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ergative's review
3.5
This was quite a fat book, and I read it in a day, so it was definitely engaging. But it was clearly more interested in making a Discourse about the state of England-America relationships, and specifically transatlantic marriages between impoverished English aristocrats and wealthy American heiresses, than it was in telling a story with sophisticated plot or characterisation. Yet, in a way, perhaps because it was so interested in doing the Discourse, it also avoided certain plot elemens that might otherwise have been much too predictable and tiresome. For example, one component of the book involves a romance between (who else?) an impoverished Englihs aristogract and a wealthy American heiress.
mary_juleyre's review against another edition
adventurous
dark
emotional
funny
hopeful
inspiring
reflective
sad
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.5
Content Warnings
Moderate: Death and Domestic abuse
neom's review
dark
emotional
sad
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? No
3.0
belleoftheb00ks's review against another edition
emotional
hopeful
medium-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? No
4.0
hannahgladwin's review against another edition
hopeful
inspiring
reflective
relaxing
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? No
5.0
csd17's review
4.0
Potential Trigger Warning
Betty Vanderpoel's older sister, Rosy, married an Earl, moved from New York to his estate in England, and hasn't been heard from in years. After the end of her education at a prestigious finishing school, Betty decides to find out what happened and boards "The Shuttle," Burnett's term for the scores of ships making their way across the ocean between American and "the Continent." What she discovers is hardly a surprise, it's how Burnett does it that was unexpected.
Did you know that the author of [b:The Secret Garden|2998|The Secret Garden|Frances Hodgson Burnett|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327873635l/2998._SY75_.jpg|3186437] and [b:A Little Princess|3008|A Little Princess|Frances Hodgson Burnett|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327868556l/3008._SY75_.jpg|1313599] wrote books about adults? I didn't. In fact, I'm not really sure where I found out about it, but I'm glad I did, even though it has its downsides. Those, unfortunately, include an old-fashioned amount of foreshadowing, some melodramatics, a questionable amount of negativity towards the British upper class(I mean, they're people too) and an incredibly stuck-up neighbor.
But Burnett's exploration of the psychological effects of abuse is stunningly accurate. Her astute observations, through Betty's eyes, are something you wouldn't expect in a book written in 1907. Nor would you expect it to be Betty, a woman, to be the one rushing off to help the lady in distress. This is, for its time, a remarkably feminist book---highlighting both the rampant issues facing women in that time-period(difficulty in proving abuse, loss of children due to divorce, public scandal, and ruined reputations) and the slowly expanding opportunities they were being given(education, business, and humanitarian work).
Also given a re-worked treatment is the topic of attempted rape. During my graduate work, I read Samuel Richardson's [b:Clarissa, or, the History of a Young Lady|529243|Clarissa, or, the History of a Young Lady|Samuel Richardson|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1373639647l/529243._SY75_.jpg|2767990] (spare yourself, if you can). Clarissa, as blameless as she is, spends a lot of time fainting, losing her mind, and blaming herself. None of that is present here.Betty attempts her own defense, first physically and then, when given a chance, outsmarts him with her own wit.
It was, in its way, a refreshingly honest and unexpectedly true-to-life view of real issues. No glossing over period ills here. I suspect, just from a glance, that some of this stemmed from Burnett's own life experiences. Which is why I finished the book in spite of the rather pointed negative observations, both stated and unstated, regarding the Americans, the British, and the upper class. Because Burnett was familiar with both countries and the most qualified, yet compassionate, critiques often come from those who are members of the critiqued group.
Betty Vanderpoel's older sister, Rosy, married an Earl, moved from New York to his estate in England, and hasn't been heard from in years. After the end of her education at a prestigious finishing school, Betty decides to find out what happened and boards "The Shuttle," Burnett's term for the scores of ships making their way across the ocean between American and "the Continent." What she discovers is hardly a surprise, it's how Burnett does it that was unexpected.
Did you know that the author of [b:The Secret Garden|2998|The Secret Garden|Frances Hodgson Burnett|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327873635l/2998._SY75_.jpg|3186437] and [b:A Little Princess|3008|A Little Princess|Frances Hodgson Burnett|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327868556l/3008._SY75_.jpg|1313599] wrote books about adults? I didn't. In fact, I'm not really sure where I found out about it, but I'm glad I did, even though it has its downsides. Those, unfortunately, include an old-fashioned amount of foreshadowing, some melodramatics, a questionable amount of negativity towards the British upper class(I mean, they're people too) and an incredibly stuck-up neighbor.
But Burnett's exploration of the psychological effects of abuse is stunningly accurate. Her astute observations, through Betty's eyes, are something you wouldn't expect in a book written in 1907. Nor would you expect it to be Betty, a woman, to be the one rushing off to help the lady in distress. This is, for its time, a remarkably feminist book---highlighting both the rampant issues facing women in that time-period(difficulty in proving abuse, loss of children due to divorce, public scandal, and ruined reputations) and the slowly expanding opportunities they were being given(education, business, and humanitarian work).
Also given a re-worked treatment is the topic of attempted rape. During my graduate work, I read Samuel Richardson's [b:Clarissa, or, the History of a Young Lady|529243|Clarissa, or, the History of a Young Lady|Samuel Richardson|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1373639647l/529243._SY75_.jpg|2767990] (spare yourself, if you can). Clarissa, as blameless as she is, spends a lot of time fainting, losing her mind, and blaming herself. None of that is present here.
It was, in its way, a refreshingly honest and unexpectedly true-to-life view of real issues. No glossing over period ills here. I suspect, just from a glance, that some of this stemmed from Burnett's own life experiences. Which is why I finished the book in spite of the rather pointed negative observations, both stated and unstated, regarding the Americans, the British, and the upper class. Because Burnett was familiar with both countries and the most qualified, yet compassionate, critiques often come from those who are members of the critiqued group.
wealhtheow's review against another edition
3.0
As the twentieth century begins, a sweet young pliable American heiress marries Sir Nigel Anstruthers, an impoverished English gentleman. To her ill-luck, he proves to be a manipulative bully, and he makes her life miserable. A dozen years later, the heiress's younger sister Betty, who has more wits and pluck than most, arrives to rescue her sister.
Betty is an intoxicating character: cool and self-possessed, smart, perceptive, unfailingly kind, and inquisitive. When she's first introduced she's a square-faced little brat glaring at her sister's fiance. Years of expensive boarding schools and business trips with her father help transform her into a heroine. When she first descends upon her sister's village, it seems there is nothing beyond her talents. She instantly charms the villagers with her good sense and kind gifts, charms the gentry with her manners and beauty, and cheers up her downtrodden sister&nephew. By chance, Betty meets Lord Mount Dunstan, who is as sensible and active as she is, but alas, has no money to keep up his ancient family estate. We're told they're clearly made for each other (although Mount Dunstan is a mere shadow puppet compared to Betty's intense and deep characterization, and his continual whinings about having no money irked me), and it seems that the only plot to the novel will be whether Mount Dunstan will get over his pride and ask Betty to marry him.
But then! Sir Nigel Anstruthers reappears upon the scene. And damn, he is a nasty piece of work. At first, it seems that Betty will easily beat him--but as time goes on, Nigel's sly comments and male gender serve him well, and Betty's reputation grows precarious. Nigel is actually dangerously good at gaslighting and turning people against each other, and began to grow quiet worried.Just when I got really scared, though, first Mount Dunstan saves Betty from physical danger and then Nigel fortuitously has a stroke just when he's about to ruin his wife's reputation. It felt like a cop-out--it was very unsatisfying. I wanted Nigel taken down using the law or for Betty to socially destroy him. Instead, he becomes paralyzed&non-communicative (a terrible fate, to be sure) and everyone pretends he didn't torment his family and waste all their money. Providing a united front to the lower classes was apparently more important than justice.
This is an interesting book, because you can see the gleamings of feminism and class consciousness peaking through here and there, but Burnett always pulls back. For instance, this book was written & set long before the Matrimonial Causes Act of 1923 made it possible for British women to divorce their husbands for anything less than proven adultery AND incest/bigamy/sodomy. Husbands could cheat on their spouses without fear of reprisal, and treat their wives as they pleased, generally--I remember a case where a judge ruled that a husband literally starving his wife wasn't abuse, because after all, if she wanted him to start feeding her she could just stop annoying him. In the event of a divorce (at this time, a very expensive and drawn out affair that required, iirc, 3 trials!), custody of children would always be awarded to their father. And of course, just trying to get a divorce was scandalous (see: [b:The Age of Innocence|53835|The Age of Innocence|Edith Wharton|http://photo.goodreads.com/books/1328753115s/53835.jpg|1959512]). So in this story, Betty and Rosalie don't even talk about starting divorce proceedings against Nigel--it's not really an option for them. Betty's tactic is just to make Rosalie's home a comfortable one by lending her money, and hope that Nigel will stay away. It was really painful to read how few options or hope even a very resourceful, wealthy, popular, beautiful and fictional lady has in this era. But at no point does Burnett actually advocate for change, whether in society or in the law--her otherwise voluable characters remain silent in this regard. So too does Burnett pull back from examining whether it's fair that some people have millions while people literally freeze to death feet away from them. Her heroes spend a lot of time bemoaning the (virtuous) poor's poverty and providing charity, but the idea that perhaps fair wages should be mandated, or old age pensions provided to all, is never considered by anyone. The whole relationship between rich and poor in this book is like libertarianism mixed up with Victorian sentiment.
In the end, this was an odd mix of fantasy (from the very character of Betty, who is delightfully too good to be true, to the spiritualism that saves Mount Dunstan's life), gothic horror (Nigel and his treatment of his wife and son), and romance.
Betty is an intoxicating character: cool and self-possessed, smart, perceptive, unfailingly kind, and inquisitive. When she's first introduced she's a square-faced little brat glaring at her sister's fiance. Years of expensive boarding schools and business trips with her father help transform her into a heroine. When she first descends upon her sister's village, it seems there is nothing beyond her talents. She instantly charms the villagers with her good sense and kind gifts, charms the gentry with her manners and beauty, and cheers up her downtrodden sister&nephew. By chance, Betty meets Lord Mount Dunstan, who is as sensible and active as she is, but alas, has no money to keep up his ancient family estate. We're told they're clearly made for each other (although Mount Dunstan is a mere shadow puppet compared to Betty's intense and deep characterization, and his continual whinings about having no money irked me), and it seems that the only plot to the novel will be whether Mount Dunstan will get over his pride and ask Betty to marry him.
But then! Sir Nigel Anstruthers reappears upon the scene. And damn, he is a nasty piece of work. At first, it seems that Betty will easily beat him--but as time goes on, Nigel's sly comments and male gender serve him well, and Betty's reputation grows precarious. Nigel is actually dangerously good at gaslighting and turning people against each other, and began to grow quiet worried.
This is an interesting book, because you can see the gleamings of feminism and class consciousness peaking through here and there, but Burnett always pulls back. For instance, this book was written & set long before the Matrimonial Causes Act of 1923 made it possible for British women to divorce their husbands for anything less than proven adultery AND incest/bigamy/sodomy. Husbands could cheat on their spouses without fear of reprisal, and treat their wives as they pleased, generally--I remember a case where a judge ruled that a husband literally starving his wife wasn't abuse, because after all, if she wanted him to start feeding her she could just stop annoying him. In the event of a divorce (at this time, a very expensive and drawn out affair that required, iirc, 3 trials!), custody of children would always be awarded to their father. And of course, just trying to get a divorce was scandalous (see: [b:The Age of Innocence|53835|The Age of Innocence|Edith Wharton|http://photo.goodreads.com/books/1328753115s/53835.jpg|1959512]). So in this story, Betty and Rosalie don't even talk about starting divorce proceedings against Nigel--it's not really an option for them. Betty's tactic is just to make Rosalie's home a comfortable one by lending her money, and hope that Nigel will stay away. It was really painful to read how few options or hope even a very resourceful, wealthy, popular, beautiful and fictional lady has in this era. But at no point does Burnett actually advocate for change, whether in society or in the law--her otherwise voluable characters remain silent in this regard. So too does Burnett pull back from examining whether it's fair that some people have millions while people literally freeze to death feet away from them. Her heroes spend a lot of time bemoaning the (virtuous) poor's poverty and providing charity, but the idea that perhaps fair wages should be mandated, or old age pensions provided to all, is never considered by anyone. The whole relationship between rich and poor in this book is like libertarianism mixed up with Victorian sentiment.
In the end, this was an odd mix of fantasy (from the very character of Betty, who is delightfully too good to be true, to the spiritualism that saves Mount Dunstan's life), gothic horror (Nigel and his treatment of his wife and son), and romance.
emmaconstantly's review against another edition
adventurous
slow-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? No
4.0
marthaguymaid's review
emotional
hopeful
sad
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
4.0
bookadventurer's review against another edition
adventurous
hopeful
inspiring
medium-paced
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
5.0