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thebooktrail88's review against another edition
4.0
Visit the locations in the novel
Sophia Tobin writes a darn good gothic tale! If you read this on the Yorkshire moors where the book is set, in the middle of winter, you will chill yourself and you might even see White Windows, the house, as it seems so real.
It put me in mind of Wuthering Heights and Jane Eyre as it has that kind of chilling, remote, raw, wild feel to it all. Annaleigh comes from London to work at the gothic house there and to become its housekeeper. There’s the lonesome master and a sister there but they’re not what she is expecting and there’s something odd and strange about them and the house. Chill factor alert!
The moors and the gothic house really are the star of the show but the characters…oh let’s not forget them…so vividly drawn and dark…Annaleigh faces one challenge after another and has to decide how she will live at the house and how she will deal with those already there. But how will they deal with her? This is claustrophobic and ominous, with a sense of foreboding wrapping and whistling around the moors like the wind itself. The mysterious Twentymans are some of the most deliciously gothic creations I’ve read in some time.
Sophia Tobin weaves an intricate spell in these pages and it’s a delight to read although I may avoid a visit to the Yorkshire moors until the memories fade…..
uggy90's review against another edition
challenging
dark
emotional
sad
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
Content Warnings
Graphic: Rape
Moderate: Kidnapping and Drug abuse
Minor: Child death
honeyblood's review against another edition
1.0
This started off creepy and delightful, if incredibly derivative of Jane Eyre, and ended up being really absurd in the worst way.
amyetherington's review against another edition
1.0
This started so well, what happened?? I got more annoyed and frustrated with it as I read on, and it's been a long time since a book made me feel that way.
By the time it was finished I wanted to do nothing more than throw it against the wall, but I settled on putting it straight on my books-to-donate pile. The characters had no morals, their motives were unbelievable, and the story went in a direction that I just hated. It made me uncomfortable at times to read on, leaving me frustrated and annoyed. No spoilers, but I most of the time wanted to do nothing more than teleport in to the story to kick most of the characters in the dick.
Nope, The Vanishing and I did not get on.
By the time it was finished I wanted to do nothing more than throw it against the wall, but I settled on putting it straight on my books-to-donate pile. The characters had no morals, their motives were unbelievable, and the story went in a direction that I just hated. It made me uncomfortable at times to read on, leaving me frustrated and annoyed. No spoilers, but I most of the time wanted to do nothing more than teleport in to the story to kick most of the characters in the dick.
Nope, The Vanishing and I did not get on.
honeyedblood's review against another edition
1.0
This started off creepy and delightful, if incredibly derivative of Jane Eyre, and ended up being really absurd in the worst way.
joecam79's review against another edition
4.0
3.5*
It seems that within the wide and varied genre of "historical fiction" there is an ever-increasing interest in Gothic romance and "sensation fiction". Many authors do not only set their stories in the 18th and 19th centuries, but also borrow from the genres popular in the period. Sophia Tobin's "The Vanishing" is a typical example. It follows the destiny of one Annaleigh, a foundling raised by a London artist named Jared. Annaleigh's adoptive parents disapprove of her budding relationship with Jared's stepson, and so she takes on the position of housekeeper at "White Windows", a remote house on the Yorkshire moors. The owners of the house - the dashing Marcus Twentyman and his eccentric sister Hester - are viewed with suspicion by the locals. However, despite dark warnings from several well-wishers not to become too "involved" with the Twentymans, Annaleigh is unexpectedly attracted to Marcus, with devastating consequences.
Some "neo-Gothic" writers try to subvert the genre but Tobin is happy to rely on the tropes of 19th century fiction to recreate the feel of a novel of the time, if with a less "coy" approach to scenes of sex and violence. The Yorkshire moors - bleak and dangerous and yet, like Marcus, strangely beguiling - will surely recall the novels of the Brontës. The dark mansion where the plot pans out, the shadows seemingly haunted by former occupiers, the galleries of ancient portraits, servants who know more than they will tell... this is Gothic at its typical and most gripping. And when the plot becomes more convoluted, secrets are uncovered and the action moves to London, one feels the marked influence of Wilkie Collins and 'sensation fiction'. In other words, this is a novel where you are expected to suspend your disbelief and enjoy the ride - and it's none the worse for that.
It seems that within the wide and varied genre of "historical fiction" there is an ever-increasing interest in Gothic romance and "sensation fiction". Many authors do not only set their stories in the 18th and 19th centuries, but also borrow from the genres popular in the period. Sophia Tobin's "The Vanishing" is a typical example. It follows the destiny of one Annaleigh, a foundling raised by a London artist named Jared. Annaleigh's adoptive parents disapprove of her budding relationship with Jared's stepson, and so she takes on the position of housekeeper at "White Windows", a remote house on the Yorkshire moors. The owners of the house - the dashing Marcus Twentyman and his eccentric sister Hester - are viewed with suspicion by the locals. However, despite dark warnings from several well-wishers not to become too "involved" with the Twentymans, Annaleigh is unexpectedly attracted to Marcus, with devastating consequences.
Some "neo-Gothic" writers try to subvert the genre but Tobin is happy to rely on the tropes of 19th century fiction to recreate the feel of a novel of the time, if with a less "coy" approach to scenes of sex and violence. The Yorkshire moors - bleak and dangerous and yet, like Marcus, strangely beguiling - will surely recall the novels of the Brontës. The dark mansion where the plot pans out, the shadows seemingly haunted by former occupiers, the galleries of ancient portraits, servants who know more than they will tell... this is Gothic at its typical and most gripping. And when the plot becomes more convoluted, secrets are uncovered and the action moves to London, one feels the marked influence of Wilkie Collins and 'sensation fiction'. In other words, this is a novel where you are expected to suspend your disbelief and enjoy the ride - and it's none the worse for that.
eseide's review against another edition
3.0
Set in the dreary Yorkshire moors . . . Annaleigh, a foundling raised by a portrait painter, runs from a doomed romantic entanglement to be a servant at White Windows to a brother and sister, Marcus and Hester Twentyman.
Two other mysterious servants warn her not to develop any kind of friendship with the Twentymans, no matter how warm or inviting they seem. Annaleigh soon discovers that Marcus is volatile and tempestuous, often running into the foggy moor at night to be alone. Hester is timid and paranoid, and suffers from crippling headaches.
The beginning of the story is compelling and has all the elements required for a juicy gothic thriller. The darkness and isolation of the moors enhance the creepiness and claustrophobia of White Windows. There is no escape from the house, nowhere to run. The atmosphere is chilling with a constant presence of foreboding.
The second half of the book, however, becomes more unbelievable, and the characters are inconsistent. Their motivations are ambiguous and their reactions are often incongruous with their earlier temperaments. The story is still interesting enough keep the pages turning, but it requires a strong desire to suspend disbelief in order to accept the plot developments. The plot twists left me with a lot of questions, and the inexplicable actions of the characters were distracting.
I always enjoy a spooky tale, and The Vanishing did not disappoint, but other reviewers’ comparisons to Jane Eyre and Fingersmith are too generous. Despite its flaws, if you seek out Gothic mysteries, as I do, The Vanishing is for you.
Many thanks to Netgalley and Simon and Schuster for the advance copy.
Two other mysterious servants warn her not to develop any kind of friendship with the Twentymans, no matter how warm or inviting they seem. Annaleigh soon discovers that Marcus is volatile and tempestuous, often running into the foggy moor at night to be alone. Hester is timid and paranoid, and suffers from crippling headaches.
The beginning of the story is compelling and has all the elements required for a juicy gothic thriller. The darkness and isolation of the moors enhance the creepiness and claustrophobia of White Windows. There is no escape from the house, nowhere to run. The atmosphere is chilling with a constant presence of foreboding.
The second half of the book, however, becomes more unbelievable, and the characters are inconsistent. Their motivations are ambiguous and their reactions are often incongruous with their earlier temperaments. The story is still interesting enough keep the pages turning, but it requires a strong desire to suspend disbelief in order to accept the plot developments. The plot twists left me with a lot of questions, and the inexplicable actions of the characters were distracting.
I always enjoy a spooky tale, and The Vanishing did not disappoint, but other reviewers’ comparisons to Jane Eyre and Fingersmith are too generous. Despite its flaws, if you seek out Gothic mysteries, as I do, The Vanishing is for you.
Many thanks to Netgalley and Simon and Schuster for the advance copy.
jbamlove's review against another edition
2.0
I should have loved this book: gothic, historical fiction with a mystery. But when such a thing is done with shallow character development, subplots that go nowhere, and relationships based on pretty much nothing, it is a great disappointment. I won't spoil the "reveal," but I guarantee you will be underwhelmed by it.
Thanks to Netgalley for providing free digital access to this title in exchange for my honest opinion.
Thanks to Netgalley for providing free digital access to this title in exchange for my honest opinion.
abookishtype's review against another edition
4.0
One of the most difficult skills to learn in life is discovering who one can trust. I daresay it’s a skill that takes a lifetime to learn, even though some people say they are a good judge of character. Annaleigh Calvert learns this lesson the hard way in Sophia Tobin’s The Vanishing, a gripping thriller set in Yorkshire in 1815. By the end of this book, I had had my socks knocked right off. I had no idea what I was getting into when I started it. And I loved every chapter of it...
Read the rest of my review at A Bookish Type. I received a free copy of this book from the publisher via NetGalley, for review consideration.
Read the rest of my review at A Bookish Type. I received a free copy of this book from the publisher via NetGalley, for review consideration.
amalia1985's review against another edition
4.0
‘’ Everything was still; no rain, only the touch of wind as I walked, with the occasional call of birds in the desolation. I looked at the reddish bracken; the tall grasses; the sugary purple of the heather the colour of fondants Hester loved to eat, the bees buzzing over it, drowsy in the gloom. The grasses were of different colours and forms, from red to a startling green. I wished I could name them; but every sound and plant was foreign to me and fascinating.''
Annaleigh finds work as a housekeeper in an estate somewhere in the wild, wuthering land of the Yorkshire Moors. The mansion is occupied by a handful of servants and two siblings, Marcus and Hester Twentyman, the owners of White Windows. This is 1814, everything is difficult. The financial status of the less privileged families, the mercurial landscape. But nothing is more dangerous than the human soul.
'My fears of rain had not been justified, for it had turned into one of those bright autumn afternoons that seem to pierce the soul with their particular beauty, a golden light on the land and the shadows sharp edged, and the soft light was kind to the house. Nothing could soften those stark outliners, but on a distant green hill the sun shone, and suddenly it did not seem as isolated as it had been.''
British Gothic Fiction is a universe on its own. Its characteristics are used to create outstanding stories. But that is rare. Most of the time, we have works where the scenery is perfect but the story begs for an adequate writer. In my opinion, Sophia Tobin is a very good writer. She chose to set her plot during the Regency era, something that doesn't happen often, within the land of Yorkshire. This is already an advantage. Tobin transfers the moorlands right into the eyes and the mind of the reader. She uses the mysterious, dark mansion trope to ''house'' her characters. But all these merely compose the backdrop of Annaleigh's adventure. What is terrifying is the spot-on depiction of the monster that lurks within us all.
Nature and houses are no threat to us. Madness, obsessions and wickedness. These are the lethal dangers. Add poverty and desperation in a time where the choices of women were frightfully limited and you have a claustrophobic situation which cannot be escaped without consequences. I appreciated the fact that Tobin doesn't underestimate our intelligence by serving everything in every step of the action. I was trying to find the answers, I kept guessing as to the motives of the characters, Annaleigh's life in London, the potential helpers and their possible lack of honesty. It does get a bit repetitive and predictable but I liked its ambiguity. If we have all the answers served on a plate, we become automatons that merely turn pages. So, this was an interesting and overall satisfying reading experience.
Comparisons to classic works are futile and useful only to the editors creating the back covers of books. There can only be one Wuthering Heights, one Jane Eyre, one Jamaica's Inn. This isn't a Laura Purcell masterpiece, but it is a well-written story, with excellent atmosphere, an interesting plot and a very sympathetic heroine.
*This is NOT a Victorian novel. This is the Regency era. I am tired of everyone thinking that when a novel is set in a manor we find ourselves in the Victorian times. When one decides to write a review, the least one can do is check the basic facts. Google it, for God's sake!*
''But I was without sense, and without feeling.''
My reviews can also be found on https://theopinionatedreaderblog.wordpress.com/
Annaleigh finds work as a housekeeper in an estate somewhere in the wild, wuthering land of the Yorkshire Moors. The mansion is occupied by a handful of servants and two siblings, Marcus and Hester Twentyman, the owners of White Windows. This is 1814, everything is difficult. The financial status of the less privileged families, the mercurial landscape. But nothing is more dangerous than the human soul.
'My fears of rain had not been justified, for it had turned into one of those bright autumn afternoons that seem to pierce the soul with their particular beauty, a golden light on the land and the shadows sharp edged, and the soft light was kind to the house. Nothing could soften those stark outliners, but on a distant green hill the sun shone, and suddenly it did not seem as isolated as it had been.''
British Gothic Fiction is a universe on its own. Its characteristics are used to create outstanding stories. But that is rare. Most of the time, we have works where the scenery is perfect but the story begs for an adequate writer. In my opinion, Sophia Tobin is a very good writer. She chose to set her plot during the Regency era, something that doesn't happen often, within the land of Yorkshire. This is already an advantage. Tobin transfers the moorlands right into the eyes and the mind of the reader. She uses the mysterious, dark mansion trope to ''house'' her characters. But all these merely compose the backdrop of Annaleigh's adventure. What is terrifying is the spot-on depiction of the monster that lurks within us all.
Nature and houses are no threat to us. Madness, obsessions and wickedness. These are the lethal dangers. Add poverty and desperation in a time where the choices of women were frightfully limited and you have a claustrophobic situation which cannot be escaped without consequences. I appreciated the fact that Tobin doesn't underestimate our intelligence by serving everything in every step of the action. I was trying to find the answers, I kept guessing as to the motives of the characters, Annaleigh's life in London, the potential helpers and their possible lack of honesty. It does get a bit repetitive and predictable but I liked its ambiguity. If we have all the answers served on a plate, we become automatons that merely turn pages. So, this was an interesting and overall satisfying reading experience.
Comparisons to classic works are futile and useful only to the editors creating the back covers of books. There can only be one Wuthering Heights, one Jane Eyre, one Jamaica's Inn. This isn't a Laura Purcell masterpiece, but it is a well-written story, with excellent atmosphere, an interesting plot and a very sympathetic heroine.
*This is NOT a Victorian novel. This is the Regency era. I am tired of everyone thinking that when a novel is set in a manor we find ourselves in the Victorian times. When one decides to write a review, the least one can do is check the basic facts. Google it, for God's sake!*
''But I was without sense, and without feeling.''
My reviews can also be found on https://theopinionatedreaderblog.wordpress.com/