Ross Poldark, the scandalous son of a minor land-owner, comes back from serving the Crown in the War for American Independence to find his father dead, his estate in disrepair, and the woman who he'd hoped to wed engaged to someone else (a formerly close friend, actually). Understandably, he's about to throw in the towel on life, but instead he starts putting things together.

He bullies his fathers' (and now his) servants into getting to work restoring the house and lands, and hires some new help and even rescues a poor little girl being picked on by some nearby children and brings her into his house as a kitchen maid. He has to fight and then pay off her abusive father for the privilege, but does so. He takes care of his tenants, and is soon seen as half-one of them half-landowner. He starts a new mine with some other people in the area, doing a lot to help the local economy.

There's some legal drama, a touch of medial as well, a malicious criminal presence, too -- but it's hard to take any of these seriously, and they are all dispatched quickly. In fact, that's pretty much par for the course for everything -- a problem arises and is resolved soon. There's no <i>real</i> book-length plot to this novel -- there's no central or driving conflict. You might be able to make the case that it's a story of Ross finding contentment and/or happiness after the way his homeland welcomes him. But I'm not sure I can buy that.

There is just so much wrong with the love story involving Ross that I'm not going to touch it. I get that it's a different time, different standards, and everything, but he'd be locked up today for what happens -- and rightly so. Frankly, all of the romances are a bit . . . off. Nothing that Austen would touch, for sure. One of the Brontë sisters might have, though.

This book feels like someone was convinced the only proper kind of book for a British person to write is one that Austen, a Brontë, or Dickens could have written -- so he combined the three influences into one. But Graham isn't one of those. He's a passable writer of limited imagination. Every so often he'll write a passage -- a small paragraph to a page or so in length -- that strikes me like he's realized he hasn't done anything "writerly" for a bit and dashes something off that fits the bill. Then he gets back to his usual story telling for 5-10 pages until he repeats the process. This isn't to suggest he's a bad writer, it's just usually decent prose with odd splashes of flair.

It's hard to describe any of the characters except in reference to Ross -- and would end up spoiling a lot of the book to do so. I found them all relatively two-dimensional and without a lot of growth or development. What change there is in <i>most</i> of them is hard to believe, or at least happens off-screen and without explanation. The maid that Ross brings in is the easiest to see grow and develop, and we almost get a real sense of who she is -- but I'm not sure I can say that.

<b>Ross Poldark</b> isn't a bad book -- but there's nothing about it that grabbed me. I did grow to be a bit interested in two of the characters, and was pleased to see things go well for them. I'm not driven to pursue things to the next book much less eleven more, however. I can see the appeal -- I think -- that this book and/or this saga would have for some, but it's not for me. But for people who like semi-romantic historical epics, you'd be well served by trying this. I probably sound more negative than I really am -- I'm more indifferent than anything else.

<a href="http://angelsguiltypleasures.com/2018-library-love-challenge-review-link-ups/" target="_blank"><img class="aligncenter" style="border:none;height:auto;width:300px;" src="http://angelsguiltypleasures.com/wp-content/uploads/2017/12/2018LibraryLoveChallenge07-400x400-angelsgp.jpg" alt="2018 Library Love Challenge" /></a>
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&#10004; Read a book recommended by one of your parents (in-laws count).
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Kolejne tomy cyklu o Rossie Poldarku zachowują podobny poziom, oferując interesującą historię o czasach z przełomu wieków XVIII i XIX w Kornwalii. Pisane dość dawno, ponad pół wieku temu, oferują powieść historyczną, w której nie brakuje opisów świata przedstawionego, zwyczajów, sposobu życia, co niektórych czytelników chwilami może nudzić. Na szczęście losy samego Rossa i Demelzy oraz konfliktu z Georgem Warlegganem są na tyle interesujące, by chcieć czytać dalej.

“Czarny księżyc” powstał w 1973 roku, równe dwadzieścia lat po wydaniu poprzedniego tomu cyklu, zatytułowanego “Warleggan”. I podczas lektury zdawało mi się, że tę różnicę widać. Co prawda nieco senne opisy rzeczywistości nie zanikły, ale dialogi są nieco bardziej żwawe, skutecznie utrzymując ciekawość czytelnika. Autor jest także jakby nieco bardziej odważny, kreując na kartach powieści teorię, że to właśnie w latach rewolucji francuskiej zmienił się świat na taki, jaki znamy my. Gdy dawniej istotne było prawo i etyka postępowania, tak dziś ludzkość przejmuje się jedynie prawem, wręcz kreując je bezczelnie dla swoich potrzeb. Etyczny standard postępowania już nie istnieje, dzięki takim Warlegganom właśnie i brakiem chęci wprowadzenia zmian wśród tak zwanych elit.

Już dawniejsze tomy cyklu pokazywały taką bardzo ludzką twarz autora, jako człowieka świadomego, który nie ma problemu z nazywaniem spraw po imieniu. Ale w “Czarnym księżycu” jest tego jakby więcej. Nie jest jednak książka, tak, jak poprzednie nie były, żadnym manifestem socjalistycznym, i można w ogóle nie zwracać uwagi na “te rzeczy”, tylko cieszyć się lekturą pełną historii o zawistnych sąsiadach, głupich tłumach, mądrych jednostkach, dzielnych kapitanach, kochających żonach, okrutnych łowach posagów, miłości, która czasem zwycięża i zawziętości, która psuje cały smak życia.