Jack the Ripper is back, and he's coming for Rory next....
Louisiana teenager Rory Deveaux arrives in London to start a new life at boarding school just as a series of brutal murders mimicking the horrific Jack the Ripper killing spree of more than a century ago has broken out across the city. The police are left with few leads and no witnesses. Except one. Rory spotted the man believed to be the prime suspect. But she is the only one who saw him - the only one who can see him. And now Rory has become his next target...unless she can tap her previously unknown abilities to turn the tables.
Another example of really enjoyable YA literature. It reminded me of Paul Cornell’s London Falling (although it is not nearly so dark) what with the Jack the Ripper references and ghostly presences. But the main character, Rory Deveraux, made me think of Karen Marie Moning’s MacKayla Lane (the Fever series)—both are Southern girls with professional parents who go to school in the U.K. Both girls are capable of seeing things that ordinary people can’t—MacKayla sees the Fae, Rory sees dead people. However, Rory is much less self-absorbed & she is smarter and funnier as a main character.
I really enjoy this author’s sense of humour! I adored her descriptions of Claudia, the school’s house mother: “Something about her suggested that her leisure activities included wrestling large woodland animals and banging bricks together.” She is, in fact, the field hockey coach and very devoted to that sport. Later, Rory says, “She introduced herself to my parents with one of her mighty, bunny-crushing handshakes. (I’d never seen Claudia crush a bunny, to be fair, but that’s the approximate level of pressure.)” Perhaps she’s a bit of a female Hagrid, despite the fact that this is not a school for wizards.
The real details of homework, living in residence, cafeteria meals, etc. grounded the novel for me. Rory gets drawn into the paranormal gradually, but still has to cope with reading assignments and essays like a regular student. Rory has just the right amount of snark in her soul to make all these tea-drinking, field hockey-dreading moments highly entertaining. She also acquires a small circle of reliable friends, reminiscent of Buffy the Vampire Slayer.
I’m not sure when I’ll be able to pick up book two, but I am very much looking forward to it!
"What kills you today is forgotten tomorrow. I don't know if this is true or false because all that's real for me is remembrance." In her old age, Dora reflects on the major influences in her life: her mother, her career in the theater, and her one true love. Set in Brazil in the early part of the century, Dora, Doralina is a story about power. Through her fierce resistance to her mother and her later life as a working woman and widow, Doralina attempts to define herself in a time and culture which places formidable obstacles before women. Married off by her mother to a man she does not love, told what to wear and eat, Dora's reclaiming of herself is full of both discovery and rage. For her, independence is the right to protect herself and make her own choices. From a life confined by religion and "respectability," even her passionate attachment to a hard-drinking smuggler contains an act of free will previously unavailable to her. Dora, Doralina is an intimate, realistic, and vivid glimpse of one woman's struggle for independence, for a life in which she owns her actions, her pleasure, and her pain.
I read this book to fill the Q position in my quest to read women authors A-Z in 2018. I will honestly tell you that it is not a novel that I would naturally pick up so I probably didn’t appreciate it as much as someone who regularly reads literary fiction.
This is a character driven story which reads very much like an autobiography. It is basically a window into the world of women in Brazil in the first half of the twentieth century. Brazilian society, as in many societies at the time, is extremely macho and women don’t have all that much latitude.
The book is divided into three sections, representing three stages in the life of our narrator, Dora. The first section is Dora growing up and struggling with the control of her domineering mother. Dora refers to her as Senhora, not mother, and seems to be one of the only people in the household who longs for freedom. Dora ends up in a marriage which was more-or-less engineered by Senhora, and while she doesn’t mind her husband, she’s not desperately fond of him either. When he is killed, Dora takes a page from her mother’s playbook and uses her widowhood to give herself more freedom in the world.
The second section is Dora’s adventures in the world outside her mother’s farm. She finds employment and eventually ends up on stage, despite her shyness. She is both fiercely independent and highly reliant on her friends in the acting company, a duality that she freely acknowledges. And it is during her travels with the company that she meets the love of her life.
Part three is her life with The Captain. He reminded me of her first husband in several ways (his drinking, his macho possessiveness) but Dora’s feelings for him make the marriage an altogether different experience from the first.
Documenting women’s lives is an important pursuit, filling in the blanks of previously ignored reality. The novel also shows the particular barriers that many South American women are up against culturally.