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Two years ago, on a chilly February morning, I found myself standing on the shore of the Mediterranean Sea. I was wearing a bathing suit, shivering in the cold and feeling like a complete idiot.
It was all Ellen’s fault. A few weeks earlier, before leaving for Spain to research The Day We Lost the H-Bomb, I had had lunch with Ellen Ruppel Shell, a former writing teacher. As we chatted about my upcoming trip, I told her the story of Angier Biddle Duke, the American Ambassador to Spain in 1966. After the United States accidentally dropped four hydrogen bombs near a Spanish village, Duke orchestrated a PR stunt, swimming in the chilly Med to prove that the water wasn’t radioactive.
I mentioned that I was planning to visit the beach where Angie swam. Ellen looked at me and said, “Well, of course you have to swim there, too.” I had to admit she was right. It’s always easier to write about something you’ve experienced firsthand.
Now, here I was on the beach. I had been anxious about the swim, searching for any excuse to get out of it. My translator had mentioned something about a jellyfish invasion of the Mediterranean, which gave me hope. But I had scoped out the beach the previous day and there wasn’t a jellyfish in sight. No people in sight, either. In my few days on the coast I had seen no one in the water and hardly anyone on the beach, just a few pasty Brits and backpackers sprawled on the sand. It was, after all, February.
The next morning I got up at dawn. My plan was to sneak down to the beach without anyone seeing me. The Spanish were used to gringos acting strangely, but a dip in the Med in the middle of winter was surely a bit too far.
The beach was deserted, but I noted with alarm that a tour bus was parked beside the road overlooking the ocean. Unlike Angie Duke, my goal was to attract as little attention as possible. I took off my shirt and shorts, and stood on the beach on my bathing suit, cursing Ellen for putting this idea in my head. Where were those jellyfish when I needed them? I wondered if the tour bus was filling with old folks who now had something interesting to look at.
I took my first step in. The water was clear and cold, the bottom soft and pebbled. I took a few more steps, my feet sinking into the sand. There was a steep drop and I was suddenly up to my waist. A quick count of one, two, three and I ducked underwater. I came back up, shook my hair and tasted the salty water on my face. My job was done.
My 30-second dip in the Med, after all my anxiety, was anticlimactic. Angie’s swim was completely the opposite. --Barbara Moran
From The Washington Post's Book World/washingtonpost.com Reviewed by Seth Shulman In a historic speech in Prague two weeks ago, President Obama proposed concrete steps to move toward "a world without nuclear weapons," including a test ban, an end to the production of fissile materials and a new Strategic Arms Reduction Treaty with the Russians. This effort to build a safer world is most welcome: The six-decade-long history of nuclear weapons and nuclear power includes a frightening number of fiascoes still shrouded in secrecy. As two new books illustrate, there is much to mine in this atomic tale: stories as big and dramatic as mushroom clouds, events that lend themselves easily to superlatives. When mistakes are made with nuclear reactors and warheads, the consequences are often scary indeed. In her first book, journalist Barbara Moran exhibits dogged research and an eye for detail in reconstructing one such incident. "The Day We Lost the H-Bomb" revisits the 1966 explosion of a U.S. Air Force B-52 bomber carrying four hydrogen bombs over the Spanish village of Palomares, a story the book's subtitle trumpets as "the worst nuclear weapons disaster" ever. Moran, whose background is in television documentary production, takes a cinematic approach, describing everything from the Catalan shrimp fishermen who rescued the U.S. fliers parachuting from the massive plane to the contents of President Lyndon Johnson's breakfast (melon, chipped beef and hot tea) when he got news of the accident at 7:05 a.m. Moran spent years collecting this wealth of detail, interviewing the Air Force officers who survived the crash and exhuming every declassified document she could find on the topic. She even accompanied Air Force officials on a midair refueling (the proximate cause of the accident) so that she could explain that difficult maneuver. Her efforts yield an often riveting tale. Although the conventional explosives in some of the warheads blew up on impact, scattering debris and radiation, the nuclear charges (thankfully) did not detonate. The Air Force quickly recovered three of the four hydrogen bombs on land. But the fourth sank to the bottom of the Mediterranean, setting off a frantic scramble to find it before the Soviets did. To her credit, Moran captures some of the flavor of the Cold War, including the Air Force's determination to keep part of its nuclear arsenal perpetually airborne for fear of a surprise attack. She recounts with some humor how, in the midst of the recovery effort, Johnson went to the White House screening room to watch "Thunderball," the latest James Bond film, in which the evil "Spectre" organization crashes a NATO plane loaded with two nuclear bombs into the ocean, retrieves the bombs underwater and holds them for ransom. What she doesn't do, unfortunately, is sufficiently explain why her minute-by-minute account of the real-life incident matters now, especially given that two top-notch journalists, Flora Lewis and Tad Szulc, wrote books about it within a year after it took place. Moran's use of now-declassified information undoubtedly fills some gaps in the previous reporting, but her book would have been stronger if she had broadened her focus and more explicitly spelled out her tale's lessons for today. Todd Tucker's eye-opening "Atomic America" suffers from the opposite problem: Its focus is too broad. Tucker, a former nuclear engineer with the U.S. Navy's submarine force, initially sets out to tell the astonishing, little-known story of the 1961 explosion of an Army nuclear reactor in rural Idaho. The accident killed all three of the Army operators on site, and Tucker ranks it as (superlatives, again) the deadliest nuclear reactor incident in U.S. history -- a plausible claim, given that the closest contenders are probably the death of a scientist from radiation during the Manhattan Project in 1945 and the 1979 meltdown of Pennsylvania's Three Mile Island reactor, which caused no immediate fatalities. (The Soviet Union's 1986 Chernobyl disaster, of course, was much deadlier.) Tucker is a good explainer, and his background in the field lends authority to his technical descriptions. In the book's central saga, he exposes the Army's cavalier attitude toward nuclear safety in the 1950s as nothing short of criminal. But his sprawling account also chronicles the development of Adm. Hyman Rickover's nuclear Navy and the Air Force's flirtation in the late 1950s with atomic-powered flight, a shocking escapade in which the Air Force designed and built an airplane that ran on power from a 20-ton reactor suspended from its fuselage. Over the life of that project alone, the Air Force spewed 4.6 million curies of radiation -- twice what was released at Three Mile Island -- into the sky over Idaho. Tucker's wide-ranging stories hold loosely together, but the overall effect is dizzying and, as with Moran's book, the message we are supposed to take away is muddled. Tucker is clearly enamored of nuclear power, and in his view, the Navy has handled it responsibly, particularly in comparison with the Army and the Air Force. He may be right about that. But his many examples of the government's often slipshod approach to nuclear safety are likely to leave readers all the more heartened by President Obama's latest nuclear initiatives.
Copyright 2009, The Washington Post. All Rights Reserved.
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Tuesday, April 28, 2009
The Girl Who Played with Fire
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The Girl Who Played with Fire is that rare thing - a sequel that is even better than the book that went before - it is to be read in great hungry chunks - Observer. It is rare to find a thriller in which the female characters are allowed so much space to be. Lisbeth Salander really is a wonderful creation - Scotsman. Astonishing novels - Larsson came up with an entirely new kind of heroine for the crime story - as with Larsson's first novel, this is wonderful stuff - Daily Express. A year ago, The Girl with the Dragon Tattoo won ecstatic praise from British critics and readers. Now its successor, The Girl who Played with Fire has outsold the likes of Patricia Cornwell and James Patterson - once more, another figure seizes the book by the scruff of its neck and binds the reader in fetters of fascination - Independent. As with the first book, this complex novel is not just a thrilling read, but tackles head-on the kind of issues that Larsson himself railed against in society, such as endemic establishment corruption and the exploitation of women - Daily Mail. --This text refers to the Hardcover edition.
The first reviews from the UK:
“This second novel is even more gripping and astonishing than the first . . . Conscious of the way crime and other networks transcend national boundaries, it’s a very modern novel. What makes it outstanding is the author’s ability to handle dozens of characters and parallel narratives without ever losing tension. Larsson was a fantastic storyteller. This novel will leave readers on the edge of their seats.”
–Sunday Times
“The best thriller I’ve read in ages . . . If you want a book to take on your lifetime trip on the Trans-Siberian railway, The Girl Who Played With Fire is the one.”
–Evening Herald (Ireland)
“Umberto Eco transposed Sherlock Holmes to a different time and genre and imported learning from history, theology, philology and other disciplines. Larsson’s [books are] likewise an enjoyable and instructive compendium of pop-culture references and academic knowledge . . . Salander is recognisably a Lara Croft for grown-ups–a female Terminator . . . [She is] the huge pleasure of these books, a fascinating creation with a complete and complex psychology.”
–Guardian
“The essential first step to appreciating Stieg Larsson is to rid yourself of any fixed image you have of Swedish crime fiction. If Mankell is Swedish gloomy, Larsson is Swedish noir. Very . . . Lisbeth is a heroine like no other in crime fiction . . . Her mental and physical strengths are beyond those of ordinary humans. Yet Larsson’s writing manages to make her intriguing, admirable and even sympathetic. . . The Girl who Played with Fire becomes an absorbing, exciting and bloody multi-layered chase . . . A riveting read.”
–Times
Praise for The Girl With the Dragon Tattoo:
"A remarkable first novel . . . Wildly suspenseful . . . The Girl With the Dragon Tattoo has been a huge bestseller in Europe and will be one here if readers are looking for an intelligent, ingeniously plotted, utterly engrossing thriller that is variously a serial-killer saga, a search for a missing person and an informed glimpse into the worlds of journalism and business . . . It's a book that lingers in the mind . . . Lisbeth is a punk Watson to Mikael's dapper Holmes, and she's the coolest crime-fighting sidekick to come along in many years." —Patrick Anderson, Washington Post
"A super-smart amalgam of the corporate corruption tale, legal thriller and dysfunctional-family psychological suspense story. It's witty, and unflinching in its commonsense feminist social commentary . . . A veteran mystery reader could spot the clues to this novel's runaway popularity as easily as Poe's detective, Auguste Dupin, spotted that purloined letter . . . Larsson's multi-pieced plot snaps together as neatly as an Ikea bookcase, but even more satisfying is the anti-social character of Salander . . . I'm betting that this offbeat bad girl will win a lot of readers' affections." —Maureen Corrigan, Fresh Air (NPR)
"Imagine the movies of Ingmar Bergman crossed with Thomas Harris's novel The Silence of the Lambs. Larsson's mesmerizing tale succeeds because, like P.D. James, he has written a why-dunit rather than a whodunit." —Deirdre Donahue, USA Today
"The Girl with the Dragon Tattoo is a striking novel. Just when I was thinking there wasn't anything new on the horizon, along comes Stieg Larsson with this wonderfully unique story. I was completely absorbed." —Michael Connelly
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The Girl Who Played with Fire is that rare thing - a sequel that is even better than the book that went before - it is to be read in great hungry chunks - Observer. It is rare to find a thriller in which the female characters are allowed so much space to be. Lisbeth Salander really is a wonderful creation - Scotsman. Astonishing novels - Larsson came up with an entirely new kind of heroine for the crime story - as with Larsson's first novel, this is wonderful stuff - Daily Express. A year ago, The Girl with the Dragon Tattoo won ecstatic praise from British critics and readers. Now its successor, The Girl who Played with Fire has outsold the likes of Patricia Cornwell and James Patterson - once more, another figure seizes the book by the scruff of its neck and binds the reader in fetters of fascination - Independent. As with the first book, this complex novel is not just a thrilling read, but tackles head-on the kind of issues that Larsson himself railed against in society, such as endemic establishment corruption and the exploitation of women - Daily Mail. --This text refers to the Hardcover edition.
The first reviews from the UK:
“This second novel is even more gripping and astonishing than the first . . . Conscious of the way crime and other networks transcend national boundaries, it’s a very modern novel. What makes it outstanding is the author’s ability to handle dozens of characters and parallel narratives without ever losing tension. Larsson was a fantastic storyteller. This novel will leave readers on the edge of their seats.”
–Sunday Times
“The best thriller I’ve read in ages . . . If you want a book to take on your lifetime trip on the Trans-Siberian railway, The Girl Who Played With Fire is the one.”
–Evening Herald (Ireland)
“Umberto Eco transposed Sherlock Holmes to a different time and genre and imported learning from history, theology, philology and other disciplines. Larsson’s [books are] likewise an enjoyable and instructive compendium of pop-culture references and academic knowledge . . . Salander is recognisably a Lara Croft for grown-ups–a female Terminator . . . [She is] the huge pleasure of these books, a fascinating creation with a complete and complex psychology.”
–Guardian
“The essential first step to appreciating Stieg Larsson is to rid yourself of any fixed image you have of Swedish crime fiction. If Mankell is Swedish gloomy, Larsson is Swedish noir. Very . . . Lisbeth is a heroine like no other in crime fiction . . . Her mental and physical strengths are beyond those of ordinary humans. Yet Larsson’s writing manages to make her intriguing, admirable and even sympathetic. . . The Girl who Played with Fire becomes an absorbing, exciting and bloody multi-layered chase . . . A riveting read.”
–Times
Praise for The Girl With the Dragon Tattoo:
"A remarkable first novel . . . Wildly suspenseful . . . The Girl With the Dragon Tattoo has been a huge bestseller in Europe and will be one here if readers are looking for an intelligent, ingeniously plotted, utterly engrossing thriller that is variously a serial-killer saga, a search for a missing person and an informed glimpse into the worlds of journalism and business . . . It's a book that lingers in the mind . . . Lisbeth is a punk Watson to Mikael's dapper Holmes, and she's the coolest crime-fighting sidekick to come along in many years." —Patrick Anderson, Washington Post
"A super-smart amalgam of the corporate corruption tale, legal thriller and dysfunctional-family psychological suspense story. It's witty, and unflinching in its commonsense feminist social commentary . . . A veteran mystery reader could spot the clues to this novel's runaway popularity as easily as Poe's detective, Auguste Dupin, spotted that purloined letter . . . Larsson's multi-pieced plot snaps together as neatly as an Ikea bookcase, but even more satisfying is the anti-social character of Salander . . . I'm betting that this offbeat bad girl will win a lot of readers' affections." —Maureen Corrigan, Fresh Air (NPR)
"Imagine the movies of Ingmar Bergman crossed with Thomas Harris's novel The Silence of the Lambs. Larsson's mesmerizing tale succeeds because, like P.D. James, he has written a why-dunit rather than a whodunit." —Deirdre Donahue, USA Today
"The Girl with the Dragon Tattoo is a striking novel. Just when I was thinking there wasn't anything new on the horizon, along comes Stieg Larsson with this wonderfully unique story. I was completely absorbed." —Michael Connelly
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Always Looking Up: The Adventures of an Incurable Optimist
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There are many words to describe Michael J. Fox: Actor. Husband. Father. Activist. But readers of Always Looking Up will soon add another to the list: Optimist. Michael writes about the hard-won perspective that helped him see challenges as opportunities. Instead of building walls around himself, he developed a personal policy of engagement and discovery: an emotional, psychological, intellectual, and spiritual outlook that has served him throughout his struggle with Parkinson's disease. Michael's exit from a very demanding, very public arena offered him the time-and the inspiration-to open up new doors leading to unexpected places. One door even led him to the center of his own family, the greatest destination of all.
The last ten years, which is really the stuff of this book, began with such a loss: my retirement from Spin City. I found myself struggling with a strange new dynamic: the shifting of public and private personas. I had been Mike the actor, then Mike the actor with PD. Now was I just Mike with PD? Parkinson's had consumed my career and, in a sense, had become my career. But where did all of this leave Me? I had to build a new life when I was already pretty happy with the old one..
Always Looking Up is a memoir of this last decade, told through the critical themes of Michael's life: work, politics, faith, and family. The book is a journey of self-discovery and reinvention, and a testament to the consolations that protect him from the ravages of Parkinson's.
With the humor and wit that captivated fans of his first book, Lucky Man, Michael describes how he became a happier, more satisfied person by recognizing the gifts of everyday life.
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There are many words to describe Michael J. Fox: Actor. Husband. Father. Activist. But readers of Always Looking Up will soon add another to the list: Optimist. Michael writes about the hard-won perspective that helped him see challenges as opportunities. Instead of building walls around himself, he developed a personal policy of engagement and discovery: an emotional, psychological, intellectual, and spiritual outlook that has served him throughout his struggle with Parkinson's disease. Michael's exit from a very demanding, very public arena offered him the time-and the inspiration-to open up new doors leading to unexpected places. One door even led him to the center of his own family, the greatest destination of all.
The last ten years, which is really the stuff of this book, began with such a loss: my retirement from Spin City. I found myself struggling with a strange new dynamic: the shifting of public and private personas. I had been Mike the actor, then Mike the actor with PD. Now was I just Mike with PD? Parkinson's had consumed my career and, in a sense, had become my career. But where did all of this leave Me? I had to build a new life when I was already pretty happy with the old one..
Always Looking Up is a memoir of this last decade, told through the critical themes of Michael's life: work, politics, faith, and family. The book is a journey of self-discovery and reinvention, and a testament to the consolations that protect him from the ravages of Parkinson's.
With the humor and wit that captivated fans of his first book, Lucky Man, Michael describes how he became a happier, more satisfied person by recognizing the gifts of everyday life.
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Wednesday, April 22, 2009
The BBC Natural History Collection featuring Planet Earth
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Planet Earth Synopsis: With an unprecedented production budget of $25 million, and from the makers of Blue Planet: Seas of Life, comes the epic story of life on Earth. Five years in production, over 2,000 days in the field, using 40 cameramen filming across 200 locations, shot entirely in high definition, this is the ultimate portrait of our planet. A stunning television experience that captures rare action, impossible locations and intimate moments with our planet's best-loved, wildest and most elusive creatures. From the highest mountains to the deepest rivers, this blockbuster series takes you on an unforgettable journey through the daily struggle for survival in Earth's most extreme habitats. Planet Earth takes you to places you have never seen before, to experience sights and sounds you may never experience anywhere else.
Blue Planet: Seas of Life Special Edition Synopsis: Before creating the monumental Planet Earth, producer Alastair Fothergill and his team from the BBC put together one of the most breathtaking explorations of the world's oceans ever assembled, The Blue Planet: Seas of Life. The winner of two Emmy(R) Awards, The Blue Planet: Seas of Life is the definitive exploration of the marine world, chronicling the mysteries the deep in ways never before imagined. It has now been re-released in this all-new special edition, with an added 5th disc of bonus programming not included in the original DVD release.
The Life of Mammalsc Synopsis: In ten parts, the award-winning David Attenborough (2002 Emmy winner for The Blue Planet: Seas of Life; The Life of Birds) introduces us to the most diverse group of animals ever to live on Earth, from the smallest - the two-inch pygmy shrew, to the largest - the blue whale; from the slowest - the sloth, to the swiftest - the cheetah; from the least attractive - the naked mole rat, to the most irresistible - a human baby. The Life of Mammals is the story of 4,000 species that have outlived the dinosaurs and conquered the farthest places on earth. With bodies kept warm by thick coats of fur and their developing young protected and nourished within their bodies, they have managed to colonize every part of the globe, dry or wet, hot or cold. Their adaptations for finding food have also had a profound effect on the way they move, socialize, mate and breed.
The Life of Birds Synopsis: The definitive series on the most colorful, popular and perfectly adapted creatures on earth, The Life of Birds traverses the globe, covering 42 countries and examining over 300 different species. Calling upon the immense skills of many of the world's top wildlife cameramen and women, and pushing filming technology to the limits, new behavior is brought to the screen in staggering detail. Infra-red cameras find oilbirds deep in pitch black caves. Ultra slow motion film unravels the complexities of bird flight and ultraviolet cameras reveal the world from a bird's point of view.
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Planet Earth Synopsis: With an unprecedented production budget of $25 million, and from the makers of Blue Planet: Seas of Life, comes the epic story of life on Earth. Five years in production, over 2,000 days in the field, using 40 cameramen filming across 200 locations, shot entirely in high definition, this is the ultimate portrait of our planet. A stunning television experience that captures rare action, impossible locations and intimate moments with our planet's best-loved, wildest and most elusive creatures. From the highest mountains to the deepest rivers, this blockbuster series takes you on an unforgettable journey through the daily struggle for survival in Earth's most extreme habitats. Planet Earth takes you to places you have never seen before, to experience sights and sounds you may never experience anywhere else.
Blue Planet: Seas of Life Special Edition Synopsis: Before creating the monumental Planet Earth, producer Alastair Fothergill and his team from the BBC put together one of the most breathtaking explorations of the world's oceans ever assembled, The Blue Planet: Seas of Life. The winner of two Emmy(R) Awards, The Blue Planet: Seas of Life is the definitive exploration of the marine world, chronicling the mysteries the deep in ways never before imagined. It has now been re-released in this all-new special edition, with an added 5th disc of bonus programming not included in the original DVD release.
The Life of Mammalsc Synopsis: In ten parts, the award-winning David Attenborough (2002 Emmy winner for The Blue Planet: Seas of Life; The Life of Birds) introduces us to the most diverse group of animals ever to live on Earth, from the smallest - the two-inch pygmy shrew, to the largest - the blue whale; from the slowest - the sloth, to the swiftest - the cheetah; from the least attractive - the naked mole rat, to the most irresistible - a human baby. The Life of Mammals is the story of 4,000 species that have outlived the dinosaurs and conquered the farthest places on earth. With bodies kept warm by thick coats of fur and their developing young protected and nourished within their bodies, they have managed to colonize every part of the globe, dry or wet, hot or cold. Their adaptations for finding food have also had a profound effect on the way they move, socialize, mate and breed.
The Life of Birds Synopsis: The definitive series on the most colorful, popular and perfectly adapted creatures on earth, The Life of Birds traverses the globe, covering 42 countries and examining over 300 different species. Calling upon the immense skills of many of the world's top wildlife cameramen and women, and pushing filming technology to the limits, new behavior is brought to the screen in staggering detail. Infra-red cameras find oilbirds deep in pitch black caves. Ultra slow motion film unravels the complexities of bird flight and ultraviolet cameras reveal the world from a bird's point of view.
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Tuesday, April 14, 2009
The Forgotten Garden: A Novel
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Like Frances Hodgson Burnett's beloved classic The Secret Garden, Kate Morton's The Forgotten Garden takes root in your imagination and grows into something enchanting--from a little girl with no memories left alone on a ship to Australia, to a fog-soaked London river bend where orphans comfort themselves with stories of Jack the Ripper, to a Cornish sea heaving against wind-whipped cliffs, crowned by an airless manor house where an overgrown hedge maze ends in the walled garden of a cottage left to rot. This hidden bit of earth revives barren hearts, while the mysterious Authoress's fairy tales (every bit as magical and sinister as Grimm's) whisper truths and ignite the imaginary lives of children. As Morton draws you through a thicket of secrets that spans generations, her story could cross into fairy tale territory if her characters weren't clothed in such complex flesh, their judgment blurred by the heady stench of emotions (envy, lust, pride, love) that furtively flourished in the glasshouse of Edwardian society. While most ache for a spotless mind's eternal sunshine, the Authoress meets the past as "a cruel mistress with whom we must all learn to dance," and her stories gift children with this vital muscle memory. --Mari Malcolm
From the internationally bestselling author of The House at Riverton, an unforgettable new novel that transports the reader from the back alleys of poverty of pre-World War I London to the shores of colonial Australia where so many made a fresh start, and back to the windswept coast of Cornwall, England, past and present
A tiny girl is abandoned on a ship headed for Australia in 1913. She arrives completely alone with nothing but a small suitcase containing a few clothes and a single book -- a beautiful volume of fairy tales. She is taken in by the dockmaster and his wife and raised as their own. On her twenty-first birthday they tell her the truth, and with her sense of self shattered and with very little to go on, "Nell" sets out on a journey to England to try to trace her story, to fi nd her real identity. Her quest leads her to Blackhurst Manor on the Cornish coast and the secrets of the doomed Mountrachet family. But it is not until her granddaughter, Cassandra, takes up the search after Nell's death that all the pieces of the puzzle are assembled. At Cliff Cottage, on the grounds of Blackhurst Manor, Cassandra discovers the forgotten garden of the book's title and is able to unlock the secrets of the beautiful book of fairy tales.
This is a novel of outer and inner journeys and an homage to the power of storytelling. The Forgotten Garden is fi lled with unforgettable characters who weave their way through its spellbinding plot to astounding effect.
Morton's novels are #1 bestsellers in England and Australia and are published in more than twenty languages. Her fi rst novel, The House at Riverton, was a New York Times bestseller.
About the Author
Kate Morton, a native Australian, holds degrees in dramatic art and English literature and is currently a doctoral candidate at the University of Queensland. She lives with her family in Brisbane, Australia, and is writing her second novel.
Excerpt. © Reprinted by permission. All rights reserved.
London, 1913
It was dark where she was crouched but the little girl did as she'd been told. The lady had said to wait, it wasn't safe yet, they had to be as quiet as larder mice. It was a game, just like hide-and-seek.
From behind the wooden barrels the little girl listened. Made a picture in her mind the way Papa had taught her. Men, near and far, sailors she supposed, shouted to one another. Rough, loud voices, full of the sea and its salt. In the distance: bloated ships' horns, tin whistles, splashing oars and, far above, grey gulls cawing, wings flattened to absorb the ripening sunlight.
The lady would be back, she'd said so, but the little girl hoped it would be soon. She'd been waiting a long time, so long that the sun had drifted across the sky and was now warming her knees through her new dress. She listened for the lady's skirts, swishing against the wooden deck. Her heels clipping, hurrying, always hurrying, in a way the little girl's own mamma never did. The little girl wondered, in the vague, unconcerned manner of much-loved children, where Mamma was. When she would be coming. And she wondered about the lady. She knew who she was, she'd heard Grandmamma talking about her. The lady was called the Authoress and she lived in the little cottage on the far side of the estate, beyond the maze. The little girl wasn't supposed to know. She had been forbidden to play in the bramble maze. Mamma and Grandmamma had told her it was dangerous to go near the cliff. But sometimes, when no one was looking, she liked to do forbidden things.
Dust motes, hundreds of them, danced in the sliver of sunlight that had appeared between two barrels. The little girl smiled and the lady, the cliff, the maze, Mamma left her thoughts. She held out a finger, tried to catch a speck upon it. Laughed at the way the motes came so close before skirting away.
The noises beyond her hiding spot were changing now. The little girl could hear the hubbub of movement, voices laced with excitement. She leaned into the veil of light and pressed her face against the cool wood of the barrels. With one eye she looked upon the decks.
Legs and shoes and petticoat hems. The tails of colored paper streamers flicking this way and that. Wily gulls hunting the decks for crumbs.
A lurch and the huge boat groaned, long and low from deep within its belly. Vibrations passed through the deck boards and into the little girl's fingertips. A moment of suspension and she found herself holding her breath, palms flat beside her, then the boat heaved and pushed itself away from the dock. The horn bellowed and there was a wave of cheering, cries of "Bon voyage!" They were on their way. To America, a place called New York, where Papa had been born. She'd heard them whispering about it for some time, Mamma telling Papa they should go as soon as possible, that they could afford to wait no longer.
The little girl laughed again; the boat was gliding through the water like a giant whale, like Moby Dick in the story her father often read to her. Mamma didn't like it when he read such stories. She said they were too frightening and would put ideas in her head that couldn't be got out. Papa always gave Mamma a kiss on the forehead when she said that sort of thing, told her she was right and that he'd be more careful in the future. But he still told the little girl stories of the great whale. And others -- the ones that were the little girl's favorite, from the fairy-tale book, about eyeless crones, and orphaned maidens, and long journeys across the sea. He just made sure that Mamma didn't know, that it remained their secret.
The little girl understood they had to have secrets from Mamma. Mamma wasn't well, had been sickly since before the little girl was born. Grandmamma was always bidding her be good, warning her that if Mamma were to get upset something terrible might happen and it would be all her fault. The little girl loved her mother and didn't want to make her sad, didn't want something terrible to happen, so she kept things secret. Like the fairy stories, and playing near the maze, and the times Papa had taken her to visit the Authoress in the cottage on the far side of the estate.
"Aha!" A voice by her ear. "Found you!" The barrel was heaved aside and the little girl squinted up into the sun. Blinked until the owner of the voice moved to block the light. It was a big boy, eight or nine, she guessed. "You're not Sally," he said.
The little girl shook her head.
"Who are you?"
She wasn't meant to tell anybody her name. It was a game they were playing, she and the lady.
"Well?"
"It's a secret."
His nose wrinkled, freckles drew together. "What for?"
She shrugged. She wasn't supposed to speak of the lady, Papa was always telling her so.
"Where's Sally, then?" The boy was growing impatient. He looked left and right. "She ran this way, I'm sure of it."
A whoop of laughter from further down the deck and the scramble of fleeing footsteps. The boy's face lit up. "Quick!" he said as he started to run. "She's getting away."
The little girl leaned her head around the barrel and watched him weaving in and out of the crowd in keen pursuit of a flurry of white petticoats.
Her toes itched to join them.
But the lady had said to wait.
The boy was getting further away. Ducking around a portly man with a waxed moustache, causing him to scowl so that his features scurried towards the center of his face like a family of startled crabs.
The little girl laughed.
Maybe it was all part of the same game. The lady reminded her more of a child than of the other grown-ups she knew. Perhaps she was playing, too.
The little girl slid from behind the barrel and stood slowly. Her left foot had gone to sleep and now had pins and needles. She waited a moment for feeling to return, watched as the boy turned the corner and disappeared.
Then, without another thought, she set off after him. Feet pounding, heart singing in her chest.
Copyright © 2008 by Kate Morton
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Like Frances Hodgson Burnett's beloved classic The Secret Garden, Kate Morton's The Forgotten Garden takes root in your imagination and grows into something enchanting--from a little girl with no memories left alone on a ship to Australia, to a fog-soaked London river bend where orphans comfort themselves with stories of Jack the Ripper, to a Cornish sea heaving against wind-whipped cliffs, crowned by an airless manor house where an overgrown hedge maze ends in the walled garden of a cottage left to rot. This hidden bit of earth revives barren hearts, while the mysterious Authoress's fairy tales (every bit as magical and sinister as Grimm's) whisper truths and ignite the imaginary lives of children. As Morton draws you through a thicket of secrets that spans generations, her story could cross into fairy tale territory if her characters weren't clothed in such complex flesh, their judgment blurred by the heady stench of emotions (envy, lust, pride, love) that furtively flourished in the glasshouse of Edwardian society. While most ache for a spotless mind's eternal sunshine, the Authoress meets the past as "a cruel mistress with whom we must all learn to dance," and her stories gift children with this vital muscle memory. --Mari Malcolm
From the internationally bestselling author of The House at Riverton, an unforgettable new novel that transports the reader from the back alleys of poverty of pre-World War I London to the shores of colonial Australia where so many made a fresh start, and back to the windswept coast of Cornwall, England, past and present
A tiny girl is abandoned on a ship headed for Australia in 1913. She arrives completely alone with nothing but a small suitcase containing a few clothes and a single book -- a beautiful volume of fairy tales. She is taken in by the dockmaster and his wife and raised as their own. On her twenty-first birthday they tell her the truth, and with her sense of self shattered and with very little to go on, "Nell" sets out on a journey to England to try to trace her story, to fi nd her real identity. Her quest leads her to Blackhurst Manor on the Cornish coast and the secrets of the doomed Mountrachet family. But it is not until her granddaughter, Cassandra, takes up the search after Nell's death that all the pieces of the puzzle are assembled. At Cliff Cottage, on the grounds of Blackhurst Manor, Cassandra discovers the forgotten garden of the book's title and is able to unlock the secrets of the beautiful book of fairy tales.
This is a novel of outer and inner journeys and an homage to the power of storytelling. The Forgotten Garden is fi lled with unforgettable characters who weave their way through its spellbinding plot to astounding effect.
Morton's novels are #1 bestsellers in England and Australia and are published in more than twenty languages. Her fi rst novel, The House at Riverton, was a New York Times bestseller.
About the Author
Kate Morton, a native Australian, holds degrees in dramatic art and English literature and is currently a doctoral candidate at the University of Queensland. She lives with her family in Brisbane, Australia, and is writing her second novel.
Excerpt. © Reprinted by permission. All rights reserved.
London, 1913
It was dark where she was crouched but the little girl did as she'd been told. The lady had said to wait, it wasn't safe yet, they had to be as quiet as larder mice. It was a game, just like hide-and-seek.
From behind the wooden barrels the little girl listened. Made a picture in her mind the way Papa had taught her. Men, near and far, sailors she supposed, shouted to one another. Rough, loud voices, full of the sea and its salt. In the distance: bloated ships' horns, tin whistles, splashing oars and, far above, grey gulls cawing, wings flattened to absorb the ripening sunlight.
The lady would be back, she'd said so, but the little girl hoped it would be soon. She'd been waiting a long time, so long that the sun had drifted across the sky and was now warming her knees through her new dress. She listened for the lady's skirts, swishing against the wooden deck. Her heels clipping, hurrying, always hurrying, in a way the little girl's own mamma never did. The little girl wondered, in the vague, unconcerned manner of much-loved children, where Mamma was. When she would be coming. And she wondered about the lady. She knew who she was, she'd heard Grandmamma talking about her. The lady was called the Authoress and she lived in the little cottage on the far side of the estate, beyond the maze. The little girl wasn't supposed to know. She had been forbidden to play in the bramble maze. Mamma and Grandmamma had told her it was dangerous to go near the cliff. But sometimes, when no one was looking, she liked to do forbidden things.
Dust motes, hundreds of them, danced in the sliver of sunlight that had appeared between two barrels. The little girl smiled and the lady, the cliff, the maze, Mamma left her thoughts. She held out a finger, tried to catch a speck upon it. Laughed at the way the motes came so close before skirting away.
The noises beyond her hiding spot were changing now. The little girl could hear the hubbub of movement, voices laced with excitement. She leaned into the veil of light and pressed her face against the cool wood of the barrels. With one eye she looked upon the decks.
Legs and shoes and petticoat hems. The tails of colored paper streamers flicking this way and that. Wily gulls hunting the decks for crumbs.
A lurch and the huge boat groaned, long and low from deep within its belly. Vibrations passed through the deck boards and into the little girl's fingertips. A moment of suspension and she found herself holding her breath, palms flat beside her, then the boat heaved and pushed itself away from the dock. The horn bellowed and there was a wave of cheering, cries of "Bon voyage!" They were on their way. To America, a place called New York, where Papa had been born. She'd heard them whispering about it for some time, Mamma telling Papa they should go as soon as possible, that they could afford to wait no longer.
The little girl laughed again; the boat was gliding through the water like a giant whale, like Moby Dick in the story her father often read to her. Mamma didn't like it when he read such stories. She said they were too frightening and would put ideas in her head that couldn't be got out. Papa always gave Mamma a kiss on the forehead when she said that sort of thing, told her she was right and that he'd be more careful in the future. But he still told the little girl stories of the great whale. And others -- the ones that were the little girl's favorite, from the fairy-tale book, about eyeless crones, and orphaned maidens, and long journeys across the sea. He just made sure that Mamma didn't know, that it remained their secret.
The little girl understood they had to have secrets from Mamma. Mamma wasn't well, had been sickly since before the little girl was born. Grandmamma was always bidding her be good, warning her that if Mamma were to get upset something terrible might happen and it would be all her fault. The little girl loved her mother and didn't want to make her sad, didn't want something terrible to happen, so she kept things secret. Like the fairy stories, and playing near the maze, and the times Papa had taken her to visit the Authoress in the cottage on the far side of the estate.
"Aha!" A voice by her ear. "Found you!" The barrel was heaved aside and the little girl squinted up into the sun. Blinked until the owner of the voice moved to block the light. It was a big boy, eight or nine, she guessed. "You're not Sally," he said.
The little girl shook her head.
"Who are you?"
She wasn't meant to tell anybody her name. It was a game they were playing, she and the lady.
"Well?"
"It's a secret."
His nose wrinkled, freckles drew together. "What for?"
She shrugged. She wasn't supposed to speak of the lady, Papa was always telling her so.
"Where's Sally, then?" The boy was growing impatient. He looked left and right. "She ran this way, I'm sure of it."
A whoop of laughter from further down the deck and the scramble of fleeing footsteps. The boy's face lit up. "Quick!" he said as he started to run. "She's getting away."
The little girl leaned her head around the barrel and watched him weaving in and out of the crowd in keen pursuit of a flurry of white petticoats.
Her toes itched to join them.
But the lady had said to wait.
The boy was getting further away. Ducking around a portly man with a waxed moustache, causing him to scowl so that his features scurried towards the center of his face like a family of startled crabs.
The little girl laughed.
Maybe it was all part of the same game. The lady reminded her more of a child than of the other grown-ups she knew. Perhaps she was playing, too.
The little girl slid from behind the barrel and stood slowly. Her left foot had gone to sleep and now had pins and needles. She waited a moment for feeling to return, watched as the boy turned the corner and disappeared.
Then, without another thought, she set off after him. Feet pounding, heart singing in her chest.
Copyright © 2008 by Kate Morton
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The Sweetness at the Bottom of the Pie
Product Description
It's the beginning of a lazy summer in 1950 at the sleepy English village of Bishop's Lacey. Up at the great house of Buckshaw, aspiring chemist Flavia de Luce passes the time tinkering in the laboratory she's inherited from her deceased mother and an eccentric great uncle. When Flavia discovers a murdered stranger in the cucumber patch outside her bedroom window early one morning, she decides to leave aside her flasks and Bunsen burners to solve the crime herself, much to the chagrin of the local authorities. But who can blame her? What else does an eleven-year-old science prodigy have to do when left to her own devices? With her widowed father and two older sisters far too preoccupied with their own pursuits and passions—stamp collecting, adventure novels, and boys respectively—Flavia takes off on her trusty bicycle Gladys to catch a murderer. In Alan Bradley's critically acclaimed debut mystery, The Sweetness at the Bottom of the Pie, adult readers will be totally charmed by this fearless, funny, and unflappable kid sleuth. But don't be fooled: this carefully plotted detective novel (the first in a new series) features plenty of unexpected twists and turns and loads of tasty period detail. As the pages fly by, you'll be rooting for this curious combination of Harriet the Spy and Sherlock Holmes. Go ahead, take a bite. --Lauren Nemroff
A Q&A with Alan Bradley :
Question: With the publication of The Sweetness at the Bottom of the Pie, you’ve become a 70-year-old-first time novelist. Have you always had a passion for writing, or is it more of a recent development?
Alan Bradley: Well, the Roman author Seneca once said something like this: “Hang on to your youthful enthusiasms--you’ll be able to use them better when you’re older.” So to put it briefly, I’m taking his advice.
I actually spent most of my life working on the technical side of television production, but would like to think that I’ve always been a writer. I started writing a novel at age five, and have written articles for various publications all my life. It wasn’t until my early retirement, though, that I started writing books. I published my memoir, The Shoebox Bible, in 2004, and then started working on a mystery about a reporter in England. It was during the writing of this story that I stumbled across Flavia de Luce, the main character in Sweetness.
Q: Flavia certainly is an interesting character. How did you come up with such a forceful, precocious and entertaining personality?
AB: Flavia walked onto the page of another book I was writing, and simply hijacked the story. I was actually well into this other book--about three or four chapters--and as I introduced a main character, a detective, there was a point where he was required to go to a country house and interview this colonel.
I got him up to the driveway and there was this girl sitting on a camp stool doing something with a notebook and a pencil and he stopped and asked her what she was doing and she said “writing down license number plates“ and he said “well there can't be many in such a place“ and she said, “well I have yours, don’t I? “ I came to a stop. I had no idea who this girl was and where she came from.
She just materialized. I can't take any credit for Flavia at all. I’ve never had a character who came that much to life. I’ve had characters that tend to tell you what to do, but Flavia grabbed the controls on page one. She sprung full-blown with all of her attributes--her passion for poison, her father and his history--all in one package. It surprised me.
Q: There aren’t many adult books that feature child narrators. Why did you want Flavia to be the voice of this novel?
AB: People probably wonder, “What’s a 70-year-old-man doing writing about an 11-year-old-girl in 1950s England? “ And it’s a fair question. To me, Flavia embodies that kind of hotly burning flame of our young years: that time of our lives when we’re just starting out, when anything--absolutely anything!--is within our capabilities.
I think the reason that she manifested herself as a young girl is that I realized that it would really be a lot of fun to have somebody who was virtually invisible in a village. And of course, we don’t listen to what children say--they’re always asking questions, and nobody pays the slightest attention or thinks for a minute that they’re going to do anything with the information that they let slip. I wanted Flavia to take great advantage of that. I was also intrigued by the possibilities of dealing with an unreliable narrator; one whose motives were not always on the up-and-up.
She is an amalgam of burning enthusiasm, curiosity, energy, youthful idealism, and frightening fearlessness. She’s also a very real menace to anyone who thwarts her, but fortunately, they don’t generally realize it.
Q: Like Flavia, you were also 11 years old in 1950. Is there anything autobiographical about her character?
AB: Somebody pointed out the fact that both Flavia and I lacked a parent. But I wasn’t aware of this connection during the writing of the book. It simply didn’t cross my mind. It is true that I grew up in a home with only one parent, and I was allowed to run pretty well free, to do the kinds of things I wanted. And I did have extremely intense interests then--things that you get focused on. When you’re that age, you sometimes have a great enthusiasm that is very deep and very narrow, and that is something that has always intrigued me--that world of the 11-year-old that is so quickly lost.
Q: Your story evokes such a vivid setting. Had you spent much time in the British countryside before writing this book?
AB: My first trip to England didn’t come until I went to London to receive the 2007 Debut Dagger Award, so I had never even stepped foot in the country at the time of writing Sweetness. But I have always loved England. My mother was born there. And I‘ve always felt I grew up in a very English household. I had always wanted to go and had dreamed for many years of doing so.
When I finally made it there, the England that I was seeing with my eyes was quite unlike the England I had imagined, and yet it was the same. I realized that the differences were precisely those differences between real life, and the simulation of real life, that we create in our detective novels. So this was an opportunity to create on the page this England that had been in my head my whole life.
Q: You have five more books lined up in this series, all coming from Delacorte Press. Will Flavia age as the series goes on?
AB: A bit, not very much. I think she’s going to remain in the same age bracket. I don’t really like the idea of Flavia as an older teenager. At her current age, she is such a concoction of contradictions. It's one of the things that I very much love about her. She's eleven but she has the wisdom of an adult. She knows everything about chemistry but nothing about family relationships. I don’t think she’d be the same person if she were a few years older. She certainly wouldn’t have access to the drawing rooms of the village.
Q: Do you have a sense of what the next books in the series will be about?
AB: The second book, The Weed That Strings the Hangman's Bag, is finished, and I’m working on the third book. I have a general idea of what’s happening in each one of the books, because I wanted to focus on some bygone aspect of British life that was still there in the '50s but has now vanished. So we have postage stamps in the first one... The second book is about the travelling puppet shows on the village green. And one of them is about filmmaking--it sort of harks back to the days of the classic Ealing comedies with Alec Guinness and so forth.
Q: Not every author garners such immediate success with a first novel. After only completing 15 pages of Sweetness, you won the Dagger award and within 8 days had secured book deals in 3 countries. You’ve since secured 19 countries. Enthusiasm continues to grow from every angle. How does it feel?
AB: It's like being in the glow of a fire. You hope you won't get burned. I’m not sure how much I’ve realized it yet. I guess I can say I‘m “almost overwhelmed”--I’m not quite overwhelmed, but I’m getting there. Every day has something new happening, and communications pouring in from people all over. The book has been receiving wonderful reviews and touching people. But Flavia has been touching something in people that generates a response from the heart, and the most often mentioned word in the reviews is love--how much people love Flavia and have taken her in as if she’s a long-lost member of their family, which is certainly very, very gratifying.
Review
"While Flavia De Luce is winning your heart, she may also be poisoning your tea. She's the most wickedly funny sleuth in years, brilliant, unpredictable, unflappable—and only eleven. The Sweetness at the Bottom of the Pie offers the freshest new voice in mystery yet."—Charles Todd, author of The Ian Rutledge series
"A wickedly clever story, a dead true and original voice, and an English country house in the summer: Alexander McCall Smith meets Sir Arthur Conan Doyle. Please, please, Mr. Bradley, tell me we'll be seeing Flavia again soon?"—Laurie R. King, author of the Mary Russell series
“Alan Bradley’s marvelous book, The Sweetness at the Bottom of the Pie, is a fantastic read, a winner. Flavia walks right off the page and follows me through my day. I can hardly wait for the next book. Bravo!” –Louise Penny, author of Still Life
“The Sweetness at the Bottom of the Pie offers the reader the precious gift of a richly imagined and luscious new world–but uniquely so, for this is the world of Flavia Sabina de Luce: an eleven-year-old, utterly winning, and altogether delightfully nasty piece of work. An outright pleasure from beginning to end.”—Gordon Dahlquist¸ author of The Glass Books of the Dream Eaters
"Alan Bradley brews a bubbly beaker of fun in his devilishly clever, wickedly amusing debut mystery, launching an eleven-year-old heroine with a passion for chemistry–and revenge! What a delightful, original book!"—Carolyn Hart, author of the Death on Demand series
“Utterly charming! Eleven-year-old Flavia de Luce proves to be one of the most precocious, resourceful, and well, just plain dangerous, heroines around. Evildoers–and big sisters–beware!”—Lisa Gardner, author of Say Goodbye
"Flavia is an engagingly smart new sleuth with a flair for bringing out the child–and the detective–in all of us."—Christopher Fowler, author of the Peculiar Crimes Unit series
“Sure in its story, pace and voice, The Sweetness at the Bottom of the Pie deliciously mixes all the ingredients of great storytelling. The kind of novel you can pass on to any reader knowing their pleasure it assured.”—Andrew Pyper, author of the The Killing Circle
“Brilliant, irresistible and incorrigible, Flavia has a long future ahead of her…Bradley’s mystery debut is a standout. “—Kirkus Reviews, starred review
“Fun for the reader…. Fans of Louise Fitzhugh's iconic Harriet the Spy will welcome 11-year-old sleuth Flavia de Luce, the heroine of … Bradley's rollicking debut.”—Publishers Weekly
See more detail
It's the beginning of a lazy summer in 1950 at the sleepy English village of Bishop's Lacey. Up at the great house of Buckshaw, aspiring chemist Flavia de Luce passes the time tinkering in the laboratory she's inherited from her deceased mother and an eccentric great uncle. When Flavia discovers a murdered stranger in the cucumber patch outside her bedroom window early one morning, she decides to leave aside her flasks and Bunsen burners to solve the crime herself, much to the chagrin of the local authorities. But who can blame her? What else does an eleven-year-old science prodigy have to do when left to her own devices? With her widowed father and two older sisters far too preoccupied with their own pursuits and passions—stamp collecting, adventure novels, and boys respectively—Flavia takes off on her trusty bicycle Gladys to catch a murderer. In Alan Bradley's critically acclaimed debut mystery, The Sweetness at the Bottom of the Pie, adult readers will be totally charmed by this fearless, funny, and unflappable kid sleuth. But don't be fooled: this carefully plotted detective novel (the first in a new series) features plenty of unexpected twists and turns and loads of tasty period detail. As the pages fly by, you'll be rooting for this curious combination of Harriet the Spy and Sherlock Holmes. Go ahead, take a bite. --Lauren Nemroff
A Q&A with Alan Bradley :
Question: With the publication of The Sweetness at the Bottom of the Pie, you’ve become a 70-year-old-first time novelist. Have you always had a passion for writing, or is it more of a recent development?
Alan Bradley: Well, the Roman author Seneca once said something like this: “Hang on to your youthful enthusiasms--you’ll be able to use them better when you’re older.” So to put it briefly, I’m taking his advice.
I actually spent most of my life working on the technical side of television production, but would like to think that I’ve always been a writer. I started writing a novel at age five, and have written articles for various publications all my life. It wasn’t until my early retirement, though, that I started writing books. I published my memoir, The Shoebox Bible, in 2004, and then started working on a mystery about a reporter in England. It was during the writing of this story that I stumbled across Flavia de Luce, the main character in Sweetness.
Q: Flavia certainly is an interesting character. How did you come up with such a forceful, precocious and entertaining personality?
AB: Flavia walked onto the page of another book I was writing, and simply hijacked the story. I was actually well into this other book--about three or four chapters--and as I introduced a main character, a detective, there was a point where he was required to go to a country house and interview this colonel.
I got him up to the driveway and there was this girl sitting on a camp stool doing something with a notebook and a pencil and he stopped and asked her what she was doing and she said “writing down license number plates“ and he said “well there can't be many in such a place“ and she said, “well I have yours, don’t I? “ I came to a stop. I had no idea who this girl was and where she came from.
She just materialized. I can't take any credit for Flavia at all. I’ve never had a character who came that much to life. I’ve had characters that tend to tell you what to do, but Flavia grabbed the controls on page one. She sprung full-blown with all of her attributes--her passion for poison, her father and his history--all in one package. It surprised me.
Q: There aren’t many adult books that feature child narrators. Why did you want Flavia to be the voice of this novel?
AB: People probably wonder, “What’s a 70-year-old-man doing writing about an 11-year-old-girl in 1950s England? “ And it’s a fair question. To me, Flavia embodies that kind of hotly burning flame of our young years: that time of our lives when we’re just starting out, when anything--absolutely anything!--is within our capabilities.
I think the reason that she manifested herself as a young girl is that I realized that it would really be a lot of fun to have somebody who was virtually invisible in a village. And of course, we don’t listen to what children say--they’re always asking questions, and nobody pays the slightest attention or thinks for a minute that they’re going to do anything with the information that they let slip. I wanted Flavia to take great advantage of that. I was also intrigued by the possibilities of dealing with an unreliable narrator; one whose motives were not always on the up-and-up.
She is an amalgam of burning enthusiasm, curiosity, energy, youthful idealism, and frightening fearlessness. She’s also a very real menace to anyone who thwarts her, but fortunately, they don’t generally realize it.
Q: Like Flavia, you were also 11 years old in 1950. Is there anything autobiographical about her character?
AB: Somebody pointed out the fact that both Flavia and I lacked a parent. But I wasn’t aware of this connection during the writing of the book. It simply didn’t cross my mind. It is true that I grew up in a home with only one parent, and I was allowed to run pretty well free, to do the kinds of things I wanted. And I did have extremely intense interests then--things that you get focused on. When you’re that age, you sometimes have a great enthusiasm that is very deep and very narrow, and that is something that has always intrigued me--that world of the 11-year-old that is so quickly lost.
Q: Your story evokes such a vivid setting. Had you spent much time in the British countryside before writing this book?
AB: My first trip to England didn’t come until I went to London to receive the 2007 Debut Dagger Award, so I had never even stepped foot in the country at the time of writing Sweetness. But I have always loved England. My mother was born there. And I‘ve always felt I grew up in a very English household. I had always wanted to go and had dreamed for many years of doing so.
When I finally made it there, the England that I was seeing with my eyes was quite unlike the England I had imagined, and yet it was the same. I realized that the differences were precisely those differences between real life, and the simulation of real life, that we create in our detective novels. So this was an opportunity to create on the page this England that had been in my head my whole life.
Q: You have five more books lined up in this series, all coming from Delacorte Press. Will Flavia age as the series goes on?
AB: A bit, not very much. I think she’s going to remain in the same age bracket. I don’t really like the idea of Flavia as an older teenager. At her current age, she is such a concoction of contradictions. It's one of the things that I very much love about her. She's eleven but she has the wisdom of an adult. She knows everything about chemistry but nothing about family relationships. I don’t think she’d be the same person if she were a few years older. She certainly wouldn’t have access to the drawing rooms of the village.
Q: Do you have a sense of what the next books in the series will be about?
AB: The second book, The Weed That Strings the Hangman's Bag, is finished, and I’m working on the third book. I have a general idea of what’s happening in each one of the books, because I wanted to focus on some bygone aspect of British life that was still there in the '50s but has now vanished. So we have postage stamps in the first one... The second book is about the travelling puppet shows on the village green. And one of them is about filmmaking--it sort of harks back to the days of the classic Ealing comedies with Alec Guinness and so forth.
Q: Not every author garners such immediate success with a first novel. After only completing 15 pages of Sweetness, you won the Dagger award and within 8 days had secured book deals in 3 countries. You’ve since secured 19 countries. Enthusiasm continues to grow from every angle. How does it feel?
AB: It's like being in the glow of a fire. You hope you won't get burned. I’m not sure how much I’ve realized it yet. I guess I can say I‘m “almost overwhelmed”--I’m not quite overwhelmed, but I’m getting there. Every day has something new happening, and communications pouring in from people all over. The book has been receiving wonderful reviews and touching people. But Flavia has been touching something in people that generates a response from the heart, and the most often mentioned word in the reviews is love--how much people love Flavia and have taken her in as if she’s a long-lost member of their family, which is certainly very, very gratifying.
Review
"While Flavia De Luce is winning your heart, she may also be poisoning your tea. She's the most wickedly funny sleuth in years, brilliant, unpredictable, unflappable—and only eleven. The Sweetness at the Bottom of the Pie offers the freshest new voice in mystery yet."—Charles Todd, author of The Ian Rutledge series
"A wickedly clever story, a dead true and original voice, and an English country house in the summer: Alexander McCall Smith meets Sir Arthur Conan Doyle. Please, please, Mr. Bradley, tell me we'll be seeing Flavia again soon?"—Laurie R. King, author of the Mary Russell series
“Alan Bradley’s marvelous book, The Sweetness at the Bottom of the Pie, is a fantastic read, a winner. Flavia walks right off the page and follows me through my day. I can hardly wait for the next book. Bravo!” –Louise Penny, author of Still Life
“The Sweetness at the Bottom of the Pie offers the reader the precious gift of a richly imagined and luscious new world–but uniquely so, for this is the world of Flavia Sabina de Luce: an eleven-year-old, utterly winning, and altogether delightfully nasty piece of work. An outright pleasure from beginning to end.”—Gordon Dahlquist¸ author of The Glass Books of the Dream Eaters
"Alan Bradley brews a bubbly beaker of fun in his devilishly clever, wickedly amusing debut mystery, launching an eleven-year-old heroine with a passion for chemistry–and revenge! What a delightful, original book!"—Carolyn Hart, author of the Death on Demand series
“Utterly charming! Eleven-year-old Flavia de Luce proves to be one of the most precocious, resourceful, and well, just plain dangerous, heroines around. Evildoers–and big sisters–beware!”—Lisa Gardner, author of Say Goodbye
"Flavia is an engagingly smart new sleuth with a flair for bringing out the child–and the detective–in all of us."—Christopher Fowler, author of the Peculiar Crimes Unit series
“Sure in its story, pace and voice, The Sweetness at the Bottom of the Pie deliciously mixes all the ingredients of great storytelling. The kind of novel you can pass on to any reader knowing their pleasure it assured.”—Andrew Pyper, author of the The Killing Circle
“Brilliant, irresistible and incorrigible, Flavia has a long future ahead of her…Bradley’s mystery debut is a standout. “—Kirkus Reviews, starred review
“Fun for the reader…. Fans of Louise Fitzhugh's iconic Harriet the Spy will welcome 11-year-old sleuth Flavia de Luce, the heroine of … Bradley's rollicking debut.”—Publishers Weekly
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