The Light of Paris

9780399158919_p0_v3_s192x300  Unhappy with your life decisions?  Feeling unloved?  Want a change?  Paris is the answer, according to Eleanor Brown in her second novel – The Light of Paris.  With alternate chapters telling the story of Madeleine, a frustrated artist with frizzy hair, and Margie, her grandmother who is sent on the world tour to escape being an old maid at twenty-four, Brown focuses on the life changing decisions of both.  Separated by a generation, both face the consequences of choosing – is it better to be safe and do what is expected or follow the riskier path to your own bliss?  Both women are determined to escape the low expectations of family and friends.

Brown uses old letters to reveal Margie’s secrets from the nineteen twenties when she spends three months in Paris, after refusing her parents’s choice for her husband.  Of course she finds romance – this is Paris – and her life neatly reverts to type when she gets pregnant.  But during those glorious months when Margie finds herself, Brown uses vivid  descriptions of the city and the people who used Paris as their muse to counter the triteness of the story line.  Margie discovers Paris in one of the best times to be there.

As she is reading her grandmother’s letters, Madeleine is struggling with her own demons.  After years in an unhappy marriage with a controlling husband (he tells her she’s fat and won’t let her eat chocolate – grounds for divorce right there), she returns to her childhood home just as her mother has decided to sell it.  Making peace with memories of her miserable youth lead her to an epiphany – life is too short to waste trying to be something you are not.

Without the quick wit and Shakespearean quotes of her first novel, The Weird Sisters, this book falls a little short.  But with heady romance and life altering role modeling, The Light in Paris delivers a quick easy read.  It is Paris, after all – too bad we can’t all solve our problems by running off to be there.

Review of The Weird Sisters

 

 

The Weird Sisters by Eleanor Brown

Double, double, toil and trouble…

With characters named after Shakespearean heroines and dialogue sprinkled with quotes from the Bard, Eleanor Brown delivers on the reference in her title – but without Macbeth or witches.  And, if you have sisters or daughters in your family, some of the scenes will resonate.

Set in a small college town in Ohio, The Weird Sisters has a predictable plot of family problem-solving and relationships.  Three unmarried sisters, named Rosalind, Bianca, and Cordelia by their English professor father, return home to care for their mother who has breast cancer.   But each also has her own unresolved life issues to confront.

..we love each other, we just don’t happen to like each other…

Brown uses a clever device to tell the story; at times, all three sisters are telling the story as one voice.  She has you inside their heads, seeing each other, themselves, and the world around them – in a kaleidoscopic view.  Can be strange (weird?) at times, but keeps the cauldron bubbling.

They are what they are, and yet not:  Rose, the eldest, most responsible and accomplished; Bean (Bianca) most beautiful; Cordy, youngest, most spoiled, and looking for something that is not a hand-me-down.  As the story develops around their mother’s cancer – chemo, surgery, embolisms – each sister confronts her own demons to face her destiny: Rose’s fear of leaving, Bean’s professional life as a “thief and liar,” Cordy’s irresponsibility and pregnancy.

Brown teases with some drama, and a little sex – and works in convenient plot twists to solve all problems – all’s well that ends well – maybe a little too neatly.  The characters, especially the sisters’ father, reference Shakespeare in their general conversation, but the quotes get a little overdone and, sometimes, you will wish Brown would just get on with it, and say what she means.

The Weird Sisters is a good story for a quiet afternoon – a Hallmark channel kind of luxury.  I cried and laughed a little, related to some scenes, recognized most of the Elizabethan references, looked forward to the ending…

“To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day… “