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A review by saffyjadd
Cleopatra and Frankenstein by Coco Mellors
dark
reflective
sad
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.5
Review contains minor spoilers.
This book feels like a fever dream. The manic-pixie artist struggles with the darkness that hovers over everything she does. When she meets older, alcohol-loving, fun guy Frank they explode in a fever dream of drugs and parties and attempted domesticity.
Just to say, I enjoyed this book. I was compelled to keep reading, I wanted to know what happened. I didn't love every aspect of it, for example, the characters (who are decently explored - most named characters get at least one of their own perspective chapters) are mostly horrendously cliched. Cleo's best friend, Quentin, for example, is a gay man addicted to drugs, dabbles in promiscuity and toxic relationships and gender presentation. Santiago, the gentle, overweight friend who loves to cook and hates how he looks. Anders, the aging model who sleeps with literally everyone without ever seeing them as human. It feels a little clumsy and I would've enjoyed a bit more complexity from them. The main exception being Eleanor, a character introduced tremendously in a montage-of-sorts chapter of her first day at her new job, who is a delight to read and root for.
Frank's seemingly endless supply of money from his ad agency conveniently assuages all of the money problems in the novel. Even when characters are "broke", their financial safety doesn't ever feel at risk. Zoe comes the closest to true poverty, but even then, we see it's because she doesn't want to ask for help, rather than having no feasible avenues.
I enjoy later when Frank challenges his notion that Cleo is a good artist merely because she's tortured enough to be. I did not find redemption in Cleo's character and, in fact, she's the character who declined most for me in terms of likeability. Her final "art" piece is not bad as it is. Making Frank experience it is a punch to the face of her possible redemption.
The book is hinged upon the reader believing this unbreakable bond between the two main characters, this undeniable draw and relation. And yet, save for about 2 hours, the first 6 months of their getting to know one another happens entirely off-page. This works for world building, but in a book that relies so heavily on the importance of the central relationship, it feels lazy and half-baked. Show me that they can't live without each other, don't tell me.
This book feels like a fever dream. The manic-pixie artist struggles with the darkness that hovers over everything she does. When she meets older, alcohol-loving, fun guy Frank they explode in a fever dream of drugs and parties and attempted domesticity.
Just to say, I enjoyed this book. I was compelled to keep reading, I wanted to know what happened. I didn't love every aspect of it, for example, the characters (who are decently explored - most named characters get at least one of their own perspective chapters) are mostly horrendously cliched. Cleo's best friend, Quentin, for example, is a gay man addicted to drugs, dabbles in promiscuity and toxic relationships and gender presentation. Santiago, the gentle, overweight friend who loves to cook and hates how he looks. Anders, the aging model who sleeps with literally everyone without ever seeing them as human. It feels a little clumsy and I would've enjoyed a bit more complexity from them. The main exception being Eleanor, a character introduced tremendously in a montage-of-sorts chapter of her first day at her new job, who is a delight to read and root for.
Frank's seemingly endless supply of money from his ad agency conveniently assuages all of the money problems in the novel. Even when characters are "broke", their financial safety doesn't ever feel at risk. Zoe comes the closest to true poverty, but even then, we see it's because she doesn't want to ask for help, rather than having no feasible avenues.
I enjoy later when Frank challenges his notion that Cleo is a good artist merely because she's tortured enough to be. I did not find redemption in Cleo's character and, in fact, she's the character who declined most for me in terms of likeability. Her final "art" piece is not bad as it is. Making Frank experience it is a punch to the face of her possible redemption.
The book is hinged upon the reader believing this unbreakable bond between the two main characters, this undeniable draw and relation. And yet, save for about 2 hours, the first 6 months of their getting to know one another happens entirely off-page. This works for world building, but in a book that relies so heavily on the importance of the central relationship, it feels lazy and half-baked. Show me that they can't live without each other, don't tell me.
Content Warnings
Graphic: Self harm and Violence
Moderate: Sexual violence