You need to sign in or sign up before continuing.
Take a photo of a barcode or cover
camillaschmidt 's review for:
The Evening and the Morning
by Ken Follett
challenging
dark
sad
tense
slow-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Complicated
Ken Follett is synonymous with epic historical novels, and The Evening and the Morning certainly lives up to that reputation as a sprawling prequel to his beloved Kingsbridge series. If you're seeking a deep dive into a captivating historical period, this book undoubtedly delivers. However, as with any ambitious work, it comes with a few considerations worth noting.
Follett truly excels at world-building, and this is where the novel immediately shines. The setting of 10th-century England is not just described; it's meticulously crafted, enveloping you in its atmosphere. You can practically smell the woodsmoke and feel the chill of the early morning air, creating an incredibly vivid backdrop for the narrative. This period, in particular, is a fantastic era to explore, brimming with political intrigue, societal upheaval, and the raw beginnings of what would become a powerful nation. Complementing this immersive setting, the novel masterfully balances its unpleasant scenes. Follett handles the darker aspects of the time with a deft touch, depicting them without being overly graphic yet never shying away from their genuine impact. It's enough to convey the harsh realities of the era without ever feeling gratuitous.
Despite its considerable length, The Evening and the Morning never truly drags; in fact, the pacing is surprisingly consistent. Something is always happening, keeping the plot moving forward and ensuring the pages turn steadily. This consistent engagement is further aided by the writing style, which is accessible and easy to read, making for a smooth journey through a complex historical landscape. You'll find yourself effortlessly following the various interwoven storylines and a multitude of characters, a testament to Follett's storytelling prowess.
While there's a great deal to admire, the book's primary stumbling block, and one of my biggest frustrations, lies in its character development. This was a significant hurdle to overcome because the characters often feel incredibly one-dimensional, falling squarely into either "all good" or "all evil" categories. In reality, human beings are far more complex, and this lack of nuance made it genuinely difficult to forge any meaningful connection with them.
The "good" characters, especially Edgar, the protagonist, frequently come across as almost too virtuous, constantly seeking justice and moral righteousness to an almost unrealistic degree. Furthermore, Edgar felt like a bit of a "wonder-kid"—seemingly capable of pretty much anything, which severely strained credulity. On the flip side, the "evil" characters felt so cartoonishly malevolent that they bordered on comical. There's little to no explanation for their wickedness, making them feel less like believable people and more like convenient plot devices. Ultimately, this pervasive lack of depth meant it was hard to truly care about what happened to any of them.
This flatness wasn't confined to individual personalities; it extended to the overall feel of the narrative, which often felt like watching a play unfold. The characters seemed to exist primarily within the world and the plot, rather than actively shaping or influencing it. Their dialogue often reinforced this theatrical feel, sounding more like lines being read aloud than natural, organic conversations. Moreover, even the central relationship between the two main characters felt unrealistic for the historical period, stretching the bounds of believability given the societal norms of the time.
Finally, while the pacing was generally good throughout the majority of the book, it suffered a noticeable shift towards the end. For about 80% of the novel, the pace is deliberate and slow-burning, which works effectively for such an expansive story. However, the last 20% suddenly shifts to a medium-fast pace, which felt jarring and ultimately undermined the conclusion. This strange contrast left the ending feeling a bit rushed and anticlimactic.
All in all, The Evening and the Morning is a massive historical undertaking boasting a fantastic setting and an engaging plot that will undoubtedly keep you turning pages. However, its struggles with character depth and some of its narrative choices prevent it from being a truly immersive and emotionally resonant experience.
I'd place it somewhere between "it was okay" and "I liked it," perhaps a 3.25 out of 5 stars. If you're a die-hard fan of historical fiction and can overlook some flat characters for a richly detailed historical backdrop, you might still thoroughly enjoy the ride.
Follett truly excels at world-building, and this is where the novel immediately shines. The setting of 10th-century England is not just described; it's meticulously crafted, enveloping you in its atmosphere. You can practically smell the woodsmoke and feel the chill of the early morning air, creating an incredibly vivid backdrop for the narrative. This period, in particular, is a fantastic era to explore, brimming with political intrigue, societal upheaval, and the raw beginnings of what would become a powerful nation. Complementing this immersive setting, the novel masterfully balances its unpleasant scenes. Follett handles the darker aspects of the time with a deft touch, depicting them without being overly graphic yet never shying away from their genuine impact. It's enough to convey the harsh realities of the era without ever feeling gratuitous.
Despite its considerable length, The Evening and the Morning never truly drags; in fact, the pacing is surprisingly consistent. Something is always happening, keeping the plot moving forward and ensuring the pages turn steadily. This consistent engagement is further aided by the writing style, which is accessible and easy to read, making for a smooth journey through a complex historical landscape. You'll find yourself effortlessly following the various interwoven storylines and a multitude of characters, a testament to Follett's storytelling prowess.
While there's a great deal to admire, the book's primary stumbling block, and one of my biggest frustrations, lies in its character development. This was a significant hurdle to overcome because the characters often feel incredibly one-dimensional, falling squarely into either "all good" or "all evil" categories. In reality, human beings are far more complex, and this lack of nuance made it genuinely difficult to forge any meaningful connection with them.
The "good" characters, especially Edgar, the protagonist, frequently come across as almost too virtuous, constantly seeking justice and moral righteousness to an almost unrealistic degree. Furthermore, Edgar felt like a bit of a "wonder-kid"—seemingly capable of pretty much anything, which severely strained credulity. On the flip side, the "evil" characters felt so cartoonishly malevolent that they bordered on comical. There's little to no explanation for their wickedness, making them feel less like believable people and more like convenient plot devices. Ultimately, this pervasive lack of depth meant it was hard to truly care about what happened to any of them.
This flatness wasn't confined to individual personalities; it extended to the overall feel of the narrative, which often felt like watching a play unfold. The characters seemed to exist primarily within the world and the plot, rather than actively shaping or influencing it. Their dialogue often reinforced this theatrical feel, sounding more like lines being read aloud than natural, organic conversations. Moreover, even the central relationship between the two main characters felt unrealistic for the historical period, stretching the bounds of believability given the societal norms of the time.
Finally, while the pacing was generally good throughout the majority of the book, it suffered a noticeable shift towards the end. For about 80% of the novel, the pace is deliberate and slow-burning, which works effectively for such an expansive story. However, the last 20% suddenly shifts to a medium-fast pace, which felt jarring and ultimately undermined the conclusion. This strange contrast left the ending feeling a bit rushed and anticlimactic.
All in all, The Evening and the Morning is a massive historical undertaking boasting a fantastic setting and an engaging plot that will undoubtedly keep you turning pages. However, its struggles with character depth and some of its narrative choices prevent it from being a truly immersive and emotionally resonant experience.
I'd place it somewhere between "it was okay" and "I liked it," perhaps a 3.25 out of 5 stars. If you're a die-hard fan of historical fiction and can overlook some flat characters for a richly detailed historical backdrop, you might still thoroughly enjoy the ride.