more spirit, especially when it came to her son.

Ania's is the strongest character arc. Through her story, we get a sense of how an entire nation could know but not know the depravities committed by the Nazis. Her reaction at a Winter Help store where she notices that the warm coats she is getting for her boys have been 'redistributed' from deportees who have been forced to leave their belongings behind is the most chilling point in the story - "this confirms what the Fuhrer has been saying - the Jews of Germany have made themselves unreasonably rich. Who would leave behind such a coat unless they owned an even better one they could bring along?" - an entire nation hoodwinked by one man's rhetoric. Even with Ania, her big secret and its denouement comes with a whimper - there is no big conflict of emotions, betrayals, no climatic showdown.

Yes, the premise is intriguing - but the novel falls a little short of my expectations. Read it, and then watch Tom Cruise's Valkyrie - that should put the book in a better perspective!! Happy Reading!!

A Gentleman in Moscow

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June, 1922, Moscow. Count Alexander Rostov is tried by a Bolshevik tribunal. Accused of being a traitor to the Revolution, he is found to have 'succumbed irrevocably to the corruptions of his class' and is sentenced to house-arrest in the Hotel Metropol. The hotel has been his home for the last 4 years, but he is not to live out his sentence in his luxurious suite but in a tiny attic room - and any of his possessions that cannot be accommodated in his new quarters become 'the property of the People'.

For the next 30 odd years, the Hotel Metropol is the entire world for Count Rostov. His window overlooks the Kremlin, and he is destined to be a mute spectator as the most tumultuous years in the history of Russia unfold. Believing that 'if a man does not master his circumstances then he is bound to be mastered by them' - the Count sets out to make the best of his new situation. Although no longer relevant, he continues to live by the etiquette and mannerisms that have defined his previous life. 'With so little to do and all the time in the world to do it, however, the Count must find a way to expand his world beyond the four walls of his prison, his gilded cage - the Hotel Metropol.

Fortuitously, 'the Fates provide a guide' for Count Rostov, in the form of a precocious nine-year-old girl Nina. From mentoring her in the rules of being a princess, to becoming a co-conspirator, exploring every inch of the Metropol, the Count and Nina develop an unlikely friendship. Several years later, Nina turns to the Count for help - asking him to watch her daughter while she goes to look for her husband - when Nina doesn't return, the Count must raise Sofia as his own. Indeed, the entire staff of the Metropol, become the family that neither the Count nor Sofia have - Emile, the head chef; Andrey, the maitre'd; Marina, the seamstress; and Vasily, the concierge. And as Sofia grows into a beautiful, talented young woman, safeguarding her future will be the ultimate test of Count Rostov's wit and ingenuity.

What a wonderful, wonderful book!! Written with wry humor, this novel wears many hats - historical fiction, philosophy, politics, social issues, satire, literature, architecture, music, food and wine, to American movies - and yet, Amor Towles does not skip a beat. He has gathered all these strands, and woven them into a glittering tale, studded with larger-than-life characters, set against the fitting backdrop of the luxurious Metropol - deeply moving, and always, that dry wit that is so enjoyable! The writing is superb - the dialogue crisp, the descriptions lavish, the plot tightly constructed.

Count Rostov, of course, is the true essence of a gentleman - he literally defines the phrase 'savoir-faire'! He is 'in' Moscow, and yet, the novel traces the several journeys he makes. From 'Your Excellency' to 'Comrade'. From his lavish estates of Nizhny Novgorod, to the grand suite in the Metropol, to his tiny attic room. From being a member of the frivolous leisure class to a working class grunt. From rubbing shoulders with the glitterati to befriending the hotel staff. From a cosseted guest to the head waiter in the restaurant. And most important, from 'Uncle Sasha' to 'Papa'. This is a story of an extraordinary man, in extraordinary circumstances - a prisoner, and still, a man in complete control of his destiny. As he very eloquently sums up his life - 'there was only one time when Life needed me to be in a particular place at a particular time, and that was when your mother brought you to the lobby of the Metropol'. Understated, elegant - a powerful testament to unconditional love!

This book is an absolute must-read, it's easily one of the best books of the year!! Buy it, or check it out at your local library!! Happy reading!!

Burial Rites

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Iceland, 1829. Convicted of the brutal murder of two men, Agnes Magnusdottir is sent to an isolated farm to await the day of her execution. The inhabitants of the farm, Jon and Margret and their daughters, are horrified at having to house a murderess - and do their best to keep a distance from her. As the days pass, Agnes stoically goes about her chores at the farm - her chosen spiritual guide, Toti, the only person who makes an effort to draw her out. Her host family is unwillingly drawn to the tale that she narrates to her confessor, Toti, but will their realization that Agnes might not be guilty be enough to save her from a gruesome death?

"They said I must die. They said that I stole the breath from men, and now they must steal mine". From the very first sentence, Hannah Kent sets the tone for this haunting novel. And although the end is never in question - "Burial Rites" is based on the true story of the last woman to be publicly beheaded in Iceland - the author maintains the tension throughout. The Agnes in this book is a constant surprise - reviled as a cold-blooded killer, she still fiercely holds on to what little dignity that is left to her. She doesn't ask for sympathy or pity, and is determined to hold on to the only things that cannot be stolen from her - her words, her poems, her sagas. Google couldn't tell me if the real Agnes was guilty or not - but I was certainly hoping for a miraculous reprieve for the author's Agnes!!

The author writes beautifully about the life of the peasants at the farm. Icelandic customs, the food, the formidable winters - even the dust and mold from the turf croft - I was literally transported to Kornsa, watching Agnes and Margret going about their daily tasks. The descriptions are quite visceral - chalking it up to the author telling it like it was back then - but seriously, I could have done with a little less of the mucus and other bodily emissions. Agnes' monologues capture her quiet desperation, her acceptance that a woman has no chance in a world where her stories are told by others. And Margret is the perfect foil - they recognize a kindred spirit in each other, and the arc of their relationship is intriguing.

This is no doubt a very serious novel - there are really no light moments at all. The very grimness, however, is so utterly striking. I was fascinated by Agnes' story, wanting to know everything quickly - and yet, the prose is so evocative, every word needs to be savored!! The seasons and landscapes of Iceland, the routines of the life at the farm, Agnes' journey are not easily forgotten - this is a novel to get lost in, a novel that grabs your attention and holds on, a novel that will stay with you long after you've finished reading. A must-read, for sure!