Take a photo of a barcode or cover
literary_leveret 's review for:
Orpheus Builds A Girl
by Heather Parry
challenging
dark
emotional
sad
slow-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
I received this book as an eARC in exchange for an honest review, thank you to Heather Parry, Pushwick Press, and NetGalley for the opportunity to read and review this work.
In the Author's Note at the end of the novel, Parry states that the fundamental question this novel is asking is "who owns a woman's body?" And while I can see and understands the themes of autonomy, misogyny, and violation in the text, I asked myself a different, more concerning fundamental question. What right does this novel have to exist?
While there are several cases presented in the Authors Note, it would be dishonest to pretend that this novel doesn't primarily retell the story of Elena Milagro de Hoyos, a victim of a man who felt his desire to possess her was more important than her finding peace in death. This man was absolved by the courts, and Elena's corpse was further disrespected by being used as essentially a sideshow attraction during the case.
Seeing these specific detailed repeated in this novel, as told from the point of view of a fictionalized version of the vile and reprehensible man (whom I refuse to name) who did this to her. Seeing these horrific deeds done to an even younger girl in the fictionalized "Luci" who stands in for Elena. It feels deeply disrespectful and distasteful. What does this novel seek to tell us, to teach us, beyond what we can learn from the case itself? Is this author herself engaging in an act of resurrection- parading Elena's story before us under the thin guise of changing a few details- therefore equally violating her decency and autonomy? Is it really the place of readers to enjoy the gory details of how the sanctity of Elena's body was taken from her. This is a question typically reserved for the True Crime genre, which this doesn't seem to be marketing itself as, wether or not that is a fair presentation of the novel is up for debate.
I take the lack of mention of any surviving relatives of the victims in the Acknowledgements as an implicit admission that they were not consulted on wether or not they want Elena- and the other women mentioned in the Author's Note- story to be told in this way. I am personally of the belief that it is unethical to release this book, in its current state, without their approval. That is why I am rating this book one star, for the fact it could be actively harmful and disrespectful to the memories of these women. Sensationalizing their and their families trauma for profit.
As for the quality of the novel, while the content reviled me, I have to admit that the writing is very skillfully executed. I enjoyed the distinct voices of Von Tore and Gabriela, in particular Gabriela's chapters were a breath of fresh air after having to endure the POV of a deranged, racist, misogynistic, ex-Nazi piece of trash. I loved the tenderness with which Gabriela described her family, her home, and her sister. I found myself wishing Luciana herself got to have a POV, at least in the first half, as her story is only told through the lens of those who love and obsess over her. Another way which the narrative robs her of autonomy.
Were it not for how heavily this novel draws on it's real life inspirations, I believe I could've enjoyed reading it. The gothic elements are very well executed and the horror was palpable, but the entire time I read felt this knot of disgust in my stomach that ran deeper than just the repulsion I felt towards Von Tore, instead it was a disgust with the way this novel seems to champion feminist themes and claims to represent the importance of autonomy- all while discarding how that applies to the women outside of the bound of it's fiction.
As the Author's Note states: "I know that change does come." And the change I hope to see is one where we stop using the stories of murdered and abused women for our entertainment.
In the Author's Note at the end of the novel, Parry states that the fundamental question this novel is asking is "who owns a woman's body?" And while I can see and understands the themes of autonomy, misogyny, and violation in the text, I asked myself a different, more concerning fundamental question. What right does this novel have to exist?
While there are several cases presented in the Authors Note, it would be dishonest to pretend that this novel doesn't primarily retell the story of Elena Milagro de Hoyos, a victim of a man who felt his desire to possess her was more important than her finding peace in death. This man was absolved by the courts, and Elena's corpse was further disrespected by being used as essentially a sideshow attraction during the case.
Seeing these specific detailed repeated in this novel, as told from the point of view of a fictionalized version of the vile and reprehensible man (whom I refuse to name) who did this to her. Seeing these horrific deeds done to an even younger girl in the fictionalized "Luci" who stands in for Elena. It feels deeply disrespectful and distasteful. What does this novel seek to tell us, to teach us, beyond what we can learn from the case itself? Is this author herself engaging in an act of resurrection- parading Elena's story before us under the thin guise of changing a few details- therefore equally violating her decency and autonomy? Is it really the place of readers to enjoy the gory details of how the sanctity of Elena's body was taken from her. This is a question typically reserved for the True Crime genre, which this doesn't seem to be marketing itself as, wether or not that is a fair presentation of the novel is up for debate.
I take the lack of mention of any surviving relatives of the victims in the Acknowledgements as an implicit admission that they were not consulted on wether or not they want Elena- and the other women mentioned in the Author's Note- story to be told in this way. I am personally of the belief that it is unethical to release this book, in its current state, without their approval. That is why I am rating this book one star, for the fact it could be actively harmful and disrespectful to the memories of these women. Sensationalizing their and their families trauma for profit.
As for the quality of the novel, while the content reviled me, I have to admit that the writing is very skillfully executed. I enjoyed the distinct voices of Von Tore and Gabriela, in particular Gabriela's chapters were a breath of fresh air after having to endure the POV of a deranged, racist, misogynistic, ex-Nazi piece of trash. I loved the tenderness with which Gabriela described her family, her home, and her sister. I found myself wishing Luciana herself got to have a POV, at least in the first half, as her story is only told through the lens of those who love and obsess over her. Another way which the narrative robs her of autonomy.
Were it not for how heavily this novel draws on it's real life inspirations, I believe I could've enjoyed reading it. The gothic elements are very well executed and the horror was palpable, but the entire time I read felt this knot of disgust in my stomach that ran deeper than just the repulsion I felt towards Von Tore, instead it was a disgust with the way this novel seems to champion feminist themes and claims to represent the importance of autonomy- all while discarding how that applies to the women outside of the bound of it's fiction.
As the Author's Note states: "I know that change does come." And the change I hope to see is one where we stop using the stories of murdered and abused women for our entertainment.
Content Warnings
Graphic: Death, Gore, Racism, Medical content, Medical trauma, Abortion, Classism
Moderate: Animal death, Child death, Sexual assault, Terminal illness, Death of parent, Schizophrenia/Psychosis , Injury/Injury detail
Minor: Drug use, Vomit, Alcohol