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jersy's review against another edition
4.0
Yes, this novel is predictable and not free of clichés, but it was also so much fun to read.
Even though the characters were not that special, the reader gets to know them very well, their feelings, thoughts and memories. The relationships between them also felt genuine.
The lessons and adventures happening in Illyria kind of reminded me of Hogwarts without just being a bland copy, the story was more complex than I would have thought and I loved how the steam punk elements were implemented.
All in all, I really enjoyed it.
Even though the characters were not that special, the reader gets to know them very well, their feelings, thoughts and memories. The relationships between them also felt genuine.
The lessons and adventures happening in Illyria kind of reminded me of Hogwarts without just being a bland copy, the story was more complex than I would have thought and I loved how the steam punk elements were implemented.
All in all, I really enjoyed it.
hollowspine's review
4.0
This book seemed like it was custom made for me.
If you are also a fan of,
Oscar Wilde, especially THe Importance of Being Earnest
Shakespeare, especially his comedies (or only his comedies that is).
Steampunk, including all disciplines of science, from Jekyll and Hyde chemistry to giant robots.
You would really like this book. Violet a mechanical genius and young lady, would like nothing better than to attend the illustrious science academy Illyria, but unfortunately it only allows men. What's a girl to do? Of course, she is going to come in from the country, in a different guise. In the country she is Violet, but in the city she is Ashton.
There are so many other little ruses, confusions and plots going on (most of the romantic nature), that although it's not hard to keep track it is very amusing to read.
Overall, enjoyable, funny and well-written. Though the ending for me was a bit rushed.
If you are also a fan of,
Oscar Wilde, especially THe Importance of Being Earnest
Shakespeare, especially his comedies (or only his comedies that is).
Steampunk, including all disciplines of science, from Jekyll and Hyde chemistry to giant robots.
You would really like this book. Violet a mechanical genius and young lady, would like nothing better than to attend the illustrious science academy Illyria, but unfortunately it only allows men. What's a girl to do? Of course, she is going to come in from the country, in a different guise. In the country she is Violet, but in the city she is Ashton.
There are so many other little ruses, confusions and plots going on (most of the romantic nature), that although it's not hard to keep track it is very amusing to read.
Overall, enjoyable, funny and well-written. Though the ending for me was a bit rushed.
prationality's review
5.0
Prelim Review: As a big time fan of both Twelfth Night and The Importance of Being Earnest, plus steampunk, this was a natural fit for me to enjoy. I had met the author at BEA this year during a double signing with [author:Edward Lazellari|4631640] for TOR (my publisher for life), but knew nothing about the book. However soon as I began walking away from the table I looked at the backcover and was like 'HOW COULD I NOT KNOW OF THIS?' and almost turned around to fangirl at Rosen just on the grounds of what the book was inspired by.
Yes that is how deep my love is for those two plays.
So how does the book match up to my expections? Fantastically.
Not only is the book peppered with inside jokes and references to the source materials (Bunburry's multiple accidents, cucumber sandwhichs and well the names are a bit more obvious I suppose), but this is possibly one of my favorite steampunk tales to date. Rosen doesn't just pay lip service to the genre, he goes into (sometimes horrifying) detail as well. Its possible I could have done without the lessons in Biology that Jack (Violet's room mate and childhood friend) engages in, but they certainly added a different layer to the tale.
I could wax poetical about the various references for probably a good half hour or more (depending on the mood of the listener), but instead let me focus on the book itself. I would definitely say that Rosen captured the 'feel' of the two plays quite well--it has always seemed to me that neither took itself seriously. Both Wilde and Shakespeare seemed content to let their creations be just a shade over the top and ridiculous. Admittedly the book isn't a farce, but Rosen doesn't let the characters ever think so much of themselves that they become tiresome. Well except perhaps Volio, but he's the bad egg of the piece (more or less) and you expect that of his sort.
At any given time there are about a half dozen or so romances going on, one-sided and otherwise. The centerpiece is of course Violet and Ernest, but through their associates we see the various stages of romance. Her brother Ashton and his romance with a servant, a couple of her new friends paramours, Cecily's infatuation with Violet-as-Ashton, Ernest's confusing courtship of Violet, Volio's campaign for Cecily and Jack's campaign for Cecily. I think that pretty much covers things. Rosen doesn't let gender really get in the way of romance, and I admit that Ernest's confusion until the truth is revealed had me slapping my forehead in amusement.
Subtly issues of race, station, sexuality and gender makes it way into the story. The boys at Illyria are from every kind of background--their only unifying quality their genius--and because of this we're introduced to far more than just the elite. Truth be told I wanted to see more of what society thought of the Duke (of Illyria's) school--we see scarce little of society outside of Violet's family and mentions by students of their titles (or father's titles). At one point Ernest does mention he likes to keep to himself, so I suppose that's a reason.
As odd as this sounds I think that Ashton was my favorite character. We see little of his exploits when they don't pertain to Violet (we hear bits and pieces, but that's about it), but I took a shine to his character. Maybe because despite all his tomfoolery he showed true care and concern for those around him. Or maybe because he was kind of a reckless take me as a I am sort of fellow that I tend to really admire. Violet was a good foil for him, or he for her. She is serious-minded, despite her insane plan and madcap ideas, and though she loosens up while amongst the boys of the school, she's a stabilizing force in the book.
Sometimes Cecily got on my nerves, which is par for the course as the character in Importance also got on my nerves at times. Not that she was naive or stupid, just...blind maybe. Several times her 'good fortune' is pointed out to her, but she takes much of it for granted. Jack, Toby and Drew were fun and rounded out the cast nicely. I liked Jack, liked his sensible approach to wooing Cecily. I thought Toby and Drew played off the others well and if nothing else gave Violet some sound advice (if she were male at least).
My one sadness was how depressingly pragmatic many of the female characters were. Lady Ada, Miriam, Fiona, and even Violet at points were all realistic about their futures. Well, perhaps not Violet so much, but it definitely Fiona and Miriam. They were definitely 'live for the moment' sorts who understood the ways of the world, but tried not to let that ruin their enjoyment of what they had.
I'm not sure I can recommend this book enough. There is I believe something for everyone. I do warn at some content matter--terrifying automata for instance that had my skin crawling and oily creepers for instance. If nothing else I hope the school year proved to the Duke that he needs to install some sort of psychological examination before allowing kids like Volio in again!
Yes that is how deep my love is for those two plays.
So how does the book match up to my expections? Fantastically.
Not only is the book peppered with inside jokes and references to the source materials (Bunburry's multiple accidents, cucumber sandwhichs and well the names are a bit more obvious I suppose), but this is possibly one of my favorite steampunk tales to date. Rosen doesn't just pay lip service to the genre, he goes into (sometimes horrifying) detail as well. Its possible I could have done without the lessons in Biology that Jack (Violet's room mate and childhood friend) engages in, but they certainly added a different layer to the tale.
I could wax poetical about the various references for probably a good half hour or more (depending on the mood of the listener), but instead let me focus on the book itself. I would definitely say that Rosen captured the 'feel' of the two plays quite well--it has always seemed to me that neither took itself seriously. Both Wilde and Shakespeare seemed content to let their creations be just a shade over the top and ridiculous. Admittedly the book isn't a farce, but Rosen doesn't let the characters ever think so much of themselves that they become tiresome. Well except perhaps Volio, but he's the bad egg of the piece (more or less) and you expect that of his sort.
At any given time there are about a half dozen or so romances going on, one-sided and otherwise. The centerpiece is of course Violet and Ernest, but through their associates we see the various stages of romance. Her brother Ashton and his romance with a servant, a couple of her new friends paramours, Cecily's infatuation with Violet-as-Ashton, Ernest's confusing courtship of Violet, Volio's campaign for Cecily and Jack's campaign for Cecily. I think that pretty much covers things. Rosen doesn't let gender really get in the way of romance, and I admit that Ernest's confusion until the truth is revealed had me slapping my forehead in amusement.
Subtly issues of race, station, sexuality and gender makes it way into the story. The boys at Illyria are from every kind of background--their only unifying quality their genius--and because of this we're introduced to far more than just the elite. Truth be told I wanted to see more of what society thought of the Duke (of Illyria's) school--we see scarce little of society outside of Violet's family and mentions by students of their titles (or father's titles). At one point Ernest does mention he likes to keep to himself, so I suppose that's a reason.
As odd as this sounds I think that Ashton was my favorite character. We see little of his exploits when they don't pertain to Violet (we hear bits and pieces, but that's about it), but I took a shine to his character. Maybe because despite all his tomfoolery he showed true care and concern for those around him. Or maybe because he was kind of a reckless take me as a I am sort of fellow that I tend to really admire. Violet was a good foil for him, or he for her. She is serious-minded, despite her insane plan and madcap ideas, and though she loosens up while amongst the boys of the school, she's a stabilizing force in the book.
Sometimes Cecily got on my nerves, which is par for the course as the character in Importance also got on my nerves at times. Not that she was naive or stupid, just...blind maybe. Several times her 'good fortune' is pointed out to her, but she takes much of it for granted. Jack, Toby and Drew were fun and rounded out the cast nicely. I liked Jack, liked his sensible approach to wooing Cecily. I thought Toby and Drew played off the others well and if nothing else gave Violet some sound advice (if she were male at least).
My one sadness was how depressingly pragmatic many of the female characters were. Lady Ada, Miriam, Fiona, and even Violet at points were all realistic about their futures. Well, perhaps not Violet so much, but it definitely Fiona and Miriam. They were definitely 'live for the moment' sorts who understood the ways of the world, but tried not to let that ruin their enjoyment of what they had.
I'm not sure I can recommend this book enough. There is I believe something for everyone. I do warn at some content matter--terrifying automata for instance that had my skin crawling and oily creepers for instance. If nothing else I hope the school year proved to the Duke that he needs to install some sort of psychological examination before allowing kids like Volio in again!
merythapy's review
5.0
This is really 4.5 stars, and the only reason I withhold that last half a star is because the POV changes are really too cavalier for me to approve of. But that is still not enough to keep me from being completely in love with this book. And here's why:
Where to begin? Steampunk, science, girls in disguise as boys, twins and mistaken identity, true love, adorable gay boys in love, made families, loving someone so much you question your sexual orientation, and best of all a truly diverse cast of supporting characters that leads to a thorough but not heavy-handed examination of privilege. (Seriously, I was delighted when Fiona called Violet out on her actions supposedly making things better for all womankind; in a way they were, but not in a way that would directly affect the quality of life for women who weren't rich scientific geniuses.)
This book managed to hit all my "guilty" pleasures in a really wonderful way.
I would read an entire book about Miriam, btw, just saying. One of the strengths of this books is definitely the supporting characters-- Miriam and Fiona in particular I loved, and I just adored Ashton and Toby.
I also thought the author did a wonderful job showing how sad the Society was without really having to say it outright: they were obviously never a real threat, for all the members were men of genius, and it put an interesting spin on things.
The animal experiments could have been a very distasteful thing but Jack's care for them mitigated that. And Oscar. Oh, Oscar.
Not all the subplots were tied up at the end, which I would have actually liked to see more of-- okay, I mostly just want more about Ashton and Antony, but I found Merriman to be a really interesting character too, and I would have liked to hear more about him. But again, these are just me not wanting to let go of the characters.
I was basically cackling gleefully the entire time I was reading (except when the college was mourning the duke; even though I knew he was fine, I had tears in my eyes at one point), and what more could you want from a book?
Where to begin? Steampunk, science, girls in disguise as boys, twins and mistaken identity, true love, adorable gay boys in love, made families, loving someone so much you question your sexual orientation, and best of all a truly diverse cast of supporting characters that leads to a thorough but not heavy-handed examination of privilege. (Seriously, I was delighted when Fiona called Violet out on her actions supposedly making things better for all womankind; in a way they were, but not in a way that would directly affect the quality of life for women who weren't rich scientific geniuses.)
This book managed to hit all my "guilty" pleasures in a really wonderful way.
I would read an entire book about Miriam, btw, just saying. One of the strengths of this books is definitely the supporting characters-- Miriam and Fiona in particular I loved, and I just adored Ashton and Toby.
I also thought the author did a wonderful job showing how sad the Society was without really having to say it outright: they were obviously never a real threat, for all the members were men of genius, and it put an interesting spin on things.
The animal experiments could have been a very distasteful thing but Jack's care for them mitigated that. And Oscar. Oh, Oscar.
Not all the subplots were tied up at the end, which I would have actually liked to see more of-- okay, I mostly just want more about Ashton and Antony, but I found Merriman to be a really interesting character too, and I would have liked to hear more about him. But again, these are just me not wanting to let go of the characters.
I was basically cackling gleefully the entire time I was reading (except when the college was mourning the duke; even though I knew he was fine, I had tears in my eyes at one point), and what more could you want from a book?
kurtpankau's review
4.0
Rosen's debut novel is thoroughly modernist, paying constant homage. The most overt references are to Twelfth Night and The Importance of Being Earnest and no wonder, because the plot of All Men of Genius takes on shades of Shakespearean comedy and Wildean farse even as it purports to be a steampunk adventure (more accurately it's a gearpunk adventure, but who am I to argue with the marketing departments?).
Our hero is Violet (get it?!), a mechanical genius who decides to impersonate her brother so she can attend an elite all-male technical school. The headmaster is a duke named Ernest (get it?!) who is flanked by his ward Cecily (get it?!). With the help of her friend Jack (get it?!), she must keep them all fooled without being thwarted by Mal Volio (see what he did there?!?!?!). Also, there are rabbits named Shakespeare and Oscar. Rosen is not a man who suffers from an abundance of subtlety.
Like the farse and the Shakespearean comedy, the story is at its heart a ridiculous conflagration of confused love stories. That Rosen is able to keep all of these pieces more or less in the air at once is actually fairly impressive, and the story is at its best when it's playing with dramatic irony and orchestrating bizarre love quadrangles. The structure of the story, however, is a bit bewildering. It's told from the third person omniscient perspective (Rosen handles the head-hopping more gracefully than, say, Gail Carriger, so I didn't actively hate it... very much). This is pretty standard for books set in that period and allows for some abbreviated storytelling, but it's still a little jarring if you're not used to it. Rosen lacks the J.K. Rowling talent of spreading a plot over a school term, so the pacing is at times uneven. At the 40% mark, the school session was still in its first week. Around the two-thirds mark we start getting elaborate back stories for supporting characters who had been fairly one-dimensional up to that point. While it's interesting to learn that Professor Lothario (get it?!) Prism is colorblind, and that's why he uses those complex lenses that made him seem like such a caricature, it's a weird thing to trot out in the middle of Act III.
And sometimes it's just clunky. Mysteries are pondered and abandoned. An entire subplot about a machine imitating a specific person is wholly unnecessary. The big action set piece is telegraphed pretty transparently, although it is executed with skill. Also, this is a book with an agenda. The gender-politics aren't bash-you-over-the-head up front... well, okay, they really are. And not just gender, we get gay rights pleas as well. Not that his message was wrong, per se, it just felt a wee bit preachy at times.
But for all its warts, AMoG is ridiculously fun. It's light-hearted enough to not take itself very seriously and smart enough to enjoy the more over-the-top laughs that such non-seriousness affords. And while it may be mashed together from familiar parts, Rosen fits the pieces together into a tightly-wound and enjoyable whole.
Our hero is Violet (get it?!), a mechanical genius who decides to impersonate her brother so she can attend an elite all-male technical school. The headmaster is a duke named Ernest (get it?!) who is flanked by his ward Cecily (get it?!). With the help of her friend Jack (get it?!), she must keep them all fooled without being thwarted by Mal Volio (see what he did there?!?!?!). Also, there are rabbits named Shakespeare and Oscar. Rosen is not a man who suffers from an abundance of subtlety.
Like the farse and the Shakespearean comedy, the story is at its heart a ridiculous conflagration of confused love stories. That Rosen is able to keep all of these pieces more or less in the air at once is actually fairly impressive, and the story is at its best when it's playing with dramatic irony and orchestrating bizarre love quadrangles. The structure of the story, however, is a bit bewildering. It's told from the third person omniscient perspective (Rosen handles the head-hopping more gracefully than, say, Gail Carriger, so I didn't actively hate it... very much). This is pretty standard for books set in that period and allows for some abbreviated storytelling, but it's still a little jarring if you're not used to it. Rosen lacks the J.K. Rowling talent of spreading a plot over a school term, so the pacing is at times uneven. At the 40% mark, the school session was still in its first week. Around the two-thirds mark we start getting elaborate back stories for supporting characters who had been fairly one-dimensional up to that point. While it's interesting to learn that Professor Lothario (get it?!) Prism is colorblind, and that's why he uses those complex lenses that made him seem like such a caricature, it's a weird thing to trot out in the middle of Act III.
And sometimes it's just clunky. Mysteries are pondered and abandoned. An entire subplot about a machine imitating a specific person is wholly unnecessary. The big action set piece is telegraphed pretty transparently, although it is executed with skill. Also, this is a book with an agenda. The gender-politics aren't bash-you-over-the-head up front... well, okay, they really are. And not just gender, we get gay rights pleas as well. Not that his message was wrong, per se, it just felt a wee bit preachy at times.
But for all its warts, AMoG is ridiculously fun. It's light-hearted enough to not take itself very seriously and smart enough to enjoy the more over-the-top laughs that such non-seriousness affords. And while it may be mashed together from familiar parts, Rosen fits the pieces together into a tightly-wound and enjoyable whole.
seillean's review
3.0
This is not a book to be read with any seriousness. When undertaken with this sort of lightheartedness, it's a cute read. It has a quirky and improbable premise, and goes on logically from there. Think an all-boys Hogwarts where mad science reigns instead of magic, add an unlikely romance of the deep-sigh variety, and you're 90% of the way there. (Oh, and edit: other reviews have likened the romance to one found in Shakespearean comedies. That resonates completely.)
If you'll allow me to get serious about one thing, it would be how heavy-handed the author gets laying down societal obstacles, and how--once brought up--they are then dropped like a molten-hot potato. The book strikes me as written for an audience of cis-gendered, straight, white women who resonate with nerdy-girl grrlpower. And so, there's no relating to the "dark-skinned Jewess" (the only explicitly non-white person in the book) who deals frequently with racism (external and internal), sexual aggression, and religious intolerance. She gets harassed regularly (and we get a flashback to more harassment) because of her skin, sex, and religion. And then from there... the ball completely drops. The harassment exists purely to build the character up as surrounded by obstacles, and since she's the only non-white, non-Christian character in the book, these obstacles are unique to her. These dropped balls feel even more unfinished, when juxtaposed with how the author was otherwise very good about wrapping up the plot bunnies spawned throughout the book.
So, three stars, bolstered additionally by the excellent audiobook narrator. A cute story.
If you'll allow me to get serious about one thing, it would be how heavy-handed the author gets laying down societal obstacles, and how--once brought up--they are then dropped like a molten-hot potato. The book strikes me as written for an audience of cis-gendered, straight, white women who resonate with nerdy-girl grrlpower. And so, there's no relating to the "dark-skinned Jewess" (the only explicitly non-white person in the book) who deals frequently with racism (external and internal), sexual aggression, and religious intolerance. She gets harassed regularly (and we get a flashback to more harassment) because of her skin, sex, and religion. And then from there... the ball completely drops. The harassment exists purely to build the character up as surrounded by obstacles, and since she's the only non-white, non-Christian character in the book, these obstacles are unique to her. These dropped balls feel even more unfinished, when juxtaposed with how the author was otherwise very good about wrapping up the plot bunnies spawned throughout the book.
So, three stars, bolstered additionally by the excellent audiobook narrator. A cute story.
kimberlybea's review
5.0
Oh, how I enjoyed this book! I'd actually say it's on the line between 4 and 5 stars for me, but I'm rounding up because although there were some problems with it, what I loved about the book by far outweighed any issues that might have cropped up. "Delightful" is the best word I can think of to describe All Men of Genius, and what was particularly delightful about it was the fact that it not only made me giggle (rather a lot), it also made me think, and that's a rare combination. A novel shouldn't have to be dreary and heavy-handed to get its message across, and an escapist read shouldn't have to avoid discussing important issues. An homage to both Twelfth Night and The Importance of Being Earnest, All Men of Genius seems like a book that would be equally appealing to lit geeks and Steampunk fans, with enough discussion of gender identity and politics to engage the feminist theorists too. It's a lively read, fun and witty, erudite without being off-putting, filled with characters I loved and set in a world I can't wait to visit again.
Violet and Ashton Adams are twins, the children of a rather absent-minded astronomer living in a Victorian London where steampunk technology works. Violet has an avid scientific mind, but her sex prevents her from the education she desires, namely attending the renowned scientific academy Illyria College, founded by the late Duke Illyria. When Mr Adams plans a trip to America for an academic conference, and decides to extend his trip for a full year, Violet sees her chance. She applies to Illyria College using her brother's name, and plans to attend in drag, revealing her gender once the year is over, so that she can prove once and for all the women are intellectually equal to men. Violet knows if her masquerade is discovered, her freedom and possibly even her life will be in jeopardy. But she is unprepared when she attracts the attention of the duke's ward, Cecily, or for the attraction she feels for the current duke himself . . .
All Men of Genius owes much of its plot to Twelfth Night; the setting and tone are where the Oscar Wilde influence comes out the most. On his blog, Rosen mentions the specifically Victorian style he used in writing All Men . . . , including adopting the third person omniscient narrator and including the sorts of narrative details modern authors normally eschew. In one scene, you might start off following Violet's thoughts, then leap into brain of Cecily, who only knows Violet as Ashton, and yet the transition is surprisingly smooth. Rosen takes the rules we learned in creative writing class about "showing vs. telling" and does not run roughshod over them so much as set them aside deliberately to cultivate a more Victorian tone. It's not a tactic that every author could make work, but Rosen does, and in doing so allows the reader to get to know his large group of characters more quickly and thoroughly than they might otherwise.
And, oh, the characters. As someone who loves an empowered heroine, particularly of the brainy and bookish variety, I was already predisposed to love Violet Adams, but what thrills me about All Men of Genius is that she is not the only female character to be (openly or not) chafing at the restrictions placed upon her by society (and for the male version, there's the real Ashton, to whom I'll return in a moment). Cecily Worthing, the sixteen year old ward of Ernest, Duke Illyria, is another girl who loves science, but her family connections allow her the freedom to both interact with the great minds of Illyria and present herself as female. While romantically minded to some extent (unfortunately towards ersatz Ashton), Cecily is intelligent enough to reject any pretense of "love at first sight" (the scene in which she does so is one of my favorites!). Her governess, Miriam, is a young widow, whose dark skin (she is a Persian Jew) grants her some freedom from societal expectations, but the freedom she enjoys ultimately leaves her open to blackmail. And let's not forget the small but pivotal role played by the historical Ada Byron Lovelace (I squeed when she appeared), a brilliant scientific mind here permitted to become an outspoken matriarch, respected by her male peers. In fact, there were so many strong and determined women here that I often wondered if, in this fantasy Victorian world, there were any women who didn't rail against their societal oppression. I suppose the closest would be Mrs. Wilks, the twins' governess, though even she later proves to be a bit more than she appears.
Among the male characters, my favorite and the one whom I'd most like to see get his own story, if Rosen writes a sequel, is Violet's twin Ashton. Ashton goes along with Violet's plan because it enables him to live independently in London, write poetry, and pursue his amorous pursuits away from the watchful eyes of Mrs. Wilks. For Ashton, as well as being a dandy, is what Victorian society calls an invert, i.e. gay. If he acts upon his impulses and the wrong people find out, he is likely to face imprisonment or worse. Although Ashton did not get as much "screen time" as Violet, I felt that he was the other side of the coin: a man who felt as restricted by his society's expectations of men as his sister did its expectations of women. Fortunately for Ashton, neither his sister nor any of his friends have a problem with Ashton's orientation, and he did find willing partners, the most notable his footman Antony. Since Ashton and Antony are different classes, I wondered what difficulties that might present in their relationship, and what could happen when Ashton was expected to get married though I suspect perhaps that's a ways off for him.
All Men of Genius owes its inspiration to two theatrical works, both comedic. When I began reading in novel, the set up for Violet's masquerade felt too easy (specifically the disposal or Mrs. Wilks), and I had a similar feeling when the loose ends were tied up at the end. On reflection, I wonder if the easiness of the set up and resolution might not be another sort of homage to the literature which inspired it; when you read or watch a farce such as The Importance of Being Earnest, you don't worry too much if the comic misunderstandings are realistic or make sense--you simply go with it. Of course, this homage is anything but a strict retelling, a fact that allows Rosen to take some of what is troubling to modern audiences in the original works and update it.Twelfth Night is one of my favorite plays, but I am always bothered by the treatment of Malvolio in it. However, Rosen's Malcolm Volio is a truly despicable character, a double blackmailer, and his punishment seems far more deserved.
All Men of Genius is a lighthearted read that will be appreciated by those who like witty banter, elegant writing, and a bit of substance to their escapism. However, it is a novel I would recommend to lit majors who want to try a bit of speculative fiction more than to hard science fiction buffs, as I'm not sure the gadgety bits are at all sound (but Rosen admits this). Also, if you are the sort who wishes the characters would stop the talking and start fighting already, I don't think this is the book for you, as that sort of action doesn't come in until the end. But for clever writing and characters you'll care about, All Men of Genius can't be beat.
Violet and Ashton Adams are twins, the children of a rather absent-minded astronomer living in a Victorian London where steampunk technology works. Violet has an avid scientific mind, but her sex prevents her from the education she desires, namely attending the renowned scientific academy Illyria College, founded by the late Duke Illyria. When Mr Adams plans a trip to America for an academic conference, and decides to extend his trip for a full year, Violet sees her chance. She applies to Illyria College using her brother's name, and plans to attend in drag, revealing her gender once the year is over, so that she can prove once and for all the women are intellectually equal to men. Violet knows if her masquerade is discovered, her freedom and possibly even her life will be in jeopardy. But she is unprepared when she attracts the attention of the duke's ward, Cecily, or for the attraction she feels for the current duke himself . . .
All Men of Genius owes much of its plot to Twelfth Night; the setting and tone are where the Oscar Wilde influence comes out the most. On his blog, Rosen mentions the specifically Victorian style he used in writing All Men . . . , including adopting the third person omniscient narrator and including the sorts of narrative details modern authors normally eschew. In one scene, you might start off following Violet's thoughts, then leap into brain of Cecily, who only knows Violet as Ashton, and yet the transition is surprisingly smooth. Rosen takes the rules we learned in creative writing class about "showing vs. telling" and does not run roughshod over them so much as set them aside deliberately to cultivate a more Victorian tone. It's not a tactic that every author could make work, but Rosen does, and in doing so allows the reader to get to know his large group of characters more quickly and thoroughly than they might otherwise.
And, oh, the characters. As someone who loves an empowered heroine, particularly of the brainy and bookish variety, I was already predisposed to love Violet Adams, but what thrills me about All Men of Genius is that she is not the only female character to be (openly or not) chafing at the restrictions placed upon her by society (and for the male version, there's the real Ashton, to whom I'll return in a moment). Cecily Worthing, the sixteen year old ward of Ernest, Duke Illyria, is another girl who loves science, but her family connections allow her the freedom to both interact with the great minds of Illyria and present herself as female. While romantically minded to some extent (unfortunately towards ersatz Ashton), Cecily is intelligent enough to reject any pretense of "love at first sight" (the scene in which she does so is one of my favorites!). Her governess, Miriam, is a young widow, whose dark skin (she is a Persian Jew) grants her some freedom from societal expectations, but the freedom she enjoys ultimately leaves her open to blackmail. And let's not forget the small but pivotal role played by the historical Ada Byron Lovelace (I squeed when she appeared), a brilliant scientific mind here permitted to become an outspoken matriarch, respected by her male peers. In fact, there were so many strong and determined women here that I often wondered if, in this fantasy Victorian world, there were any women who didn't rail against their societal oppression. I suppose the closest would be Mrs. Wilks, the twins' governess, though even she later proves to be a bit more than she appears.
Among the male characters, my favorite and the one whom I'd most like to see get his own story, if Rosen writes a sequel, is Violet's twin Ashton. Ashton goes along with Violet's plan because it enables him to live independently in London, write poetry, and pursue his amorous pursuits away from the watchful eyes of Mrs. Wilks. For Ashton, as well as being a dandy, is what Victorian society calls an invert, i.e. gay. If he acts upon his impulses and the wrong people find out, he is likely to face imprisonment or worse. Although Ashton did not get as much "screen time" as Violet, I felt that he was the other side of the coin: a man who felt as restricted by his society's expectations of men as his sister did its expectations of women. Fortunately for Ashton, neither his sister nor any of his friends have a problem with Ashton's orientation, and he did find willing partners, the most notable his footman Antony. Since Ashton and Antony are different classes, I wondered what difficulties that might present in their relationship, and what could happen when Ashton was expected to get married though I suspect perhaps that's a ways off for him.
All Men of Genius owes its inspiration to two theatrical works, both comedic. When I began reading in novel, the set up for Violet's masquerade felt too easy (specifically the disposal or Mrs. Wilks), and I had a similar feeling when the loose ends were tied up at the end. On reflection, I wonder if the easiness of the set up and resolution might not be another sort of homage to the literature which inspired it; when you read or watch a farce such as The Importance of Being Earnest, you don't worry too much if the comic misunderstandings are realistic or make sense--you simply go with it. Of course, this homage is anything but a strict retelling, a fact that allows Rosen to take some of what is troubling to modern audiences in the original works and update it.Twelfth Night is one of my favorite plays, but I am always bothered by the treatment of Malvolio in it. However, Rosen's Malcolm Volio is a truly despicable character, a double blackmailer, and his punishment seems far more deserved.
All Men of Genius is a lighthearted read that will be appreciated by those who like witty banter, elegant writing, and a bit of substance to their escapism. However, it is a novel I would recommend to lit majors who want to try a bit of speculative fiction more than to hard science fiction buffs, as I'm not sure the gadgety bits are at all sound (but Rosen admits this). Also, if you are the sort who wishes the characters would stop the talking and start fighting already, I don't think this is the book for you, as that sort of action doesn't come in until the end. But for clever writing and characters you'll care about, All Men of Genius can't be beat.
purlewe's review
5.0
A girl who wants to be a scientist dresses up like a boy in a steampunk novel set in victorian times. If that doesn't just scream out to be read by me I don't know what else would. I loved it.
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