Where Is She Now? by Frances Gilbert

Rosemary wants only to feel the calm promised in the hymns of her childhood, she wants to ‘lay down her burden and enter in.’

Cradling her green pocket book wrapped in an old green shawl, she wanders through her daily life with her husband Brian, her traumatized self, and her alter ego, the bossy and competent Anna. Something has happened in the past, centering on her baby, but Rosemary can't quite remember what it was. And where is the baby now? As she oscillates between rational and delusional spells she seeks validation and support from the inanimate object around her, the cups on the shelf, the knobs on the bedposts, the books in the bookcase, and the houses lining the streets. In her conversations with them we see a Rosemary who is not quite as deranged as she seems, and Brian, not quite as supportive as he would like to have you believe.

The book is set in a fictional amalgam of two small English towns.


When I first received Frances Gilbert's Where Is She Now? I had very high hopes for it: it seemed much more accomplished than many of the other submissions that I've looked at. But in the end, a slew of punctuation problems and confusing constructions did for this book: I had found my fifteen errors before I reached the end of its second page.

Despite that, I continued reading to the end of page seven. I found plenty more problems and mistakes as I read on, but there was something rather lovely about the writing here which pulled me along with it. Gilbert's writing has a light and lyrical quality: there's a rhythm and poetry to her words which I found quite bewitching and (assuming, of course, that the plot is strong enough and well-constructed) if she had spent more time working on her grammar and punctuation I would have been able to give this book a very positive review indeed.

Outside The Lavender Closet, by Martha A Taylor

Fiction

What is it that makes us straight or gay?
Is it environment or genetics?
Choice, chance or maybe even persuasion?

The answer to this age-old question is one that fledgling writer Margaret Allen sets out to discover as she endeavors to complete her first book. Taking on a subject she believes she knows well, she begins a very human odyssey, examining the lives of gay women, all of whom come from diverse backgrounds and mindsets.

Among those whom we meet are —

the florist, whose parents try to "cure" her of her homosexuality;
the twins who, separated at birth, live their lives at opposite ends of the economic spectrum;
the radiant redhead and her three failed marriages;
the poet who spent most of her young adult years as a nun;
the Kentucky woman who, as a new bride, makes a rather shocking discovery;
and the non-verbal, wheelchair-bound woman, who is a political activist with an extraordinary ability to communicate.

As we share in their deeply personal narratives, Margaret's book ultimately raises the question: "Are relationships between two women really all that different than heterosexual ones?"

Outside the Lavender Closet brings to life a collection of contemporary stories inspired by actual women and true events.


Martha A Taylor's Outside the Lavender Closet: Inspired by True Stories is affectionately-written and has an easy charm to it: I genuinely liked the narrator and her group of friends and I wanted the book to do well, but in the end it was let down by a series of careless errors which include all the usual suspects: punctuation, spelling, grammar, homophone substitution, cliché, and some rather odd logic.

That list of errors sounds much more damning than it should. There were lots of errors, and the text is often clumsy: in order to bring this book up to a publishable standard it needs to be completely rewritten, to sort out all the confusion and unbelievable dialogue; it needs a very strong edit to make it coherent and tight; and it needs a full copy-edit to clear away all those irritating errors. That's a lot of work, none of which would be worth doing on a text which was completely substandard: but I think it's worth doing here because despite all of its problems this one has a warmth and a character to it which most of the books I've reviewed here lack. It might well turn out to be a bit of a treasure if it were properly worked up. As it is, it's just not good enough, I'm afraid, and I read just three of its one hundred and forty-nine pages.

Romancing the Claddagh, by Ruby Dominguez

Fiction Romance/Mystery Horror/Drama

The breathtaking mystery of the Irish Claddagh unraveled!

On a fire singed wall not so far away from the tragedy, a collage of photographs shaped the heartbreaking desperation of a city in search of missing love ones. A rescue recovery centre is deluged with a cascade of hundreds of Irish CLADDAGH rings uncovered from the collapsed World Trade Center at Ground Zero. The legend of the CLADDAGH'S origin entwines with romance of love tales, perilous adventures, mystery and royalty. A distinctively unique, timeless and honoured treasure of Irish heritage that is no stranger to love, tragedy and triumph. FOR IT WAS ONCE UPON A TIME, a sigil painted on an exclusive white sale of the Fisher King Ship marked with a crown, a pair of hands clasping the escutcheon of Nassau, evident of the crest of the royal house to which Liam, the King of CLADDAGH belongs, was recreated into a great spherical gold brooch to adorn the velvet lavender cloak of his future queen: Rowena, a descendant of ancient Ireland's fiery crimson-haired goddess Macha, who wreaked a terrible powerful curse upon the northern kings of Ireland's bloodline. An Irish phenomenon: its famous adage of "Let Love, Loyalty and Friendship Reign," still eloquently resonates to this day.

Ruby Dominguez, creatively inscribes a link between fantasy and reality, life and eternity, love and constancy; capturing the essence of her vision. She also penned, THE PERUKE MAKER - The Salem Witch Hunt Curse. Both are Fiction Romance/Mystery/or/Drama/Tragedy Screenplays of a CURSE TRILOGY. The Peruke Maker was professionally reviewed by LEJEN Literary Consultants and attained a Good Script Coverage/Analysis. "Visually compelling, provocative, suspenseful, memorable, smooth pace with excellent twists and turns. By LEE LEVINSON


Ruby Dominguez is a brave woman: she is only the second person to have sent me more than one book to review. Her first book, The Peruke Maker: The Salem Witch Hunt Curse, had little to recommend it; and Romancing the Claddagh: The Curse of Macha, her second, is probably even worse.

I shan't comment in detail about the back cover copy which is quoted in full above: it stands for itself. It's jumbled, confusing, and tells me nothing about the book which would encourage me to buy it. The jacket design is a disaster: it's strangely off-putting, and I wonder if that the girl in the image really is old enough to pose naked (and assuming she is, why does she look quite so sweaty?). I'd have preferred a more legible font for the title, too.

The book gets no better inside. It begins with a prologue which is just as confusing as the back cover copy:

Prologue

Guardedly, I listened to the echoes of my heart, yet fervently chased it down the deep recessions of a dark sacred chamber, where unspoken intimate emotions of agony and ecstasy come to surface.

Like a goldsmith, I creatively hammer down a precious link between fantasy and reality, life and eternity, love and constancy.

Herein pressed between the pages is the essence of my vision.

That's on page i; then on the next page we have a single paragraph (which is repeated in full a few pages later, in a different context) with the title Time Period, which reads:

A rescue recovery centre is deluged with a cascade of HUNDREDS of Irish CLADDAGH RINGS recovered from the collapsed World Trade Center, at ground Zero.

Is this part of the setup information or has the screenplay begun? Despite it reading like a scene description, I have to assume that it is part of the setup, because the pages which follow contain character lists and locations. Page numbering then begins again, and we have a montage set before us which includes the following quotes:

An unforgettable stark landscape of inferno, pandemonium and death is broadcasted on TELEVISION and RADIOS across a horrified nation and to the shocked world.

ASH-MOLTEN ROADS are creased with GRIEF-STRICKEN FACES, engulfed with sorrowful CRIES of the CLADDAGH ring as a frame of reference to help find and identify love ones.

On this page alone I found fourteen mistakes. I already had more than enough to base this review upon, but something compelled me to read on. The screenplay continues to page five; then on page six we have this:

V

Time Period

CLADDAGH VILLAGE 17TH CENTURY

Fishermen leave the safety of the stony shores, love of family and comfort of home to set out to sea to make a living, in spite of the danger of abduction by seafaring pirates and treacherous weather.

Hence, to live in Claddagh is to be a fisherman, or starve.

Or to be abducted by treacherous weather, perhaps.

Some of you might notice that the conclusion there does not follow on from the paragraph which precedes it; so this is a fallacious argument. It's not part of the action of the screenplay so what's it doing here? And why is it followed by a list of characters and locations? We have five more pages of such setup before the screenplay begins again.

I'll admit: I've read on through this, to try to make sense of it: but I failed. It's jumbled, confusing, and at times cringingly badly written. All of the segments I've read show a sentimental affection for a non-existent, stereotypical, Hollywood kind of Irish; and what little I've read of the historical sections are very ill-informed. In addition, stage directions are used to fill in the plot’s back story and background: it's bad enough encountering information dumps on the page, but how is this information meant to be conveyed to the audience if this play is ever performed?

I'm very concerned that the Lejen Literary Consultancy has told Ms Dominguez that this book shows promise, because in its current form, it isn't good at all. Based on its judgement of this book, I strongly urge all writers to avoid the Lejen Literary Consultancy and if you're still not convinced, read this thread at Absolute Write. I read four pages out of a possible 130 and if I'd observed my "fifteen strikes and you're out" rule strictly I would have not read even that far.

A Different Kind of Sentinel, by Sir E. J. Drury II

Personal Memoir

Having grown up in eastern Missouri, Sir E. J. entered the Navy after a brief stint at the US Naval Academy. For two long years did he struggle, in and out of sleep, with the true enemy of mankind --- the Beast. And for the past twenty has he struggled to give form to this book, that you, the reader, might decide to join the fray and save humanity from its self and the destructive side of its animal nature.

A TREK THROUGH THE DARK SIDE IN SEARCH OF SOUL AND THE MEANING OF LIFE

"...a truly remarkable memoir that is as much about the author as it is about the soul and their eventual reunion..."

"Haven't you heard? The Beast has been unleashed."
"What beast?" you ask.
"Why that part of Nature which still defies Consciousness."
"I don't understand," you exclaim.
"You will by the time you finish reading this story. Trust me."
"Why should I?" You inquire.
"You have your soul to free and heaven to gain, and little time for either."


"Once I started reading the book, I couldn't put it down until I'd finished it. You go where no one has ever dared. And for that you are to be commended." David Stewart, Stewart Publishing

"It may very well go on to become the book of the century, or for that matter, the book of the millennium." Harold Terbrock, Retired Carpenter




Sir E. J. Drury II (who is credited as the author of this book) has a pretty good grasp of punctuation overall, although he uses far too many commas which has the effect of stopping the flow of his words and giving his whole text a choppy, staccato beat. And this over-use of commas is part of a much larger problem: the style that this writer favours.

He habitually inverts his sentences and uses a dated and particular vocabulary. These two stylistic quirks combine to give his writing a dialect-like air, and the closest I can get to describing the origins of that dialect is to suggest that it's a sort of pidgin-Biblical. It's nowhere near as rich, textural or magnificent as the text of the King James version, though, and rather than accentuating and emphasising Drury's text, these linguistic quirks of his only serve to knock his many writerly failures into sharper focus.

Drury's uncomfortable style, his frequent and perplexing changes of tense, the many nonsensical sentences that I found, and his insistence on recounting great swathes of his own dreams within the text, meant that I read just five of this book's two hundred and eighty six pages. Sadly, this is another self-published book which fails to please.

The 7 Gifts that came to earth, by John Mellor

Seven precious gifts bestowed on the Earth but not revealed
~ ~ ~ ~ ~ ~ ~
A young boy is charged with finding them

"One of those unique and wonderful manuscripts that come one's way all too rarely"

"A most unusual and beautiful story that lingers in the mind long after one has read it"
~ ~ Senior Editor at a major UK Publisher

The singer emerged, and his music raged across the land, a wild, swirling cloud of chords laying waste like locusts to all that was soulless before it ..

I come not to bring peace, he said

This story may be freely read on-line. But if you buy the book it will please my wife and impress my friends. Maybe yours too if you gift it to them. And you can read it in bed

For any freethinking, enquiring mind over 12
—John Mellor


I'm not a big fan of spiritual or inspirational fiction: I find it predictable, cheesy and often quite cringe-making. So I'm not the best person to review this book, which is rooted firmly in those genres.

Despite my reservations, that hideous big "7" on the cover, and the truly horrible fonts in which this text has been set (authors: if you're considering using fancy fonts in yourself-published book, please read this first), I thought that this little book was charming.

That doesn't mean it's perfect: no book is. Some of the storytelling was a little too forced and predictable from me (but that might well be down to the book's genre which, as I've already explained, isn't my favourite); the language used was a little formal and old-fashioned, which distanced me from the story and so stopped me becoming emotionally involved with it; and there were, of course, punctuation problems with it (for example, a couple of instances where a full-stop had managed to slip outside a quote-mark which should have contained it, and a dash used where a hyphen was required). There were a few lapses in meaning, to: for example, on page 21 we are told,

The specially-made gown — designed by the greatest couturier in the kingdom, assembled by a hundred hand-picked seamstresses from the finest silk of faraway lands — was cheap.

While the dress might have looked cheap I doubt that it really was, and little lapses like that don't help when you're telling a story which has a deeper meaning at its core: if you can't get the top layer right, how can the reader trust the rest?

Overall, then, this is an easy read and it's brief, too, coming in at just 167 pages. It had has shades of Jonathan Livingston Seagull to its tone; I much preferred it to The Shack, which I found trite and unauthentic; and despite its flaws and those dreadful fonts, The 7 Gifts is readable and engaging.

Despite my reservations I enjoyed what I read of the book (I reached page 51), and will almost certainly read more. A good little book, and well worth considering if you're looking for some reading in this particular genre.