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Lady Ruth Bromfield
As the Nazis begin to take over Germany, a young, Jewish mother strives to protect her daughter from the persecution that her people face on a daily basis. After meeting a secret agent from England, the young mother ships her daughter to the English countryside to live with a minister and his wife with the promise that they will raise her in the Jewish faith. A look into the life of a girl raised to be a Christian Jew, Lady Ruth Broomfield showcases the drive and amazing work ethic that its titular character posses which helped her become a powerful player in a world that once persecuted her people.
Gordon Smith’s Lady Ruth Bromfield proves to be an interesting read in the sense that it reads like fiction, but also reads like a true story. While the story keeps the reader on the edge of their seat near the beginning of the novel, there are obvious dips in the interest levels and movement of the story.
The book is very well written in the sense that the author definitely knows how to pace the story when it comes to facts. However, one of the major issues with the storytelling comes through the depiction of Ruth. While it is understood that Ruth is the story’s hero, she is far too perfect in her depiction. Overly smart, ambitious, and predominantly successful from an early age, the writing of ten-year-old Ruth makes her appear to be unusually self-aware. Certainly, the children of World War II grew up faster than most, but her mentality seems to be a mix of a spoiled five year old and a wise twenty year old.
Similarly, her depiction as a three-year-old is unrealistic. Had some of the conversations happened when the child was five instead of three, it would’ve been more believable than the conversation presented. However, when the reader keeps in mind that the main character is a little bit above and beyond the normal person as the story continues, it makes the unnatural maturity seem more plausible, if only by a little bit. While the writing is mostly well done, the repetitive descriptions and retelling of information slows the flow of the book greatly and dampers the overall mood when reading the story.
It’s really the ending of the story that makes up for the roller-coaster of writing and descriptions throughout the book. The promise of hope and the example of overcoming as a woman in a predominately male field is quite the impressive story. Similarly, overcoming her initial adversity at the beginning of the story as a Jewish orphan to becoming a massive player in the world of construction does offer hope to anyone who believes that their small beginnings do not allow them to go on and achieve greater things. Overall, this story provides hope.
Pages: 250 | ASIN: B01JVV1HLE
Intensity of Emotion
Black Inked Pearl is a romance story following a young woman who falls in love with a mysterious man and then must search for him through Heaven and Hell. I found Kate to be a very well written and in depth character. What was your inspiration for her and her emotional turmoil through the story?
My reading: above all (as you’ll see from the similes) Homer and the mystic love poetry of Shakespeare, Blake and Rumi. Music – the dreams in which the book was given to me (from where?), one dream / one chapter a night for about two months, were interlaced with my hearing classical music through the night, most poignantly Bach, slow Mozart piano and John Rutter’s ‘Blessing’. But most of all my life, living through it:, I think no serious novelist can write of love or emotion of searching unless she has experienced it herself, at least in imagination (what else?): as the agreed poet Aeschylus rightly summed it up ‘learning through suffering … ‘
Within this book you flawlessly blend poetry with prose that brings beauty and intrigue to the story. It takes exceptional talent to blend the two genres together. How did you go about blending the two genres without disrupting the story?
I don’t think they’re essentially so very different, in fact some of the ‘poetry’ could equally well be set as rhythmic prose (my publisher – lovely Garn Press – had quite a discussion about which should be which, we changed our minds several times), and ‘prose passages’ could equally appear as poetry (actually, some of the ‘prose’ similes are now set as verse in my Poems from Black Inked Pearl: after all many of them came directly from, or were inspired, by Homer, the great arch poet). Also as I learned when I was writing my book Oral Poetry it’s really only a fairly recent typographical western convention that makes prose ‘look’ different from poetry. Ultimately it’s the SOUND and the INTENSITY OF EMOTION – or so I think -that are fundamental to poetry, and that, for me anyway, runs all through the book. So in a way it’s all poetry and I couldn’t feel any break between them. That said, interestingly, the poems came separately, also in dreams (each one already made, complete, perfect – well as perfect as it was ever going to get anyway) over the months BEFORE the novel started, mysteriously, to arrive. I thought they were independent poems. But when the novel chapters were written I saw that, all the time, they were part of the story and needed to be there. So now, there they are.
I felt that Black Inked Pearl is about love, romance, and life experiences that shape the person we become. Is there any moral or idea that you hope readers take away from the story?
I think – as in The Alchemist (a kind of soulmate book with mine) follow your dream, whatever anyone else says – and maybe at the end of that rainbow what you will find will be the pearl, yourself. Love is all, even if unrequited – that has its deep treasures too. The ‘new’ words (the Garn Press copy editor said there were hundreds!!) just came to me; they were just standing there already in my mind (like the poems were), complete, ready to be written. When I looked back (having forgotten…) I saw that they were (almost) all because they made the line SOUND better, more rhythmic. Roll on the audio, oral, version for its full realization, much influenced by my experience of African (and Irish) oral story telling. Oh and often it turned out to be sense too – some subtle change from the meaning conveyed by the ‘ordinary’ form – didn’t James Joyce and Homer and even Shakespeare sometimes find they had to do the same? (sorry, what a comparison….)
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An epic romance about the naive Irish girl Kate and her mysterious lover, whom she rejects in panic and then spends her life seeking. After the opening rejection, Kate recalls her Irish upbringing, her convent education, and her coolly-controlled professional success, before her tsunami-like realisation beside an African river of the emotions she had concealed from herself and that she passionately and consumingly loved the man she had rejected. Searching for him she visits the kingdom of beasts, a London restaurant, an old people’s home, back to the misty Donegal Sea, the heavenly archives, Eden, and hell, where at agonising cost she saves her dying love. They walk together toward heaven, but at the gates he walks past leaving her behind in the dust. The gates close behind him. He in turn searches for her and at last finds her in the dust, but to his fury (and renewed hurt) he is not ecstatically recognised and thanked. And the gates are still shut.
LITERARY TITAN 