Triple Bagger is the intricately woven story of one man’s experience in a company that takes him everywhere but leads him nowhere. Why did you want to write a novel that took a close look at the corporate world?
After twenty years of corporate career, I felt exactly how you describe: nowhere despite having had everything and been everywhere. It felt devastating, like I had lived inside a me that wasn’t me, and as such wasn’t worth very much to me at all. And I felt a powerful compulsion to write up about that life that had past, above all to try to make some sense of it, of why I had ended up going through with it, hoping perhaps that it would help me see a way forward.
With this novel you are able to once again capture everyday life and put an interesting twist on it. What is your writing process like?
This was in essence the first novel I wrote, fresh from abandoning the corporate world, although it was not the first I published, and I can confess that the writing process was chaos. There were certain difficult large themes I knew I had to treat in the book because they were at the core of what had deeply upset me for years and ultimately broken me. Firstly, I carried out ample research around these themes to convince myself these were rightful themes and that I wasn’t just being mad and imagining that they were. I needed to convince myself that my account was not to be a one sided rant, but that other people had and would care about the backbone behaviours I would discuss. This was the first phase. Yet after setting the grand map, I constantly battled with whether I should punish, absolve or laugh at the twenty years of past life I had drawn in front of me. So there was the tone to think of… Next, there was the problem of feeling in the detail without making it too dry, too boring or too close to the truth… I definitely didn’t want to take myself too seriously!
I felt that the story had a lot to say about the loss of oneself within the complexities of ladder-climbing and the desire to succeed. What were the morals you were trying to capture while writing your story?
There were a few. Firstly, to beware that in corporate elites we are often chosen not for the strength underlying our ambition but for its vulnerability, in that it inculcates a fear in us of not succeeding which can make us more pliable. Secondly, to resist corporate life when it looks to uniform us, shape us around a common fiction spelling our superiority and fuelling a fantasy around our limitless ability. To fight becoming dependent, to fight growing a fear of anything outside what they have taught us. Thirdly, to question the relentless drive and the virtuosity of endurance preached in corporate life. And finally, to never let work turn us into a robots. Whatever we do, never to let our emotions be turned off.
What is the next story that you are writing and when will it be available?
Caro M, is a short novel exploring the hurricane-like devastation unwavering love is capable of. In it: a woman, alone but for her dog, shares memories with her old tesoro; a wife trusts her sweetheart psychiatrist blindly through her divorce; and a young girl lands a fairy tale wedding soon to turn into a nightmare her cousin yearns to fix. I guarantee you it’s immersive, witty, tender… It will be available October 2017.
A book about identity and… management consultancy! ‘Epic, a wonderfully interesting reading experience, ‘ DeAndra Lupu @unbounders. Meet Vittal. He is a self-and-dad-made man carrying his family’s expectations on his shoulders. He has landed a vocation to work for the most renowned, most secretive, highest-priced, most entrusted, most detested organisation of all times. Vittal should be happy, or maybe frightened, after he is told that he will work with people with an unusual quality of character and, with time, he will become those people. When he meets Peter who reeks of success like a true world shaper, Vittal clings to the saving idea that he wants to become him. But as he climbs through stages at Enterprise over the next decade, life loses its meaning and he grows into a swinging smudge of mortality that advances and retreats with his employer’s tides. He is lonely, surrounded by emotionless, manipulative schemers, under a haunting fear that someone somewhere may be happy and it will never be him. And by the time Lucy arrives to discombobulate this sorry state of affairs, Vittal has become like the others, numbed, out to reach something he does not understand anymore. Lucy won’t be able to save him nor him her from Peter, from Enterprise. He won’t be able to save Peter or Enterprise either. And five years later, Vittal thinks that writing his story for Nuria can rescue him. It might, but not in the way he had thought! Triple Bagger is a story about being enslaved in a world of emotional unavailability and whether vanity, fear and control could be a shortcut to happiness; a tale of shredded life in three acts: Desire, Discipleship and Demise. It treats themes around collective faith and individual identity, stability and disintegration, the sane, the insane and who decides. Parallel to the main narrative there are reflective letters between Vittal and his editor Nuria discussing why we write, to leave a trace, out of revenge, or for redemption. There are as well as visual short passages of hotel encounters between two unknown lovers. The novel is ultimately about whether one person can make the difference when they live up to being that person.
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Room 11 is a genre-crossing novel with elements of a suspense, thriller, and medical drama as well. Did you start writing with this in mind, or did this happen organically as you were writing?
I must admit that Room 11 came to life in a strange way. The wife’s chapters, a mixture of yearning dreams and angry nightmare-like rants, were written separately, in an attempt to record the disparate strong emotions I felt during the few days just after I miscarried my third child, but which I had to put away at the time as I was attending a family wedding. On their own, though, these chapters were not enough for a novel, and they were almost impossible to fit in any larger narrative because they felt so mad and enraged. This is when, watching one of my favourite movies ‘Talk to Her’ (by Almodovar), I thought of putting the wife in a coma. I had also recently finished reading ‘A Kind of Intimacy’ (Jenn Ashworth), which gave me further ideas for the nurse, a character coming from a very different place to the wife, tender deep inside, but who would allow me to explore a parallel take on obsession and delusion growing in a pained soul.
Room 11 gives two women’s accounts of the same events via their own dreamlike states; a comatose woman and an increasingly stalker-ish nurse. Why did you choose to tell the story through a dreamlike filter?
I think of my characters as icebergs, living only ten percent of what they dream underwater, which to them feels more real than their everyday lives. My nurse may not get up to much in my novel, neither my wife; but their inner worlds hope to reveal humanity at its most extraordinary.
The characters in this novel, I felt, were intriguing and well developed. Who was your favorite character to write for?
Most readers abhor the wife, but she was definitely my favourite character because of all her viciousness and flaws, and the easiest to write for. I liked the nurse too but found her much more demanding to get right, as if she was flitting between my fingers resisting to be nailed down.
Room 11 is a fantastic suspense novel. Was there anything that happened organically in the story while you were writing? Did it surprise you?
All along I knew how the wife had ended up in a coma and that she would reveal that by then end of the book. But what would the nurse do? I wanted the wife killed … I wanted to pretend that her cynicism could be silenced and her man could have a new start alongside the other woman. But in the end… I just couldn’t. I wonder why…
After an accident leaves a woman in a coma, her husband sits on a hospital chair day-in day-out singing to her. Nobody can pull him away from her as she threads through the dreams that could save her. Meanwhile, a delusional nurse grows her admiration for him into obsessive desire.
‘I am fascinated by the way mari delves so deeply into the personality of the nurse, showing how she gradually comes to believe the man in Room 11 is in love with her, seeing all sort of small indications that may or may not be real,’ A Woman’s Write.
ROOM 11 is a dual narrative by strong, cynical, broken heroines (the nurse and the wife) winding passionately through hope, anger, delusion, obsession, guilt, sacrifice, resignation and eventually forgiveness, to help them re-emerge from their separate tragedies.
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Mari Reiza’s Triple Bagger is the intricately woven story of one man’s experience in a company that takes him everywhere but leads him nowhere. Triple Bagger goes far beyond the story within a story format to reveal Vittal Choudhary’s correspondence with an editor eagerly awaiting the completion of his work. Reiza’s Vittal, the main character, reveals the intricacies of the corporation for which he worked in a first-person account alongside excerpts from the story he struggles to complete. Vittal, a man determined to work his way upward through Enterprise despite his growing displeasure, gives up more than most to succeed.
Mari Reiza has bravely addressed the corporate world with her novel Triple Bagger. She includes distinct images of cities around the world–Rome, London, New York. She has completed quite the narrative on the loss of oneself within the complexities of ladder-climbing and the desire to succeed. Vittal Choudhary, the central focus of the book, is a relatable character. His confusion, his desire for more, and his dissatisfaction with the things his life has afforded him make him a character I found frustrating–a feeling that does tend to create interest for me as a reader. Anyone who has ever felt even the most temporary disdain for his or her profession will relate to Vittal as he grapples with accurately telling his experiences within his own written account.
Reiza takes both meanings of “triple bagger” and manages to fit them neatly into the multiple storylines of her very involved novel. As Vittal writes, he addresses the definition as it pertains to one’s looks. The remainder of the book, the part in which Vittal details his life with Enterprise, builds on the interpretation of “triple bagger” as a corporate success story.
Though eloquently written, I found the style of Triple Bagger to be challenging. Reiza has chosen to include Vittal’s personal narrative along with letters to and from his editor, Nuria Friedman, in addition to text from the story Vittal is constructing. The jump from one perspective to the other and back again was challenging to follow. It is almost a story within a story within a third story. The constant shift between perspectives creates obstacles that detract from an otherwise memorable main character.
In addition to a complicated format, I found the rather large number of acronyms and long list of characters to be a bit overwhelming for the book’s length. Though each acronym was appropriate to the storyline and emphasized the absurdity Vittal felt with each of his positions as he made his way through the ranks of Enterprise, I felt they were too numerous from beginning to end. Reiza expertly defines a series of supporting characters. However, I found myself floundering a bit to recall each one’s particulars as the story progressed.
The plot itself has the potential to be much more gripping. Vittal’s disdain throughout the majority of the book is obvious, and the fact that he remains bewildered as to his corporation’s overall purpose is not lost on the reader.
Pages: 414 | ASIN: B06XWT55YW
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Mari Reiza, author of Room 11, gives readers two women’s accounts of the same events via their own dreamlike states. A comatose woman and her doting husband are tended by a dedicated but overly-involved nurse. The nurse, focused heavily on the needs of the adoring husband, gives her account of the meticulous care he shows his bedridden wife underscored by her own daydreams which reveal an intense yearning to take his wife’s place. In alternating chapters, Reiza allows the reader to hear the wife’s dreams loud and clear via her own tangled memories. Hers are dreams peppered with fantasies based on the events taking place around her.
The style Mari Reiza has chosen to use in writing Room 11 offered me quite a different reading experience. I enjoyed the alternating chapters revealing the two different points of view of both the needy nurse and the comatose wife. About halfway through the book, it became more obvious that Reiza was revealing dreams from the wife that painted a picture of her immediate surroundings and her husband’s desperate efforts to rouse her.
I did find it much easier to follow the nurse’s daydreams than the wife’s fantastical retellings. At times, the wife’s chapters became very difficult to follow. There are many lines that are effectively repeated to make an impact on the reader. Reiza has succeeded in expressing the wife’s distress over her own inability to have children. However, much of the wife’s narrative becomes a series of rambling and repetitive lines.
The author paints a clear picture of the man in Room 11, as the nurse refers to him throughout the book. His love for his wife is heartrendingly obvious. His dedication to her care and, most of all, her dignity in her current condition is indeed enviable. Any person who has been the caretaker for a relative or patient will relate to the exhausting amount of effort the man in Room 11 bestows upon his ailing wife day in and day out.
Throughout the dreams and musings of both women, multiple settings are incorporated into the story. Among them are Ghana and Northern Spain. Though the reader slowly discerns the main setting is in the United Kingdom, both women’s tales reveal troubled pasts beyond its borders. The author has created a vision of a tormented life for both characters. Living in vastly different economic circumstances, the nurse and the wife both expose the anguish of devastating losses. The two women share a common bond they will likely never realize.
As I read, I was both fascinated by and disturbed by the nurse’s infatuation with the man in Room 11. Reiza has created a memorable character with the nurse as she divulges dark, almost sinister, feelings toward her helpless patient. Her increasingly stalker-like behaviors leave the reader both intrigued and uncomfortable. It is a given that the reader’s compassion should be directed to the wife in her unfortunate state, but the nurse is a character much more worthy of pity.
Though the language is beautiful and the story woven by the two women is fascinating, I found their dreams difficult to follow. I feel that too much repetition, especially in the wife’s dream sequences, took away from the book’s overall appeal.
Pages: 128 | ASIN: B06XJ3X7JZ
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Physical follows two women, Fatima who has given birth to twins in London and Kiki who finds herself stuck and alone in Northern Italy after her boyfriend leaves her for an ‘upgrade’. What was the inspiration for the setup to this engaging novel?
This novel was inspired by a wine-fueled conversation between two close female friends discussing the past five years of their lives. Like in the book, one had given birth not too long ago, and the other one had recently been ditched by a long-term boyfriend. Both were distraught at the sharp decline of their self-esteem and loss of their identity in a matter of months. They exchanged passionate words of rage and desperation which grew more caustic the more they drunk. Just before collapsing from alcohol intoxication, they homed on actionable lessons from their almost opposite yet very similar experiences: desire was still ablaze inside them; sex continued to matter; and whatever else slightly alien seemed to be hijacking their lives, they deserved to seek physical fulfillment. The rest, is fiction.
Emotions run high in this book and you can truly feel where these women are coming from in their midlife crises. What were some themes you used when developing your characters?
On the side of Kiki, I was eager to explore ways in which a middle-aged female could cope with rejection including the weight of factors such as aging, the yearn for children, and the clash with societal pressures and surrounding family and friends. Of course, I also wanted to look at the role of sexuality and how it changes with age, and whether physical desire can remain determining even as mature life becomes more complicated.
On the side of Fatima, I focused on the potential result of taking away freedom and independence from a successful middle-aged woman, trapping her in a new ‘silent’ world. I wanted to push Fatima to the edge and see where she would run to re-find herself, and how much she would risk to regain happiness. I toyed with betrayal and whether it could be therapeutic and serve a purpose, as well as with a mother’s/wife’s guilt for her own selfishness versus her right to want fulfilment of all kinds including physical. I wanted Fatima to consider whether love means total trust and what trust actually means.
I felt that Kiki was sabotaging herself a lot through the story. Do you think this is reflective of her character as a whole or is this just a phase she’s going through?
Kiki is a woman of a different time. Full of ideas and ideals. Passionate and righteous but who has never been allowed to believe in herself too much. She would like to leave Italy but doesn’t find the courage. She would like to step out of her parents’ influence but loves them too much. She knows she’s very different from her friends but not sure she could do without them. She’s deep down uncertain of what she wants from men, but at times feels pressured she should follow every female’s ideal of marriage. She’s a strong doubter with a good heart for whom things finally work out. We need more Kikis in the world, for sure.
What is the next book that you are working on and when will it be available?
Morte a Pisa: LIPS, LIGHT & LYRE will be out in June. It is a thin book with a trio of reflective short-stories around female death following a weekend in Pisa. The next full-length novel will be Caro M, where a lover misses her beloved Caro M after being abandoned; a wife is steered through her divorce from husband Caro M by her sweetheart psychiatrist; and a young girl has landed a fairy tale wedding to groom Caro M that soon becomes a nightmare her cousin wants to help fix. Naturally, someone somewhere will be the end of Caro M…
In a small town in northern Italy, Kiki feels worthless and angry when her longtime partner finds a new cool girl to ride on another decade of easy existence. Meanwhile in trendy London, Fátima, the wife of Kiki’s best friend, is losing her selfhood after giving birth to twins and being made redundant. Both heroines are determined to rebuild the passion and impunity of their youth, vitalising desires that will bring them to risk everything…
Themes covered in the novel include rejection, identity, betrayal, freedom and the right to happiness. The tone is humorous on the face of distress, often rejoicing in the terror of lives out of control.”
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Physical: The catastrophe of desire by Mari Reiza is a wild ride of a read. For both main characters, two middle aged women, Kiki and Fatima, it is indeed a catastrophe, but of their own making. Kiki is virtually strapped in a small town in Northern Italy and finds herself alone after her longtime boyfriend leaves for an “upgrade”. Fatima finds herself in a crisis of identity after having twins and struggles to find purpose in her enlarged family. Yet, both women feel pulled along by their baser desires to rekindle the energy and passion they had in their youth.
Overall, the book reads very fast pace, which for a shorter book is expected and I would say enjoyed it. There are moments where the book reads as if Reiza is experimenting with stream of conscious, but then it breaks away from that to continue in a more traditional narrative pattern. The change can occur on the same page or even within the same paragraph, which may be disconcerting to the careful reader.
The characters themselves are a varied mix of character strengths and flaws that can keeps the reader engaged. Kiki has a mouth like a sailor and clearly has a drive and motivation to make something of herself if she can overcome her very physical, base needs. There were times it was hard to follow her storyline given that she self-sabotages to a large degree. Fatima on the other hand seems to be the polar opposite, in the sense that she is in a steady marital relationship with children, something Kiki is allergic to. Fatima is no prude though and is as explicit as Kiki is about sex and the like. Both women seem driven to try and enliven their lives in any way they can no matter the cost, even if it dramatically disrupts their lives.
The story is told through both women point of view in alternating chapters and some heavy style choice make the narrative more “telling” than “showing”. But these are easy to push past as you get drawn into the struggle of Kiki and Fatima. The strongest point of Reiza’s writing is that you can truly feel where these women are coming from in their midlife crises. They are clearly tired and bored of their current lifestyle and need to do something to shake it up. It truly appeals to the deepest core beliefs that individuals can have when they have reached a “rock bottom” or stagnant part of life.
Overall, it is a classic contemporary fiction story. Of two women trying as best they can to beat back the overshadowing struggle of age and day to day responsibilities. Passion isn’t only reserved for the youth; it can always be rekindled later with a little help.
Pages: 143 | ASIN: B01N9ZU9XL
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West bEgg follows four characters and their bosses who are part of the powerful elite class of society. This is an intriguing setup to a novel that is high in social commentary. What was your goal when writing this novel?
West bEgg is a novel that came to life in pieces over the last decade when four very different friends in distant corners of the world related to me stories and complaints from their bosses which seemed farcical, as if reality had really outdone itself. At the time I only listened and laughed in disbelief, although I was also saddened that my friends, all of whom have thankfully moved on since then, rarely felt they could do much about their situation. Some time later, I read an article in The Economist suggesting that the current power elites are more talented, harder working and better educated (though in fairness it said ‘better schooled’) than in the past and it made me think back to and connect my friends’ tales together, only because I realised they told of a moment in time they had lived through in their careers that was especial, of a world particular in its madness and definitely worth recording (fictionalised of course!) to confront mankind with it.
What were some themes that you felt were important to highlight in this story?
I’ve always been astounded by how power influences people, how quickly they grow with it into strange eccentric beings, as well as how they rush to bow to it surrendering their own identities.
I loved the stark contrast between the characters and their bosses. What were the morals you were trying to capture while creating your characters?
On the side of the powerful I wanted to explore how they become increasingly distanced from reality, as well as the relationship between power and sex. On the side of the victims, I needed to dwell on the usual monsters: standing up for oneself, remaining aware of what has real value, fighting fear, loneliness and humiliation and keeping a dream.
What is the next book that you are working on and when will it be available?
‘After an accident leaves her in a coma, he sits on a hospital chair day-in day-out singing to her. Nobody can pull him away from her as she threads through the dreams that could save her. Meanwhile, a delusional nurse grows her admiration for him into obsessive desire.’ ROOM 11 is a dual narrative by strong, cynical, broken heroines (a nurse and her patient) winding through tenderness, passion, sacrifice, rage, guilt and eventually forgiveness, to help them re-emerge from their separate tragedies. It will be available March 10.
“Luca is a punch bag, a tea towel, a toilet bowl, to Macco One, the undeniable and unbreakable King of Egg Power, proud of averaging over a hundred flights a year to visit chicken markets around the world. Anna moved to Catania to work for Madame Sicily fulfilling varied tasks from picking up Céline swimwear before it hits the runways, to recovering badly parked Lamborghinis. La Revolução dreams through buildings but builds parking spaces, when she is not helping launder money for her boss’s dad’s dodgy charities. And finally Carolina is out to conspire with Paquita who met her boss, the German, in a red lit booth, to understand why the man has to drain the passion out of everything. Their fates will collide at the preposterous Fanta party, but the question is whether their bosses will get what they deserve?
West bEgg is a novel about the behaviour of the power elite who are often still arrogant and uneducated, ridiculously flamboyant, obscene, sex-obsessed, full of entitlement, afraid of rejection and unfortunately indestructible.”
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West bEgg: the world’s new power elite centers on the narrative of four main characters; Luca, Anna, Carolina, and La Revolução. The first three characters are assistants working for demanding, ruthless, and utterly annoying bosses, while La Revolução is an architect who works under her own annoying boss as well as beside his self-righteous daughter. The main theme that connects these characters is that they all seem to hate their jobs, and the daily tasks that they are given. All characters and their bosses are brought together at The Fanta Party where, despite endless preparation, disaster strikes out of the blue.
Mari.Reiza does a beautiful job of crafting each character for the reader. While they are all united in their disdain for their bosses and perhaps even depression at their personal lives, the characters are in fact, completely different individuals. Luca knows he is a punching bag and keeps this mantra rolling on repeat throughout the short novel. Anna would never imagine standing up to her boss, and goes out of her way to make sure that everything is perfect, while Carolina is perfectly okay with getting on her boss’ nerves, yet cries to anyone that will listen about how terrible he is. And then we have La Revolução, who seems to be the most interesting out of all these characters. She is not an assistant, but she is tasked with working with Irajá, the boss’ spoiled daughter, who is more trouble than she is worth. In a way, La Revolução is an assistant to Irajá, but her ultimate concern seems to be with ‘living the dream’. This could be acquainted to actually making a difference with her life’s work, rather than building parking lots or destroying properties that act as safe houses for abused women.
Each of the characters’ stories are told through their own point of view in each chapter. The reader will read about Luca’s experience of tending to his boss’ needs, then the next chapter might switch to Carolina crying on the shoulder of a sympathetic listener. The author does a great job of leading the reader up to the moment of The Fanta Party, where all of these characters will meet. However, this is where it falls flat for the reader. As carefully planned as it might have seemed, the party meets with disaster and we find the assistants running around trying to piece everything back to together like always. It seems that the misdoings of each boss has come back to wreak havoc on this party, and the assistants are the ones left to clean up the mess. It’s all very rushed through. I felt that much of the novel detailed the daily workings of each character, only to rush onto the climax of the story and not spend enough time fleshing out what I thought was the most interesting part of the novel. This novel should definitely be applauded for the difficult positions in which it places its characters, but overall, more details and a greater climax would have been welcomed.
I loved the detailed character descriptions and the authors grasp of nuance in character development. West bEgg is a fascinating piece of fiction that colorfully reveals the lives of the upper class.
Pages: 150 | ASIN: B01N4MSUKV
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