Scan barcode
gwen_pageturner's review against another edition
3.0
⭐️⭐️⭐️.5
I thought the story was alright. As other readers mention, the setup of the story seemed very promising…then seemed to go nowhere very fast. Amelia’s powers aren’t really the main focus of the story and are almost an excuse for her to be the main character. The ending was satisfactory enough that it could be a standalone, so I’m not sure if I’ll continue with the series
I thought the story was alright. As other readers mention, the setup of the story seemed very promising…then seemed to go nowhere very fast. Amelia’s powers aren’t really the main focus of the story and are almost an excuse for her to be the main character. The ending was satisfactory enough that it could be a standalone, so I’m not sure if I’ll continue with the series
alliehwilliams's review
5.0
In 1889, Amelia van den Broek travels to stay with her cousins in Maryland, hoping to find a socially appropriate suitor to elevate her social and financial status. Baltimore is a welcome change in atmosphere and excitement from the rural, remote setting of her brother’s home in Broken Tooth, Maine. Swept into the social whirl of her host family, the Stewarts, Amelia soon makes new friends, attends elaborate dinner parties and dances, and exchanges calling cards with Baltimore’s elite. And most importantly of all, finds herself drawn to artist and professional dinner guest Nathaniel Witherspoon.
Not all of Amelia’s social success is due to her personality or the Stewart’s patronage, however. Amelia has discovered a new talent—the ability to see into the future. At first Amelia must look into the sunset to witness events before they happen but before long, she’s encouraged to try writing down her premonitions while in a trancelike state. She and her special gift are much in demand wherever she goes, but when her premonitions become more ominous, Amelia finds herself shunned and possibly in danger.
The paranormal element of The Vespertine is a slow burn, but worth the wait. Amelia is a realistic heroine and while I never shared her fascination with Nathaniel, I completely believed it. My lack of feeling for Nathaniel is not a failing of the author or text, but more a result of my distrust of him and reluctance to invest in him as a love interest. I was also distracted by my worries over the fate of her cousin Zora’s love affair. The characters are all believable, especially Amelia, Zora, and Zora’s mother. Amelia’s sister-in-law is also an especially sympathetic character.
Saundra Mitchell is an incredibly talented author, capably balancing plot and character development and show vs. tell. The dialogue is deftly handled and seems appropriate to the period without discouraging readers who prefer a more contemporary story and setting. Mitchell has created a completely believable world that feels authentic to the period, without dragging the reader down in excessive detail.
My only reservation about The Vespertine is that the ending practically begs for a sequel but I don’t know if one is planned. However, this book is an enjoyable read in its own right, sequel or no.
Overall, I thoroughly enjoyed The Vespertine and plan to add the author’s previous title, Shadowed Summer to my to-be-read (TBR) pile. I highly recommend this title to lovers of paranormal and historic fiction with a romantic bent.
Not all of Amelia’s social success is due to her personality or the Stewart’s patronage, however. Amelia has discovered a new talent—the ability to see into the future. At first Amelia must look into the sunset to witness events before they happen but before long, she’s encouraged to try writing down her premonitions while in a trancelike state. She and her special gift are much in demand wherever she goes, but when her premonitions become more ominous, Amelia finds herself shunned and possibly in danger.
The paranormal element of The Vespertine is a slow burn, but worth the wait. Amelia is a realistic heroine and while I never shared her fascination with Nathaniel, I completely believed it. My lack of feeling for Nathaniel is not a failing of the author or text, but more a result of my distrust of him and reluctance to invest in him as a love interest. I was also distracted by my worries over the fate of her cousin Zora’s love affair. The characters are all believable, especially Amelia, Zora, and Zora’s mother. Amelia’s sister-in-law is also an especially sympathetic character.
Saundra Mitchell is an incredibly talented author, capably balancing plot and character development and show vs. tell. The dialogue is deftly handled and seems appropriate to the period without discouraging readers who prefer a more contemporary story and setting. Mitchell has created a completely believable world that feels authentic to the period, without dragging the reader down in excessive detail.
My only reservation about The Vespertine is that the ending practically begs for a sequel but I don’t know if one is planned. However, this book is an enjoyable read in its own right, sequel or no.
Overall, I thoroughly enjoyed The Vespertine and plan to add the author’s previous title, Shadowed Summer to my to-be-read (TBR) pile. I highly recommend this title to lovers of paranormal and historic fiction with a romantic bent.
missbookiverse's review
2.0
Inhalt
Die Geschichte spielt Ende des 19. Jahrhunderts und erzählt von der jungen Amelia, die über den Sommer ihre Cousine in Baltimore besucht. Dort soll sie auf das Leben als Frau vorbereitet werden und schon mal nach einem passenden Gemahl Ausschau halten. Den findet sie auch ziemlich schnell, er entspricht nur leider nicht ihrem Stand und den beiden steht eine unmögliche Zukunft bevor. Dazu kommt, dass Amelia plötzlich entdeckt, dass sie bei Sonnenuntergang kleine Zukunftsvisionen heraufbeschwören kann. Zunächst machen ihre Cousine und sie sich einen Spaß daraus anderen Leuten die Zukunft vorauszusagen, aber bald sieht Amelia auch verstörende Bilder in ihren Visionen.
Lang und breit
The Vespertine hätte so gut werden können! Ich meine „Historical + Paranormal + YA“, das schreit doch Gemma Doyle, war aber leider nicht mal halb so gut.
Protagonistin Amelia und die Familie, bei der sie den Sommer verbringt (ihre Cousine Zora und deren Eltern Mr. und Mrs. Stewart) sind Saundra Mitchell super gelungen. Die Familie Stewart hat eine einladende Wärme ausgestrahlt und die Freundschaft zwischen Amelia und Zora hat genau die richtige Mischung aus Loyalität und Biss gehabt.
Das Buch beginnt und endet im Herbst 1889. Der große Mittelteil spielt einige Monate früher und berichtet rückblickend von Amelias Sommer in Baltimore. Indem man eigentlich mit dem Ende anfängt, werden eine Menge Frage aufgeworfen, die neugierig auf die Vergangenheit machen.
Den Schreibstil einzuordnen ist schwierig. Einerseits liest er sich sehr leicht und schnell, andererseits bin ich über unzählige Stellen gestolpert. Ganz oft ist etwas passiert und ich musste verwirrt ein paar Zeilen zurückspringen, weil ich nicht nachvollziehen konnte wie es dazu gekommen war. Mehrfach hab ich auch einfach nicht verstanden, worum es gerade geht. Das mag zum Teil daran liegen, dass mein Wissen über die viktorianische Zeit nicht gerade groß ist, zum anderen Teil schiebe ich das definitiv der Autorin in die Schuhe, die viele Szenen einfach zu schwammig und sparsam beschrieben hat.
Leider musste ich immer wieder fragend die Augenbrauen zusammenziehen, wenn es um Amelias Verhalten ging. Als sie entdeckt, dass sie zur Abendstunde in die Zukunft blicken kann, stellt sie das zum Beispiel nie in Frage. Sie ist weder sonderlich überrascht, noch hat sie große Angst. Wahrscheinlich konnte man im 19. Jahrhundert solche übernatürlichen Erlebnisse leichter hinnehmen, aber ein bisschen mehr Wissensdrang hätte ich mir schon gewünscht. Amelia lernt zudem rasend schnell mit ihrer Gabe umzugehen, sie erlebt nie einen Misserfolg – langweilig.
Was ihre Gefühle zu Nathaniel angeht, befindet sich Amelia in einem Wechselbad der Gefühle. Das ist verständlich, da Nathaniel sich weit unter ihrem eigenen Stand befindet, sie aber trotzdem fasziniert von ihm ist. Ich fand es ebenso nachvollziehbar, dass sie sauer auf ihn ist, als er sie zu versetzen scheint, aber als sie danach wieder aufeinander treffen, beschimpft sie ihn plötzlich als Monster (er hat nämlich auch eine besondere Gabe) und ist aus unerklärlichen Gründen sauer auf ihn, allerdings wieder nur für wenige Minuten. Da hatte wohl jemand Doppelbesuch von der Hormonfee.
Wo ich schon bei Nathaniel bin. Der Junge ist leider so flach wie die Leinwände, auf die er seine Bilder malt. Mysteriös und interessant, weil er ein Künstler ist, aber sonst wird dem Leser kaum etwas geboten. Es gibt nicht mal sonderlich viele Szenen zwischen den beiden, die meisten brechen viel zu schnell ab. Trotzdem verlieben sie sich natürlich vom ersten Augenblick an und es dauert nicht lange bis Amelia ihm sogar blind vertraut (diese Szene, wo er sie auffordert zu… ARGH!)
Amelias Cousine Zora weiß von Amelias Gabe und kann es nicht lassen ihren Freundinnen davon zu berichten. Schnell weiß halb Baltimore von Amelias Können und möchte sich in die Zukunft blicken lassen. Zora und Amelia betreiben ihr kleines Geschäft dann problemlos. Zoras Eltern empfinden das als alberne Spielerei und kümmern sich nicht weiter darum. Das kam mir komisch vor. Sonst sind die Stewarts nämlich sehr bedacht auf den Ruf der jungen Mädchen. Sie dürfen sich wie zu dieser Zeit üblich nicht allein mit Männern treffen, aber wenn sie fröhlich Hausbesuche machen, um fremden Menschen die Zukunft vorauszusagen, schert das niemanden? Inkonsequent.
Insgesamt fehlt es dem Roman einfach an Tiefe. Alles wird nur angerissen und nichts so richtig ausgeleuchtet. Dazu plätschert die Story einfach dahin. Man wartet darauf, dass endlich etwas Schlimmes passiert (muss ja, wurde doch im ersten Kapitel mehr oder weniger angekündigt), aber die Autorin hat sich die Knalleffekte alle für die letzten 30 Seiten aufgehoben. Da geht’s richtig los und eine Enthüllung jagt die nächste.
Ob ich die Fortsetzung (bzw. „companion novel“, so die Ankündigung) [b:The Springsweet|10115555|The Springsweet (The Vespertine, #2)|Saundra Mitchell|http://www.goodreads.com/images/nocover-60x80.jpg|15013096] lesen werde, entscheide ich dann nach Klappentext.
Kurz und knapp
Ein angenehm lesbarer Roman mit einladenden Charakteren. Sowohl die Romantik als auch die übernatürliche Ebene bleiben leider lauwarm und so richtig knallt es erst auf den letzten 30 Seiten. Ein Buch, dass man vorüberziehen lassen kann.
Die Geschichte spielt Ende des 19. Jahrhunderts und erzählt von der jungen Amelia, die über den Sommer ihre Cousine in Baltimore besucht. Dort soll sie auf das Leben als Frau vorbereitet werden und schon mal nach einem passenden Gemahl Ausschau halten. Den findet sie auch ziemlich schnell, er entspricht nur leider nicht ihrem Stand und den beiden steht eine unmögliche Zukunft bevor. Dazu kommt, dass Amelia plötzlich entdeckt, dass sie bei Sonnenuntergang kleine Zukunftsvisionen heraufbeschwören kann. Zunächst machen ihre Cousine und sie sich einen Spaß daraus anderen Leuten die Zukunft vorauszusagen, aber bald sieht Amelia auch verstörende Bilder in ihren Visionen.
Lang und breit
The Vespertine hätte so gut werden können! Ich meine „Historical + Paranormal + YA“, das schreit doch Gemma Doyle, war aber leider nicht mal halb so gut.
Protagonistin Amelia und die Familie, bei der sie den Sommer verbringt (ihre Cousine Zora und deren Eltern Mr. und Mrs. Stewart) sind Saundra Mitchell super gelungen. Die Familie Stewart hat eine einladende Wärme ausgestrahlt und die Freundschaft zwischen Amelia und Zora hat genau die richtige Mischung aus Loyalität und Biss gehabt.
Das Buch beginnt und endet im Herbst 1889. Der große Mittelteil spielt einige Monate früher und berichtet rückblickend von Amelias Sommer in Baltimore. Indem man eigentlich mit dem Ende anfängt, werden eine Menge Frage aufgeworfen, die neugierig auf die Vergangenheit machen.
Den Schreibstil einzuordnen ist schwierig. Einerseits liest er sich sehr leicht und schnell, andererseits bin ich über unzählige Stellen gestolpert. Ganz oft ist etwas passiert und ich musste verwirrt ein paar Zeilen zurückspringen, weil ich nicht nachvollziehen konnte wie es dazu gekommen war. Mehrfach hab ich auch einfach nicht verstanden, worum es gerade geht. Das mag zum Teil daran liegen, dass mein Wissen über die viktorianische Zeit nicht gerade groß ist, zum anderen Teil schiebe ich das definitiv der Autorin in die Schuhe, die viele Szenen einfach zu schwammig und sparsam beschrieben hat.
Leider musste ich immer wieder fragend die Augenbrauen zusammenziehen, wenn es um Amelias Verhalten ging. Als sie entdeckt, dass sie zur Abendstunde in die Zukunft blicken kann, stellt sie das zum Beispiel nie in Frage. Sie ist weder sonderlich überrascht, noch hat sie große Angst. Wahrscheinlich konnte man im 19. Jahrhundert solche übernatürlichen Erlebnisse leichter hinnehmen, aber ein bisschen mehr Wissensdrang hätte ich mir schon gewünscht. Amelia lernt zudem rasend schnell mit ihrer Gabe umzugehen, sie erlebt nie einen Misserfolg – langweilig.
Was ihre Gefühle zu Nathaniel angeht, befindet sich Amelia in einem Wechselbad der Gefühle. Das ist verständlich, da Nathaniel sich weit unter ihrem eigenen Stand befindet, sie aber trotzdem fasziniert von ihm ist. Ich fand es ebenso nachvollziehbar, dass sie sauer auf ihn ist, als er sie zu versetzen scheint, aber als sie danach wieder aufeinander treffen, beschimpft sie ihn plötzlich als Monster (er hat nämlich auch eine besondere Gabe) und ist aus unerklärlichen Gründen sauer auf ihn, allerdings wieder nur für wenige Minuten. Da hatte wohl jemand Doppelbesuch von der Hormonfee.
Wo ich schon bei Nathaniel bin. Der Junge ist leider so flach wie die Leinwände, auf die er seine Bilder malt. Mysteriös und interessant, weil er ein Künstler ist, aber sonst wird dem Leser kaum etwas geboten. Es gibt nicht mal sonderlich viele Szenen zwischen den beiden, die meisten brechen viel zu schnell ab. Trotzdem verlieben sie sich natürlich vom ersten Augenblick an und es dauert nicht lange bis Amelia ihm sogar blind vertraut (diese Szene, wo er sie auffordert zu… ARGH!)
Amelias Cousine Zora weiß von Amelias Gabe und kann es nicht lassen ihren Freundinnen davon zu berichten. Schnell weiß halb Baltimore von Amelias Können und möchte sich in die Zukunft blicken lassen. Zora und Amelia betreiben ihr kleines Geschäft dann problemlos. Zoras Eltern empfinden das als alberne Spielerei und kümmern sich nicht weiter darum. Das kam mir komisch vor. Sonst sind die Stewarts nämlich sehr bedacht auf den Ruf der jungen Mädchen. Sie dürfen sich wie zu dieser Zeit üblich nicht allein mit Männern treffen, aber wenn sie fröhlich Hausbesuche machen, um fremden Menschen die Zukunft vorauszusagen, schert das niemanden? Inkonsequent.
Insgesamt fehlt es dem Roman einfach an Tiefe. Alles wird nur angerissen und nichts so richtig ausgeleuchtet. Dazu plätschert die Story einfach dahin. Man wartet darauf, dass endlich etwas Schlimmes passiert (muss ja, wurde doch im ersten Kapitel mehr oder weniger angekündigt), aber die Autorin hat sich die Knalleffekte alle für die letzten 30 Seiten aufgehoben. Da geht’s richtig los und eine Enthüllung jagt die nächste.
Spoiler
Was ich übrigens zu übertrieben fand, war dass Nathaniels Tod verkündet wird. Mir war ja sogar irgendwie klar, dass das nicht stimmen kann und nur als Schocker ausgenutzt wurde.Ob ich die Fortsetzung (bzw. „companion novel“, so die Ankündigung) [b:The Springsweet|10115555|The Springsweet (The Vespertine, #2)|Saundra Mitchell|http://www.goodreads.com/images/nocover-60x80.jpg|15013096] lesen werde, entscheide ich dann nach Klappentext.
Kurz und knapp
Ein angenehm lesbarer Roman mit einladenden Charakteren. Sowohl die Romantik als auch die übernatürliche Ebene bleiben leider lauwarm und so richtig knallt es erst auf den letzten 30 Seiten. Ein Buch, dass man vorüberziehen lassen kann.
judeisapriest's review
adventurous
dark
emotional
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? It's complicated
4.75
alanaleigh's review
3.0
I appreciate Saundra Mitchell's The Vespertine for trying to find uncharted paranormal waters in the YA market, but despite a lush depiction of 1889 Baltimore society, I was somewhat turned off by an overly-dramatic narration that seemed to take itself just a little too seriously for a book where personification of the elements was snuck in as a key relationship issue.
The book opens on a rather confusing note, but if you manage to make it through, you realize that our story deals with Amelia, a girl shut up in her brother's house and believed to be mad -- but we quickly jump back in time to see the path that brought her to that point. Fresh from Maine, Amelia is sent to board with the Stewart family who has a daughter Amelia's age so Amelia can have a Season in Baltimore and find an eligible match. Her family doesn't have much money, so this will likely be the only Season she can get, and of course, her very first dinner party has her falling for the wrong man. Nathaniel Witherspoon is a "Fourteenth," a young man paid to attend a party where otherwise there would be thirteen guests and superstition demands an addition. An artist without independent means, he is the very last person Amelia should be encouraging... but try as she might, she cannot quite help herself. Meanwhile, Amelia stumbles upon a gift that she also cannot seem to help -- when gazing in to the fading sunset light, she catches a flash of a vision that heralds the future. At first, it's an image of her new friend Zora, dancing with a young man she fancies in a gown with lilies on it. When the vision comes true, Zora begins to tell others of Amelia's gift and suddenly the girls are becoming popular with more and more people as word leaks out. They aren't always visions of consequence -- sometimes it's something as simple as a lost glove or a voyage, and with just a flash, the whole story can hardly be seen. But Amelia's visions come at a time when society is clambering for all kinds of this clairvoyant behavior -- seeing in to the future, communing with dead spirits, reading minds at parties. Others might be shams, but Amelia knows her visions are real... but some have very real consequences. What eventually drives Amelia back to Maine compromised and in shame is a twisted sequence of events that even Amelia could not have foreseen.
The two things in Mitchell's favor are her grasp of the time period coupled with the subtlety of her paranormal twist. The description of American society in 1889 pulls the reader in with her attention to detail and unique setting. I've never come across a novel set in Baltimore at this time, so it has the benefit of a city's polish with the rougher America surrounding it -- which is certainly evident in Amelia's home town of "Broken Tooth." Hardly an address a girl would care to own up to, and so the need for a girl to rise into higher society is obvious, giving the society parties and gowns a grander scale as seen through her eyes. In addition, unlike other novels where a heroine falls into an entirely new paranormal world, Amelia's world seems rather true to reality, save for her strange ability to see glimpses of the future. She cannot direct her visions, save focusing on a specific person, and there appears to be no one else with any abnormal gifts (until we start learning more about a certain someone who has a rather strong appeal for Amelia). As a result, Mitchell has formed the basic plot of a story with great potential and demonstrates her ability to write historical fiction well... so what goes wrong? Let me say that I wanted so badly to like this book. I love the cover -- it's really quite beautiful. I also like the idea of a slight paranormal tinge to an otherwise historical romance, as stated before. The descriptions of the time period are woven with rich detail, yet it isn't as though that attention is quite to blame for most of the characters being sketched just a little too lightly. Still, there is still plenty to interest anyone who would choose to enjoy themselves while reading it.
Unfortunately, Mitchell's writing is a bit over-wrought with flourishes and complications, particularly at moments when she's deliberately trying to be evasive with fantastic experiences that hint at the paranormal. The prologue is almost incomprehensible, which might be forgiven if Amelia actually were in any way crazy, but it still makes for a hard couple of pages to muddle through before the actual story begins. While Mitchell eventually settles into a better rhythm, the scenes which ought to be savored are the ones that suffer the most from a desire to make them that much more beautiful by offering both too much and too little for the reader to be satisfied. I worry that Mitchell spent far too long working and re-working these particular passages, for the reader should be sighing with pleasure instead of confusion. Amelia's illicit relationship with Nathaniel Witherspoon is a bit odd... they are drawn to each other without much reason, though to be fair at least Amelia seems to recognize how absurd it is to feel like she's on fire for this young artist. The ultimate explanation is acceptable, one supposes, but as a result they seem too fated for each other, which goes against all of the wonderful emotions that Mitchell had manages to describe, like a girl's anxious wait for a boy at a dance, particularly when the boy in question is totally unacceptable as a proper match. His appeal seems to rest solely in his beauty and his forbidden status -- this isn't a novel where the love interests spend time in much discussion and you feel as though they're realistically falling in love so much as they're simply attracted to each other on a number of levels. It's a pity, too, because when one learns Nathaniel's secret, he becomes much more interesting and yet we don't have much time to explore that side of him. Amelia herself is a bit one-note, but pleasantly so as a girl who doesn't realize the trouble she's falling in to. Zora, her friend, is a delight in the beginning and eventually fades into something less vibrant once she falls in love and yields up her independent character and presence to a storyline that simply needs her to play a part.
There are parts of The Vespertine where I saw great potential, but ultimately I finished the novel feeling rather disappointed. The opening of the novel is so dramatic as far as it concerns Amelia's sanity and stained reputation, but when all is played out, I was disappointed that Amelia didn't kick it up a notch and actually do something to merit it all. The ultimate ending for Amelia is predictable and somewhat anti-climactic. Such a shame, really, as the idea of a girl with flashes of clairvoyance in an otherwise realistic setting was quite intriguing -- and the actual historic detail is excellent and interesting. When all is said and done, though, Mitchell's novel only has its own sparks of good moments and is trying much too hard to shine. Perhaps her next book will find some benefit in the fact that, presumably, she'll have less time to fuss and obscure the clarity of what she's really trying to say with such affected flourishes.
Advanced Readers Copy courtesy of
The book opens on a rather confusing note, but if you manage to make it through, you realize that our story deals with Amelia, a girl shut up in her brother's house and believed to be mad -- but we quickly jump back in time to see the path that brought her to that point. Fresh from Maine, Amelia is sent to board with the Stewart family who has a daughter Amelia's age so Amelia can have a Season in Baltimore and find an eligible match. Her family doesn't have much money, so this will likely be the only Season she can get, and of course, her very first dinner party has her falling for the wrong man. Nathaniel Witherspoon is a "Fourteenth," a young man paid to attend a party where otherwise there would be thirteen guests and superstition demands an addition. An artist without independent means, he is the very last person Amelia should be encouraging... but try as she might, she cannot quite help herself. Meanwhile, Amelia stumbles upon a gift that she also cannot seem to help -- when gazing in to the fading sunset light, she catches a flash of a vision that heralds the future. At first, it's an image of her new friend Zora, dancing with a young man she fancies in a gown with lilies on it. When the vision comes true, Zora begins to tell others of Amelia's gift and suddenly the girls are becoming popular with more and more people as word leaks out. They aren't always visions of consequence -- sometimes it's something as simple as a lost glove or a voyage, and with just a flash, the whole story can hardly be seen. But Amelia's visions come at a time when society is clambering for all kinds of this clairvoyant behavior -- seeing in to the future, communing with dead spirits, reading minds at parties. Others might be shams, but Amelia knows her visions are real... but some have very real consequences. What eventually drives Amelia back to Maine compromised and in shame is a twisted sequence of events that even Amelia could not have foreseen.
The two things in Mitchell's favor are her grasp of the time period coupled with the subtlety of her paranormal twist. The description of American society in 1889 pulls the reader in with her attention to detail and unique setting. I've never come across a novel set in Baltimore at this time, so it has the benefit of a city's polish with the rougher America surrounding it -- which is certainly evident in Amelia's home town of "Broken Tooth." Hardly an address a girl would care to own up to, and so the need for a girl to rise into higher society is obvious, giving the society parties and gowns a grander scale as seen through her eyes. In addition, unlike other novels where a heroine falls into an entirely new paranormal world, Amelia's world seems rather true to reality, save for her strange ability to see glimpses of the future. She cannot direct her visions, save focusing on a specific person, and there appears to be no one else with any abnormal gifts (until we start learning more about a certain someone who has a rather strong appeal for Amelia). As a result, Mitchell has formed the basic plot of a story with great potential and demonstrates her ability to write historical fiction well... so what goes wrong? Let me say that I wanted so badly to like this book. I love the cover -- it's really quite beautiful. I also like the idea of a slight paranormal tinge to an otherwise historical romance, as stated before. The descriptions of the time period are woven with rich detail, yet it isn't as though that attention is quite to blame for most of the characters being sketched just a little too lightly. Still, there is still plenty to interest anyone who would choose to enjoy themselves while reading it.
Unfortunately, Mitchell's writing is a bit over-wrought with flourishes and complications, particularly at moments when she's deliberately trying to be evasive with fantastic experiences that hint at the paranormal. The prologue is almost incomprehensible, which might be forgiven if Amelia actually were in any way crazy, but it still makes for a hard couple of pages to muddle through before the actual story begins. While Mitchell eventually settles into a better rhythm, the scenes which ought to be savored are the ones that suffer the most from a desire to make them that much more beautiful by offering both too much and too little for the reader to be satisfied. I worry that Mitchell spent far too long working and re-working these particular passages, for the reader should be sighing with pleasure instead of confusion. Amelia's illicit relationship with Nathaniel Witherspoon is a bit odd... they are drawn to each other without much reason, though to be fair at least Amelia seems to recognize how absurd it is to feel like she's on fire for this young artist. The ultimate explanation is acceptable, one supposes, but as a result they seem too fated for each other, which goes against all of the wonderful emotions that Mitchell had manages to describe, like a girl's anxious wait for a boy at a dance, particularly when the boy in question is totally unacceptable as a proper match. His appeal seems to rest solely in his beauty and his forbidden status -- this isn't a novel where the love interests spend time in much discussion and you feel as though they're realistically falling in love so much as they're simply attracted to each other on a number of levels. It's a pity, too, because when one learns Nathaniel's secret, he becomes much more interesting and yet we don't have much time to explore that side of him. Amelia herself is a bit one-note, but pleasantly so as a girl who doesn't realize the trouble she's falling in to. Zora, her friend, is a delight in the beginning and eventually fades into something less vibrant once she falls in love and yields up her independent character and presence to a storyline that simply needs her to play a part.
There are parts of The Vespertine where I saw great potential, but ultimately I finished the novel feeling rather disappointed. The opening of the novel is so dramatic as far as it concerns Amelia's sanity and stained reputation, but when all is played out, I was disappointed that Amelia didn't kick it up a notch and actually do something to merit it all. The ultimate ending for Amelia is predictable and somewhat anti-climactic. Such a shame, really, as the idea of a girl with flashes of clairvoyance in an otherwise realistic setting was quite intriguing -- and the actual historic detail is excellent and interesting. When all is said and done, though, Mitchell's novel only has its own sparks of good moments and is trying much too hard to shine. Perhaps her next book will find some benefit in the fact that, presumably, she'll have less time to fuss and obscure the clarity of what she's really trying to say with such affected flourishes.
Advanced Readers Copy courtesy of
reddyrat's review
3.0
Historical fiction with a paranormal twist.
There aren't enough books out there combining historical fiction and paranormal. You have Libba Bray's Great and Terrible Beauty series and Michelle Zink's Prophecy of the Sisters series, but not much else. The Vespertine is a good addition to this cross-genre of books.
Amelia travels down to Baltimore from her rural Maine town to stay with her wealthy cousins and meet "the right kind of people." I loved her cousin Zora. She is daring and outgoing, the type of girl who's always out for a good time. Amelia is more straight-laced, but definitely willing to go out on a limb when encouraged. Zora and Amelia egg each other on to get into trouble (although initially not veering out of the bounds of propriety).
Amelia discovers that she has visions. It's never accurately explained, but essentially she blacks out and comes up with prophecies about events that will happen to certain people. Some are fun and happy while others foretell doom. Amelia and Zora take full advantage of Amelia's little parlor trick. It opens the door to high society that they never could have entered otherwise. It's all fun and games until Amelia's darker prophecies start coming true. Then Amelia begins to understand the burden of her gift.
In the meantime, Amelia falls for Nathaniel, a "fourteenth," a poor artist hired to attend dinner parties so there won't be thirteen people at a table. They are instantly attracted to one another, and Amelia soon steps far outside the bounds of proper Victorian behavior to be with him. It also turns out that Nathaniel has a supernatural power of his own.
I enjoyed Vespertine, but I had some issues with it. On the plus side, I really liked the writing. It's hard to do historical voices correctly. You don't want to be too modern, but you also don't want to be so old-fashioned that the book is unintelligible. Mitchell did a good job balancing these aspects. The old-style writing set the atmospherics of late-Victorian-era Baltimore without dragging the book down. I loved the idea of visions. It fits in perfectly with the love for the occult that was so popular during that time period.
On the down side, the book was very confusing as it started out. I also thought the paranormal element was never explained. I prefer paranormal books where the reader is let in on the secret behind the fantasy world. In this case, we knew that Amelia had visions, but didn't know why or how it fit into the greater universe. Nathaniel also has a supernatural power. His ability is completely different than Amelia's. I thought his ability was never adequately explained, and I didn't see a reason for it other than a plot device.
Back on the bright side, I loved the ending.
The Vespertine is an enjoyable, if flawed, historical fiction/paranormal novel.
Rating: 3 / 5
There aren't enough books out there combining historical fiction and paranormal. You have Libba Bray's Great and Terrible Beauty series and Michelle Zink's Prophecy of the Sisters series, but not much else. The Vespertine is a good addition to this cross-genre of books.
Amelia travels down to Baltimore from her rural Maine town to stay with her wealthy cousins and meet "the right kind of people." I loved her cousin Zora. She is daring and outgoing, the type of girl who's always out for a good time. Amelia is more straight-laced, but definitely willing to go out on a limb when encouraged. Zora and Amelia egg each other on to get into trouble (although initially not veering out of the bounds of propriety).
Amelia discovers that she has visions. It's never accurately explained, but essentially she blacks out and comes up with prophecies about events that will happen to certain people. Some are fun and happy while others foretell doom. Amelia and Zora take full advantage of Amelia's little parlor trick. It opens the door to high society that they never could have entered otherwise. It's all fun and games until Amelia's darker prophecies start coming true. Then Amelia begins to understand the burden of her gift.
In the meantime, Amelia falls for Nathaniel, a "fourteenth," a poor artist hired to attend dinner parties so there won't be thirteen people at a table. They are instantly attracted to one another, and Amelia soon steps far outside the bounds of proper Victorian behavior to be with him. It also turns out that Nathaniel has a supernatural power of his own.
I enjoyed Vespertine, but I had some issues with it. On the plus side, I really liked the writing. It's hard to do historical voices correctly. You don't want to be too modern, but you also don't want to be so old-fashioned that the book is unintelligible. Mitchell did a good job balancing these aspects. The old-style writing set the atmospherics of late-Victorian-era Baltimore without dragging the book down. I loved the idea of visions. It fits in perfectly with the love for the occult that was so popular during that time period.
On the down side, the book was very confusing as it started out. I also thought the paranormal element was never explained. I prefer paranormal books where the reader is let in on the secret behind the fantasy world. In this case, we knew that Amelia had visions, but didn't know why or how it fit into the greater universe. Nathaniel also has a supernatural power. His ability is completely different than Amelia's. I thought his ability was never adequately explained, and I didn't see a reason for it other than a plot device.
Back on the bright side, I loved the ending.
The Vespertine is an enjoyable, if flawed, historical fiction/paranormal novel.
Rating: 3 / 5
sailorkchick's review
2.0
The story itself is good, but it needs another hundred pages. The depth of the characters were as shallow as a kiddie pool. I felt like I was only scratching the surface with Amelia and Nathaniel. I wish Saundra Mitchell would revisit the novel and flesh it out a lot more.
audreychamaine's review
4.0
Amelia van den Broek has just arrived in Baltimore from her home in Maine to take advantage of the Season and meet an appropriate husband. However, an inappropriate match has caught her eye: a painter, below her class but compelling nonetheless. Something strange is happening to her, as well. At sunset, Amelia receives premonitions of things to come: some are happy, some are tragic. As the visions become more intense, Amelia senses she has now gotten in over her head and may never be able to recover.
The Vespertine is a romantic period-piece with a supernatural twist. I normally don’t go for historical fiction, because I feel like it always rings false when writers try to write so far outside their own time. That said, I think Mitchell’s prose is more authentic than other historical fiction I’ve encountered. It seemed like she really immersed herself in the language and customs of the period.
The plot was slow going at the outset, but as Amelia had more and more visions, the stakes grew higher and higher, and at the end I just couldn’t stop reading. The ending is every bit of melodrama you could want, and Amelia’s fall from society is swift and far. (I’m not giving anything away by saying that–the story begins with a flash forward of Amelia after she has already been ruined).
While Amelia’s powers were very cool, the abilities of love-interest Nathaniel just didn’t work for me. They seemed to detract from the story, and I think the book could have been even stronger without them. Just my opinion, though.
Overall, I think The Vespertine will really appeal to historical fiction fans. Mitchell’s writing is beautiful, as always, and the supernatural takes gives the novel something extra.
The Vespertine is a romantic period-piece with a supernatural twist. I normally don’t go for historical fiction, because I feel like it always rings false when writers try to write so far outside their own time. That said, I think Mitchell’s prose is more authentic than other historical fiction I’ve encountered. It seemed like she really immersed herself in the language and customs of the period.
The plot was slow going at the outset, but as Amelia had more and more visions, the stakes grew higher and higher, and at the end I just couldn’t stop reading. The ending is every bit of melodrama you could want, and Amelia’s fall from society is swift and far. (I’m not giving anything away by saying that–the story begins with a flash forward of Amelia after she has already been ruined).
While Amelia’s powers were very cool, the abilities of love-interest Nathaniel just didn’t work for me. They seemed to detract from the story, and I think the book could have been even stronger without them. Just my opinion, though.
Overall, I think The Vespertine will really appeal to historical fiction fans. Mitchell’s writing is beautiful, as always, and the supernatural takes gives the novel something extra.
krish_'s review
3.0
Not bad.
I agree with those who condemn Saundra Mitchell for her awful diction. But, it isn't always. If I had been asked to rate The Vespertine based exclusively on the first several chapters, I'd have given it a one and gladly shoved it onto my shelves under blech, fail-books-that-should-burn and unfinished-and-i-don't-even-care, where it can amalgamate with other shameful wastes of ink and paper.
Surprisingly, it gets better. It was as if Mitchell had poured all of her wit of language into that first chapter; as if she had written, re-written, edited and wasted away attempting to sound Victorian and clever. Of course, as things go, when you try too hard it never works out. So, her language ended up convoluted and coarse (honestly, I understood maybe two words in total from that first chapter - I had no idea what was going on!) It's always better to be natural. And it gets there, or Saundra Mitchell gets there...though the book is never entirely free of her weird phrasing, gross attempts at romantic metaphors and annoying pursuit of poetic writing. They pop up occasionally but you just have to take it in stride. Her writing slows to a good rhythm, one we can actually read!
Her depiction of the period, however, I thought was good enough, meaning she didn't completely butcher it. She took liberties, let's say...or didn't do her research but all the same. Now, I'm no expert but yes, spiritualism was at its height of popularity during this time (Edward Bulwer-Lytton even went as far as hosting seances at his home and Arthur Conan Doyle had also been heavily involved in the field). I was actually quite surprised that Amelia didn't get enough attention as seer. She should've been all over that town but Mr. and Mrs. Stewart sort of just waited around, serving tea and biscuits as their niece allegedly told the future...? Anyway, I just wish it had a more dramatic role in the story because I was really excited that she took this topic on. Amelia just kind of sat there and "saw". On the back of this edition, its described as Victorian Gothic...um, no. If you're going to reduce this genre to its most basic definition as involving horror and romance, then sure, I guess you can fly with that but - no, not even actually. Anyway, just know, this isn't a proper Gothic novel. Perhaps, a very watered-down, very diluted, almost flavorless version.
Now, the characters I liked. They weren't extraordinary but they're certainly better than the most we get out there these days. Sure, they giggled. Sure, they gossiped and sure, they swooned but it didn't bug me. I actually got giddy with them...one word: Thomas. Yum. Zora, I liked. Amelia, I liked. I couldn't quite decide on Nathaniel. Part of me found him really creepy but then half way, he got normal and then creepy again. I know not.
This is long enough. I think writing this took longer than reading the actual book. It took me an afternoon so you won't really be wasting too much time if you end up hating The Vespertine. It has its flaws but give Mitchell a chance, she's not bad.
I agree with those who condemn Saundra Mitchell for her awful diction. But, it isn't always. If I had been asked to rate The Vespertine based exclusively on the first several chapters, I'd have given it a one and gladly shoved it onto my shelves under blech, fail-books-that-should-burn and unfinished-and-i-don't-even-care, where it can amalgamate with other shameful wastes of ink and paper.
Surprisingly, it gets better. It was as if Mitchell had poured all of her wit of language into that first chapter; as if she had written, re-written, edited and wasted away attempting to sound Victorian and clever. Of course, as things go, when you try too hard it never works out. So, her language ended up convoluted and coarse (honestly, I understood maybe two words in total from that first chapter - I had no idea what was going on!) It's always better to be natural. And it gets there, or Saundra Mitchell gets there...though the book is never entirely free of her weird phrasing, gross attempts at romantic metaphors and annoying pursuit of poetic writing. They pop up occasionally but you just have to take it in stride. Her writing slows to a good rhythm, one we can actually read!
Her depiction of the period, however, I thought was good enough, meaning she didn't completely butcher it. She took liberties, let's say...or didn't do her research but all the same. Now, I'm no expert but yes, spiritualism was at its height of popularity during this time (Edward Bulwer-Lytton even went as far as hosting seances at his home and Arthur Conan Doyle had also been heavily involved in the field). I was actually quite surprised that Amelia didn't get enough attention as seer. She should've been all over that town but Mr. and Mrs. Stewart sort of just waited around, serving tea and biscuits as their niece allegedly told the future...? Anyway, I just wish it had a more dramatic role in the story because I was really excited that she took this topic on. Amelia just kind of sat there and "saw". On the back of this edition, its described as Victorian Gothic...um, no. If you're going to reduce this genre to its most basic definition as involving horror and romance, then sure, I guess you can fly with that but - no, not even actually. Anyway, just know, this isn't a proper Gothic novel. Perhaps, a very watered-down, very diluted, almost flavorless version.
Now, the characters I liked. They weren't extraordinary but they're certainly better than the most we get out there these days. Sure, they giggled. Sure, they gossiped and sure, they swooned but it didn't bug me. I actually got giddy with them...one word: Thomas. Yum. Zora, I liked. Amelia, I liked. I couldn't quite decide on Nathaniel. Part of me found him really creepy but then half way, he got normal and then creepy again. I know not.
This is long enough. I think writing this took longer than reading the actual book. It took me an afternoon so you won't really be wasting too much time if you end up hating The Vespertine. It has its flaws but give Mitchell a chance, she's not bad.