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フィレンツェに消えた女
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フィレンツェに消えた女の評価:
| 書評･レビュー点数毎のグラフです | 平均点3.36pt | ||||||||
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全42件 21～40 2/3ページ
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| For some unknown reason this story failed to engage me. The characters never came alive for me and so remained characters and not people. I found the constant changing of time frames confusing and they detracted from the story and distracted me! | ||||
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| The story itself and the storytelling style used by author Sarah Dumont were the reasons I enjoyed the book. At first I thought of jumping chapters to maintain the storyline I preferred but in the end I stayed with it and liked it a lot. | ||||
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| Dull. Just dull. I read a few pages, flicked on to see if it improved, then put it in the bag for the poor dogs | ||||
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| When Estella finds that her friend Anna has suddenly disappeared, leaving her daughter, eight year old Lily, in the care of Paul, a loving though surrogate father, and his boyfriend Mike, she has to leave her beautiful apartment in Amsterdam to help with the necessary childcare. Anna is a journalist, and when they find several Lonely Hearts newspaper ads ringed in her tiny home office, they suspect that one of them might lead them to her. This proves to be a false beginning, and it is not the last. The problem is they cannot convince themselves that Anna would leave Lily. They call in the police. This novel artfully suggests two different scenarios as to what has happened to Anna, one of them full of tension and terror in the deeply forested countryside of northern Italy, and another, less stressful, but equally intriguing and set in the throes of a love story with an exceptionally attractive man. Each of them are played out with the background of what is happening back in London as Estella moves in to look after Lily. Which is the true story - take your pick. The book will keep you guessing up to the riveting ending. It is a coolly controlled read, never putting a syllable out of place, cleverly constructed so that each of the two scenarios mirrors something of the other. The tension ratchets up and never lets you go. Absolutely stunning in its virtuosity, it is a must-read. | ||||
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| At the end of it all, who cares? What did it all mean? Why should I have read it? The only character I cared about was her daughter who didn't seem to mean much to her mother, the protagonist. Why did I bother? | ||||
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| A well written book with an engaging story line but an abrupt ending that fails to draw any of the sub-plots to a conclusion. | ||||
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| This book was wonderful. The premise was unusual and the story captivating. Characterization was very well done, each character's voice and actions were realistic and believable. I loved the ending. A five star read! | ||||
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| The download was easy and easy to follow the story. It's an ok book. A little suspense, mystery; pleasant reading. Purchasing was easy. | ||||
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| I really love Sarah Dunants other books (Birthing of Venus, Company of the Courtesan), thats why I bought this book. I really didnt understand it at all. There seem to have been two plots going on at the same time sort of one imagined and one real one but one never knows what the real one was. Gripping story in general but somehow the brain rejects it all the time because it doesnt figure out, what is real and what isnt. Waste of time, but read her other books, they are amazing! | ||||
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| This book was awful. The characters were uninteresting, and the pace and candence of the story didn't make me care for them at all. So, I ended up taking huge chunks out of the book by forwarding to the parts where the interaction was between the abducted and her capture, and then was sorely disappointed by the ending. If you read The Birth of Venus and have expectations that this book will be of that level, you'll be very dissapointed. | ||||
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| The book came when I expected it and it was in excelent shape. I would buy again from this seller. | ||||
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| This is not Sarah Dunant's best. Then again her worst is still better then 95% of what is published as fiction this century (21st century joke there, did you get it?). This book can be annoying, it can be confusing and the end left me unsure what happened to who. I did not *buy * the resolution of the kidnapping scenario. And how can 2 things happen at the same time to one person and both be resolved? That is taking even fiction too far. I did not care for the character Anna and her daughter made me cringe. I wanted more of Estella, she was left unfinished, incomplete. I understand even a writer needs to eat, so do I (DOH!) but Sarah Dunant can and has done much better. She will again, I bet the *farm* on it. | ||||
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| I just finished Mapping the Edge. While I must say it was a good read, and that I could not wait to find out what happened next, I could not figure out what the meaning of her absence really was; and the end of the story never clarrified it. Was this book meant to leave us guessing as to why she was gone? Was it Samuel, or was it Andreas? The plot with Andreas left me breathless, and on edge..it was quite disturbing to me as I imagined myself in her place. However the plot with Samuel, although erotic had some disturbances also. She loved Lily though, and did miss her terribly thruout the novel, so was she really held against her will by Andreas? The ending of the novel while coming to no real conclusion left me in a bad place with no closure except the fact that Anna was going home. Maybe that was meant to be enough. | ||||
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| i thoroughly enjoyed this book. character, dialogue, suspence- perfect. i loved the concept that either of the anna scenarios might be happening and her loved ones had no way to know. i was ok with the ambiguity of never knowing which was the truth because that seemed to be the point of the story: when people disappear, there are no answers. i expected the character to die and for her loved ones to have no way to piece the story together. but what happens in the last paragraph was so bizarre. who was the man? what does he signify? what is the point of the horse being splintered in the same place in both stories if she doesn't return with it both times? it was so well written- this was such a let down. | ||||
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| I had a difficult time keeping this book straight. I never figured out the "reason" for the book. I read it for a book review night and the majority had a hard time with it. | ||||
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| I thoroughly enjoyed this book - until the end. I read the whole thing on a quiet Saturday. It was certainly a page turner and I felt so much anxiety wanting to know if Anna would be released, but the very last paragraph in the book just made me feel stupid. I was like,"ummmm, what is THAT? Am I supposed to understand it, because I don't and that makes me feel stupid and if I'm not supposed to understand it, then what is the point?" | ||||
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| I couldn't put this book down. I'm hooked on Sarah Dunant. I had a little trouble making sense of the timeline between 2 of the 3 story lines that run parallel but, in the end, it didn't matter. It was quite compelling. | ||||
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| Mapping the Edge is something of a last resort read, and is nowhere near the quality of the author's The Birth of Venus, which I highly recommend. I don't want to waste my time writing a lengthy review on this rather spacey novel whose characters don't have the power and greatness as do those in the Birth of Venus. | ||||
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| Characterized by crisp phrasing and impressive descriptions, Dunant has fashioned a story that easily transcends the typical mystery-thriller genre. With a practiced and skillful hand, The author steers her readers through the intricacies of familial relationships and affairs of the heart. At the core of it all is Anna, a single mother who adores her daughter, Lily, and has constructed a loving, if unconventional family with the help of close friends. In her almost obsessive love for the child, the beautiful, independent Anna begins to fear the loss of herself in the constant fascination of the ever-changing Lily. She takes a short holiday to Italy, there to renew neglected facets of her life in a tryst with a new lover, seeking the assurance that motherhood hasn't robbed her of the stimulation of physical and emotional passion she occasionally craves. Anticipating a short escape into the arms of pleasure, Anna's finely tuned intelligence senses something amiss in her personal Garden of Eden. Her brief but intense affair with the mysterious "Samuel" sends a shiver of uncertainty below the seemingly uncomplicated cloak of pleasure, while Lily remains safely ensconced at home in London with her mother's dearest friend, Estelle, and "surrogate" father, Paul. But pinpricks of anxiety also begin to intrude upon their purposefully domestic facade, segueing into a worst-case scenario when Anna fails to return as planned. For the child's sake, the adults maintain a united front, quietly enduring an increasing sense of impending tragedy. Anna's motherhood is finely rendered, artfully exposed and vulnerable, her character the very essence of rapturous first-time motherhood, the pure joy of watching a child bloom, whose very existence is celebrated by those who surround her. Equally comfortable in her sensual skin, Anna explores the boundaries of a sexual relationship with a natural earthiness that is seductive and imaginative. There is a genuine engagement of intelligence by this author, beyond solving a clever crime, and the reader wants nothing so much as to see this child reunited with this mother, to put that small, but perfect, universe back in balance. Dunant clearly respects the aptitude of her audience, blending intellectual curiosity and mystery, in a compelling tale of love, betrayal and compassion. (pp) Luan Gaines/2005 | ||||
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| In "Mapping the Edge," Sarah Dunant's impressionistic thriller, Anna, a single mother with a seven-year-old daughter, takes a break from her life for a short trip to Italy on her own. When she does not return her friends, Estella and Paul--she the best friend, he a (gay) chum of Anna's--act as surrogate parents and rush to Anna's house to relieve the professional babysitter, who has to go home to her family, in caring for the daughter, Lily. In alternating chapters we are given two possible explanations for Anna's failure to return (titled "Away," these are told in the third person) after which there is a chapter called "home," a first-person narrative related by Estella. This pattern repeats itself for the duration of the journey. Although Ms. Dunant does not specifically say so, perhaps the more sinister version of Anna's fate (she is being held against her will by a stalker) is imagined by Estella while the more romantic one (she has meet a lover and has simply decided to spend one more weekend with him) is imagined by Paul. Regardless, the interwoven tales mesh smoothly, and the prose is lucidly clear. The characters are believable and somewhat sympathetic--even the stalker. It's a gripping read. | ||||
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新規レビューを書く⇒みなさんの感想をお待ちしております！！