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A review by melcanread
A Marvellous Light by Freya Marske
adventurous
funny
mysterious
slow-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.5
A Marvellous Light was a marvellous book indeed!
Set in an alternative Edwardian England, this is a comedy of manners, manor houses and hedge mazes, including a magic-infused murder mystery and a delightful queer romance.
The way that I became almost obsessed with this book while I was reading it is a little embarrassing, if I'm being totally honest with you. I even ended up buying the sequel when I was halfway through the book because, of course I wanted to continue this story as soon as possible. And to say that I'm excited about the third book would be an understatement.
To start with, I wanted to talk about the writing style because this book was a weird one. At first, I was getting a little frustrated with Freya Marske and her method because it felt like she was trying too hard to make the book feel like a classic; or rather, emulate authors of the time. Which would have been a fantastic idea had she executed it well, and for the first 20% of the book it wasn't executed well. Certain sentences were too long; words were used incorrectly to make the book feel more intellectual than it was; I had trouble understanding certain passages and needed outside clarification. Simply because the choices Marske made didn't fit the vibe she was going for.
Another choice she made was the use of Britishisms. As someone who is, in fact, English, reading the first half of this was a little frustrating given the fact that, once again, the choices she made made the conversations the character had sound very stereotypically English. All, "pip, pip, cheerio, guv'na. Want a cuppa tea?" while clicking your heels together and walking down a cobbled street in a top hat and tailcoat. And again, for the first 20% or so of the book, I was considering DNF'ing because combined with the forced intellectualism, I was not having the best time. If not DNF'ing then giving it a very low rating.
But the first library scene at Penhallick was truly what saved this book for me, and what I would consider to be the pivotal change that made me hate this book to adore it wholeheartedly. I loved how vulnerable both Edwin Courcey and Sir Robert "Robin" Blyth became in that library, how their friendship began in that library, and how Robin became a safe-space for Edwin from that moment on. And the way Robin helped Edwin to become more confident and stand up to his emotionally abusive family was also perfectly done.
And the library scene not only changes the plot but also brings Marske's writing back to normal. She wasn't trying too hard, it all moved coherently and naturally. And because she just let her natural talent flow, she ended up writing some of my favourite quotes from any book I've ever read. I'd liken some of her writing to S.T. Gibson and A Dowry of Blood. Not in a gothic sense, just a, this-was-an-incredibly-beautiful-sentence-you-just-wrote kind of way. For example:
Set in an alternative Edwardian England, this is a comedy of manners, manor houses and hedge mazes, including a magic-infused murder mystery and a delightful queer romance.
The way that I became almost obsessed with this book while I was reading it is a little embarrassing, if I'm being totally honest with you. I even ended up buying the sequel when I was halfway through the book because, of course I wanted to continue this story as soon as possible. And to say that I'm excited about the third book would be an understatement.
To start with, I wanted to talk about the writing style because this book was a weird one. At first, I was getting a little frustrated with Freya Marske and her method because it felt like she was trying too hard to make the book feel like a classic; or rather, emulate authors of the time. Which would have been a fantastic idea had she executed it well, and for the first 20% of the book it wasn't executed well. Certain sentences were too long; words were used incorrectly to make the book feel more intellectual than it was; I had trouble understanding certain passages and needed outside clarification. Simply because the choices Marske made didn't fit the vibe she was going for.
Another choice she made was the use of Britishisms. As someone who is, in fact, English, reading the first half of this was a little frustrating given the fact that, once again, the choices she made made the conversations the character had sound very stereotypically English. All, "pip, pip, cheerio, guv'na. Want a cuppa tea?" while clicking your heels together and walking down a cobbled street in a top hat and tailcoat. And again, for the first 20% or so of the book, I was considering DNF'ing because combined with the forced intellectualism, I was not having the best time. If not DNF'ing then giving it a very low rating.
But the first library scene at Penhallick was truly what saved this book for me, and what I would consider to be the pivotal change that made me hate this book to adore it wholeheartedly. I loved how vulnerable both Edwin Courcey and Sir Robert "Robin" Blyth became in that library, how their friendship began in that library, and how Robin became a safe-space for Edwin from that moment on. And the way Robin helped Edwin to become more confident and stand up to his emotionally abusive family was also perfectly done.
And the library scene not only changes the plot but also brings Marske's writing back to normal. She wasn't trying too hard, it all moved coherently and naturally. And because she just let her natural talent flow, she ended up writing some of my favourite quotes from any book I've ever read. I'd liken some of her writing to S.T. Gibson and A Dowry of Blood. Not in a gothic sense, just a, this-was-an-incredibly-beautiful-sentence-you-just-wrote kind of way. For example:
“Robin managed to hold his tongue on something truly unwise like You look like a Turner painting and I want to learn your textures with my fingertips. You are the most fascinating thing in this beautiful house. I’d like to introduce my fists to whoever taught you to stop talking about the things that interest you.”
The reaction I had to that was visceral, I tell you.
Something else I loved: the ending. I adored how Marske didn't defeat the villains in this book like a lot of other authors have done. In comparison to the Payback's a Witch series, Lana Harper has written each book centred around each couple, but has given them brand new stories and problems to solve; which means that you could, in effect, read each book in the series as a standalone. Which is great, but it can lead the way into monotonous storytelling. Whereas Marske has ended book one in a place has answered any questions you may have had, while simultaneously leaving it open for a sequel, and continuing one plot over multiple books. Which is a feature I love and wish more authors would implement in their stories.
Once that turning point had been established, I absolutely loved every second I spent reading this book. And I am so very excited to sink my teeth into whatever else Freya Marske has for me within this universe.