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3.96 AVERAGE
3.96 AVERAGE
mysterious
slow-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Complicated
I really wish that this was about 200 pages shorter, but over all the plot was interesting.
dark
mysterious
reflective
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
The best thing about the constant change in literary styles is that stories never go stale. There's always a new thing to say, another perspective to see it from, some new area to explore.
The sad thing about the constant change in literary styles is that some old favorites lose their initial impact - their language, once new, becomes antiquated, and their devices, once innovative, are repeated down the line until they're old.
Bionic Jean's review here talks about "The Woman in White" in historical context and I thoroughly recommend it if you want to know more.
Anyway. The book is longer and slower than what readers today tend to expect from their mystery novels. It also contains feeble women in distress, dastardly villains and a young man with a heart of gold - all played straight.
William Hartright is a drawing teacher whose services are employed at a remote manor in the countryside, where he is to instruct two women: the beautiful, innocent, straightforward Laura Fairlie, and her ugly, but very clever half-sister, Marian. William and Laura fall in love, but Laura is betrothed to a baronet, an thus the two separate in order to spare themselves trouble and suffering down the line.
As it happens, however, they *don't* save themselves any trouble or suffering down the line. Laura's betrothed, sir Percival, clearly has a villainous plot, and there's a woman in white who does her best to warn Laura off the impending marriage.
The great genius of this book is that, even if not much happens, it manages to project dread, uncertainty and unhappy anticipation, while making you feel that the chances of escape are slimmer and slimmer, that the snare is slowly closing in and the characters can't do much about it.
Admittedly, they are not unnable to act, as such, but they're crippled by the uncertainty of what villains intend. It's clear that something bad might happen, but there's nothing Marian or Laura can point to that would prove it. With little real cause to back down or run, the rules of polite society keep them going forward.
Laura is set to marry and she would rather not, but she gave her word. In a world where love isn't synonymous with marriage, and she has no hope of marrying for love because the man she has her heart set on is too poor for her, in a world where engagements aren't called off without good cause, she can foresee some unhappiness in her marriage, but not enough for her to run. With no relatives who have both the authority and the willingness to protect her, with no other clear prospects for the future, she moves forward.
But even if there's no confirmation of villainous intent, there are many signs of it, and her half-sister Marian spies, speculates and tries to outwit those who would do Laura harm in any way she can.
There are some parts of the story that disappointed me a little. Laura might be the object of great affection from both Marian and Walter, but she's just that: an object. We know she's beautiful, innocent and depends on the kindness of her friends, but she has very little else about her. If ever there was a female character replaceable by a lamp, it's surely Laura Fairlie.
But her notable lack of presence is more than made up for by the pompous evil genius of Count Fosco, who is both strangely likable and utterly hateful, and by Marian, who opposes him with great alertness and ingenuity. Aside from the two worthy adversaries, the abysmal uncle Fairlie is a masterpiece of petty evil.
The story is told by various characters in turn, each speaking only of the parts they were intimately involved with and of the things they've seen with their own eyes, in their own very different words, with their own interpretation of what went on. The result is splendid: a mystery on various levels, some of which come to be dead ends, but all of which are resolved by the end. You can almost feel how things will go, but there's always something new to surprise you with a sudden turn or false lead.
The sad thing about the constant change in literary styles is that some old favorites lose their initial impact - their language, once new, becomes antiquated, and their devices, once innovative, are repeated down the line until they're old.
Bionic Jean's review here talks about "The Woman in White" in historical context and I thoroughly recommend it if you want to know more.
Anyway. The book is longer and slower than what readers today tend to expect from their mystery novels. It also contains feeble women in distress, dastardly villains and a young man with a heart of gold - all played straight.
William Hartright is a drawing teacher whose services are employed at a remote manor in the countryside, where he is to instruct two women: the beautiful, innocent, straightforward Laura Fairlie, and her ugly, but very clever half-sister, Marian. William and Laura fall in love, but Laura is betrothed to a baronet, an thus the two separate in order to spare themselves trouble and suffering down the line.
As it happens, however, they *don't* save themselves any trouble or suffering down the line. Laura's betrothed, sir Percival, clearly has a villainous plot, and there's a woman in white who does her best to warn Laura off the impending marriage.
The great genius of this book is that, even if not much happens, it manages to project dread, uncertainty and unhappy anticipation, while making you feel that the chances of escape are slimmer and slimmer, that the snare is slowly closing in and the characters can't do much about it.
Admittedly, they are not unnable to act, as such, but they're crippled by the uncertainty of what villains intend. It's clear that something bad might happen, but there's nothing Marian or Laura can point to that would prove it. With little real cause to back down or run, the rules of polite society keep them going forward.
Laura is set to marry and she would rather not, but she gave her word. In a world where love isn't synonymous with marriage, and she has no hope of marrying for love because the man she has her heart set on is too poor for her, in a world where engagements aren't called off without good cause, she can foresee some unhappiness in her marriage, but not enough for her to run. With no relatives who have both the authority and the willingness to protect her, with no other clear prospects for the future, she moves forward.
But even if there's no confirmation of villainous intent, there are many signs of it, and her half-sister Marian spies, speculates and tries to outwit those who would do Laura harm in any way she can.
There are some parts of the story that disappointed me a little. Laura might be the object of great affection from both Marian and Walter, but she's just that: an object. We know she's beautiful, innocent and depends on the kindness of her friends, but she has very little else about her. If ever there was a female character replaceable by a lamp, it's surely Laura Fairlie.
But her notable lack of presence is more than made up for by the pompous evil genius of Count Fosco, who is both strangely likable and utterly hateful, and by Marian, who opposes him with great alertness and ingenuity. Aside from the two worthy adversaries, the abysmal uncle Fairlie is a masterpiece of petty evil.
The story is told by various characters in turn, each speaking only of the parts they were intimately involved with and of the things they've seen with their own eyes, in their own very different words, with their own interpretation of what went on. The result is splendid: a mystery on various levels, some of which come to be dead ends, but all of which are resolved by the end. You can almost feel how things will go, but there's always something new to surprise you with a sudden turn or false lead.
The audiobook, read by Billy Howle is fantastic. I’m living for it. It’s my second listen and I think I’m going to just listen again when it’s finished. It’s a really great novel and the characters are brought to life so superbly in this reading.
I loved this book so much I almost don’t know where to start in my review. The one thing I’ll say for now is that you know how you read some mysteries or thrillers and the author has to make the characters just a little slow or dumb so that they don’t figure clues out too quickly? You think you’re so smart reading the book but it’s done intentionally by the author because in our quick paced novels of today they wouldn’t have enough content to fill up a novel if the characters were smarter and could piece the puzzle together more quickly. Well, Woman in White isn’t like that. The characters are smart and quick; No second guessing or not believing their eyes. It was refreshing!
https://bookshop.org/a/93510/9780141439617
https://bookshop.org/a/93510/9780141439617
First time reading Woman in White, and enjoyed it. I know some people think it's slow and long winded, but I didn't find that. I was captivate from the beginning. The characters are amazing and loved Marian. It was interesting that the book started as a mystery then moved to a detective novel towards the end. I don't agree with people who say it's spooky, though it has sinister characters.
I was left guessing throughout, and would love to reread it to see if there is any clues which I've missed. Would love to read more Wilkie Collins now.
I was left guessing throughout, and would love to reread it to see if there is any clues which I've missed. Would love to read more Wilkie Collins now.
dark
emotional
mysterious
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Complicated
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
challenging
dark
mysterious
sad
tense
slow-paced
Plot or Character Driven:
Plot
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
No
mysterious
medium-paced