The Forgotten Garden Kate Morton
Editorial Suma de Letras
1st edition, May 2010
Genre: Novel
540 pages
ISBN: 9788483651568
Following the success of The House of Riverton , Suma de Letras publisher has sought to support the new novel by Australian author Kate Morton The Forgotten Garden . This Nell revolves around a middle-aged woman who decides to travel to Britain to find out why, when he was 4, her caretaker left her in a ship bound for Australia, with no one expecting the other side of globe. After the death of Nell, her granddaughter Cassandra traces the journey of his grandmother and discover the heritage that has left him, he decides to go to the same English town to find out what really happened to her when she was little and how far advanced their research before die.
Morton's narrative style is very reminiscent of the nineteenth century Anglo-Saxon novels, most notably Charles Dickens, especially when re-creates the childhood of the caregiver (here called the Author) then the action moves to 1900 and the adventures of this character to get ahead inevitably refer to the adventures of Oliver Twist (also the child is an orphan and lives gripped by the iron grip of an adult who makes her different meanness to ensure minimal subsistence). The plot unfolds in three narrative lines, which correspond to the lives of three characters of the novel, Cassandra, Nell and the Author. Thus, Morton takes the reader from one to another story that will run in parallel manner without coming to cross at all.
For a thriller to be effective, it is essential that the writer is honest and not mislead the reader through the narrator; that is, where is the expertise of an author whether to introduce plot twists merely the narrator recreate certain scenes to mislead (with their dialogue) and then say that that was not really well but otherwise occurred ? Besides this, which to me is the worst, Cassandra finds tracks with every step, with each speaker and each action that is taking over (even tracks when you get dreams, literally). Nor am I convinced that throughout the novel the narrator forward to the findings of Nell and Cassandra with re-enactments of the family (what grace is to see a character and find out something if he has told me ten Morton pages before?).
flojea The novel also because all the secondary characters with which Cassandra is (some searches and other incidentally) seem to have the same interests that she and everyone knows something about his distant family past, so in a way or another, all fundamental pieces of the puzzle are trying to build the protagonist (chances offered by fiction.) From a stylistic point of view, Morton, as well as abuse of adjectives to describe everything to the smallest detail, click also to outline some of his characters can not be that Nell and Cassandra, who between them there are two generations apart, speak and behave exactly like del mismo modo, porque si a esto añadimos que las dos se relacionan con los mismos personajes y en idénticos espacios, al final queda una pesada sensación de repetición. Hasta la página 350, la novela apuntaba maneras.
Morton's narrative style is very reminiscent of the nineteenth century Anglo-Saxon novels, most notably Charles Dickens, especially when re-creates the childhood of the caregiver (here called the Author) then the action moves to 1900 and the adventures of this character to get ahead inevitably refer to the adventures of Oliver Twist (also the child is an orphan and lives gripped by the iron grip of an adult who makes her different meanness to ensure minimal subsistence). The plot unfolds in three narrative lines, which correspond to the lives of three characters of the novel, Cassandra, Nell and the Author. Thus, Morton takes the reader from one to another story that will run in parallel manner without coming to cross at all.
For a thriller to be effective, it is essential that the writer is honest and not mislead the reader through the narrator; that is, where is the expertise of an author whether to introduce plot twists merely the narrator recreate certain scenes to mislead (with their dialogue) and then say that that was not really well but otherwise occurred ? Besides this, which to me is the worst, Cassandra finds tracks with every step, with each speaker and each action that is taking over (even tracks when you get dreams, literally). Nor am I convinced that throughout the novel the narrator forward to the findings of Nell and Cassandra with re-enactments of the family (what grace is to see a character and find out something if he has told me ten Morton pages before?).
flojea The novel also because all the secondary characters with which Cassandra is (some searches and other incidentally) seem to have the same interests that she and everyone knows something about his distant family past, so in a way or another, all fundamental pieces of the puzzle are trying to build the protagonist (chances offered by fiction.) From a stylistic point of view, Morton, as well as abuse of adjectives to describe everything to the smallest detail, click also to outline some of his characters can not be that Nell and Cassandra, who between them there are two generations apart, speak and behave exactly like del mismo modo, porque si a esto añadimos que las dos se relacionan con los mismos personajes y en idénticos espacios, al final queda una pesada sensación de repetición. Hasta la página 350, la novela apuntaba maneras.
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