What do you think?
Rate this book
Languedoc #2
Sepulchre
In 1891, young Léonie Vernier and her brother Anatole arrive in the beautiful town of Rennes-les-Bains, in southwest France. They've come at the invitation of their widowed aunt, whose mountain estate, Domain de la Cade, is famous in the region. But it soon becomes clear that their aunt Isolde-and the Domain-are not what Léonie had imagined. The villagers claim that Isolde's late husband died after summoning a demon from the old Visigoth sepulchre high on the mountainside. A book from the Domain's cavernous library describes the strange tarot pack that mysteriously disappeared following the uncle's death. But while Léonie delves deeper into the ancient mysteries of the Domain, a different evil stalks her family-one which may explain why Léonie and Anatole were invited to the sinister Domain in the first place.
More than a century later, Meredith Martin, an American graduate student, arrives in France to study the life of Claude Debussy, the nineteenth century French composer. In Rennesles-Bains, Meredith checks into a grand old hotel-the Domain de la Cade. Something about the hotel feels eerily familiar, and strange dreams and visions begin to haunt Meredith's waking hours. A chance encounter leads her to a pack of tarot cards painted by Léonie Vernier, which may hold the key to this twenty-first century American's fate . . . just as they did to the fate of Léonie Vernier more than a century earlier.
More than a century later, Meredith Martin, an American graduate student, arrives in France to study the life of Claude Debussy, the nineteenth century French composer. In Rennesles-Bains, Meredith checks into a grand old hotel-the Domain de la Cade. Something about the hotel feels eerily familiar, and strange dreams and visions begin to haunt Meredith's waking hours. A chance encounter leads her to a pack of tarot cards painted by Léonie Vernier, which may hold the key to this twenty-first century American's fate . . . just as they did to the fate of Léonie Vernier more than a century earlier.
550 pages, Hardcover
First published October 31, 2007
801 people are currently reading
13027 people want to read
About the author
Kate Mosse
89 books3,304 followersKate Mosse is an international bestselling author with sales of more than five million copies in 42 languages. Her fiction includes the novels Labyrinth (2005), Sepulchre (2007), The Winter Ghosts (2009), and Citadel (2012), as well as an acclaimed collection of short stories, The Mistletoe Bride & Other Haunting Tales (2013). Kate’s new novel, The Taxidermist’s Daughter is out now.
Kate is the Co-Founder and Chair of the Board of the Baileys Women’s Prize for Fiction (previously the Orange Prize) and in June 2013, was awarded an OBE in the Queen’s Birthday Honours List for services to literature. She lives in Sussex.
Kate is the Co-Founder and Chair of the Board of the Baileys Women’s Prize for Fiction (previously the Orange Prize) and in June 2013, was awarded an OBE in the Queen’s Birthday Honours List for services to literature. She lives in Sussex.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 1,634 reviews
December 29, 2019
”Compelled by the act of an innocent girl in a graveyard in Paris, something is moving within the stone sepulchre. Long forgotten in the tangled and overgrown alleyways of the Domaine de la Cade, something is waking. To the casual observer it would appear no more than a trick of the light in the fading afternoon, but for a fleeting instant, the plaster statues appear to breathe, to move, to sigh.
And the portraits on the cards that lie buried beneath the earth and stone, where the river runs dry, momentarily seem to be alive. Fleeting figures, impressions, shades, not yet more than that. A suggestion, an illusion, a promise. The refraction of light, the movement of air beneath the turn of the stone stair. The inescapable relationship between place and moment.
For in truth, this story begins not with bones in a Parisian graveyard, but with a deck of cards.
The Devil’s Picture Book.”
Meredith Martin, under the guise of researching her book on the composer Achille-Claude Debussy, goes to France to see the places that Debussy lived and frequented, but she also has an alternative agenda to discover more about a family connection to a place called Domaine de la Cade. While in Paris, she would like to do some of the normal tourist things, like visit Shakespeare and Company on the Left Bank, but the thought of dealing with all the tourists at such a place is too daunting.
My most recent experience with this was the Empire State Building in NY. I went in and stood in line, listening to the cacophony of excited people speaking in languages from all over the world, and, after a few minutes, left to go to the Strand Bookstore instead. It is hard to complain about tourists when I am a tourist myself, but alas, they are such intrusive, noisy people while on vacation.
Almost as if being compelled by forces beyond her, Meredith ends up in a Tarot Card shop in Paris where a woman convinces her to have her cards read. The reading is, to say the least, interesting even, one might say, awkward with overtones of unnerving insights.
”She brought out a large square of black silk and folded the cards up within it. ‘There,’ she said, pushing them across the table. “Another Tarot tradition. Many people believe you should never buy a deck of cards for yourself. That you should always wait for the right deck to be given to you as a gift.’
Meredith shook her head. ‘ Laura, I can’t possibly accept them. Besides, I wouldn’t know what to do with them.’
‘I believe you need them.’
For a moment, their eyes met once more.
‘But I don’t want them.’
If I accept them, there’ll be no way back.
‘The deck belongs to you.’ Laura paused. ‘And I think, deep down, you know it.’”
Meredith may possess a healthy dose of skepticism, but those beliefs have been shaken. Her less used senses are tingling with speculations of things unseen, of forces that pluck the strings of fate with malevolent intent.
In her research, the year 1891 keeps appearing, and that brings in the other side of the story. Like with her first book in the Languedoc series, Labyrinth, Kate Mosse tells two stories separated by time, but the two timelines are entwined by a mystery. In this case, 1891 and 2007 become separated by a very thin veneer, with villains on both sides of the timeline, intent on possessing what they should never have.
In 1891, Victor Constant, Comte de Tourmaline, a very wealthy, syphilitic aristocrat is intent on enacting revenge on Anatole Vernier, whom he perceives as the man who stole his lover from him. Anatole’s sister, Leonie, is also his target. What better way to create the maximum pain for Anatole than to seduce his sister. Leonie has been reading about the history of the Domaine de la Cade, where they are staying, and is discovering a past that is beset with strange occurrences revolving around a sepulchre and a deck of tarot cards. She has romantic views of the world and is certainly susceptible to the charms of a sauve, seemingly elegant man.
In 2007, Julian Lawrence, now the owner of what is now the Hotel Domaine de la Cade, has also done extensive research on the history of the estate and wants the power that he knows the tarot deck will give him access to.
Meredith and Leonie, in two different eras, will find themselves desperately trying to understand the mystifying clues that will help them to understand the dangers they face from the ethereal and the very real present. Can they figure out the clues to the puzzles before they run out of time?
I read Labyrinth back in 2006 on a plane ride back from Milan, Italy. I had been dangerously close to running out of reading material when I spied the turquoise cover of Mosse’s book in a spinner rack in the airport. By chance this turned out to be the perfect book to read on a long, boring flight back to the States. I am frequently baffled by how long it takes me to return to an author I enjoy, but here we are 12 years later, and finally I read the second book in the series. I’ve got the next two in the series, Citadel and The Burning Chambers, squirreled away on my shelves. I do sincerely hope it doesn’t take me another 12 years to get to the next one in the series.
The books all take place in the Languedoc region of France and have similar themes, but can be read as stand alone novels or out of order, so if one plot of one of the books appeals to you more than another, have no fears that you are breaking one of the cardinal sins of reading books in a series out of order. There is a television adaption of Labyrinth that was released in 2012, and there are current negotiations underway to do the same with Sepulchre.
If you like a bit of gothic atmosphere with your timeline smashups, then you will not be disappointed.
If you wish to see more of my most recent book and movie reviews, visit http://www.jeffreykeeten.com
I also have a Facebook blogger page at: https://www.facebook.com/JeffreyKeeten
And the portraits on the cards that lie buried beneath the earth and stone, where the river runs dry, momentarily seem to be alive. Fleeting figures, impressions, shades, not yet more than that. A suggestion, an illusion, a promise. The refraction of light, the movement of air beneath the turn of the stone stair. The inescapable relationship between place and moment.
For in truth, this story begins not with bones in a Parisian graveyard, but with a deck of cards.
The Devil’s Picture Book.”
Meredith Martin, under the guise of researching her book on the composer Achille-Claude Debussy, goes to France to see the places that Debussy lived and frequented, but she also has an alternative agenda to discover more about a family connection to a place called Domaine de la Cade. While in Paris, she would like to do some of the normal tourist things, like visit Shakespeare and Company on the Left Bank, but the thought of dealing with all the tourists at such a place is too daunting.
My most recent experience with this was the Empire State Building in NY. I went in and stood in line, listening to the cacophony of excited people speaking in languages from all over the world, and, after a few minutes, left to go to the Strand Bookstore instead. It is hard to complain about tourists when I am a tourist myself, but alas, they are such intrusive, noisy people while on vacation.
Almost as if being compelled by forces beyond her, Meredith ends up in a Tarot Card shop in Paris where a woman convinces her to have her cards read. The reading is, to say the least, interesting even, one might say, awkward with overtones of unnerving insights.
”She brought out a large square of black silk and folded the cards up within it. ‘There,’ she said, pushing them across the table. “Another Tarot tradition. Many people believe you should never buy a deck of cards for yourself. That you should always wait for the right deck to be given to you as a gift.’
Meredith shook her head. ‘ Laura, I can’t possibly accept them. Besides, I wouldn’t know what to do with them.’
‘I believe you need them.’
For a moment, their eyes met once more.
‘But I don’t want them.’
If I accept them, there’ll be no way back.
‘The deck belongs to you.’ Laura paused. ‘And I think, deep down, you know it.’”
Meredith may possess a healthy dose of skepticism, but those beliefs have been shaken. Her less used senses are tingling with speculations of things unseen, of forces that pluck the strings of fate with malevolent intent.
In her research, the year 1891 keeps appearing, and that brings in the other side of the story. Like with her first book in the Languedoc series, Labyrinth, Kate Mosse tells two stories separated by time, but the two timelines are entwined by a mystery. In this case, 1891 and 2007 become separated by a very thin veneer, with villains on both sides of the timeline, intent on possessing what they should never have.
In 1891, Victor Constant, Comte de Tourmaline, a very wealthy, syphilitic aristocrat is intent on enacting revenge on Anatole Vernier, whom he perceives as the man who stole his lover from him. Anatole’s sister, Leonie, is also his target. What better way to create the maximum pain for Anatole than to seduce his sister. Leonie has been reading about the history of the Domaine de la Cade, where they are staying, and is discovering a past that is beset with strange occurrences revolving around a sepulchre and a deck of tarot cards. She has romantic views of the world and is certainly susceptible to the charms of a sauve, seemingly elegant man.
In 2007, Julian Lawrence, now the owner of what is now the Hotel Domaine de la Cade, has also done extensive research on the history of the estate and wants the power that he knows the tarot deck will give him access to.
Meredith and Leonie, in two different eras, will find themselves desperately trying to understand the mystifying clues that will help them to understand the dangers they face from the ethereal and the very real present. Can they figure out the clues to the puzzles before they run out of time?
I read Labyrinth back in 2006 on a plane ride back from Milan, Italy. I had been dangerously close to running out of reading material when I spied the turquoise cover of Mosse’s book in a spinner rack in the airport. By chance this turned out to be the perfect book to read on a long, boring flight back to the States. I am frequently baffled by how long it takes me to return to an author I enjoy, but here we are 12 years later, and finally I read the second book in the series. I’ve got the next two in the series, Citadel and The Burning Chambers, squirreled away on my shelves. I do sincerely hope it doesn’t take me another 12 years to get to the next one in the series.
The books all take place in the Languedoc region of France and have similar themes, but can be read as stand alone novels or out of order, so if one plot of one of the books appeals to you more than another, have no fears that you are breaking one of the cardinal sins of reading books in a series out of order. There is a television adaption of Labyrinth that was released in 2012, and there are current negotiations underway to do the same with Sepulchre.
If you like a bit of gothic atmosphere with your timeline smashups, then you will not be disappointed.
If you wish to see more of my most recent book and movie reviews, visit http://www.jeffreykeeten.com
I also have a Facebook blogger page at: https://www.facebook.com/JeffreyKeeten
April 30, 2023
4 stars to Sepulchre by Kate Mosse, the second in the "Languedoc" historical fiction (maybe a little fantasy) series. After I read the first book, I had to follow through on this one. And recently, I learned the third one was published a few years ago. I didn't know there was another... but I will definitely finish this series. It takes place in the French mountains, how could you not love it?
The story is very complex, but very strong. The characters are memorable. The struggle between the past and the present drives this story. It is historical fiction, for a large part of it, so you have different time periods to focus on. But it's handled well. Add in some ghosts, a little fantasy, mystery and suspense over the 100 year gap between the two time periods, and you've got a good story. You will keep trying to guess all the connections and be happy when you find out.
You should read at least the first two... and I'll let you know whether the last one is important or not, once I read it! The connection between the first two books is surprising, so I am curious how the third one fits in.
It crosses a few genres without being too explicit in any specific one. For me, it's the characters and the plot which kept me focused. I'd recommend taking a chance on it, but look at other reviews. Some folks didn't care for it, finding it a bit messy and unfocused. Not me tho! And to them, I say:
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. Note: All written content is my original creation and copyrighted to me, but the graphics and images were linked from other sites and belong to them. Many thanks to their original creators.
[polldaddy poll=9729544]
[polldaddy poll=9719251]
The story is very complex, but very strong. The characters are memorable. The struggle between the past and the present drives this story. It is historical fiction, for a large part of it, so you have different time periods to focus on. But it's handled well. Add in some ghosts, a little fantasy, mystery and suspense over the 100 year gap between the two time periods, and you've got a good story. You will keep trying to guess all the connections and be happy when you find out.
You should read at least the first two... and I'll let you know whether the last one is important or not, once I read it! The connection between the first two books is surprising, so I am curious how the third one fits in.
It crosses a few genres without being too explicit in any specific one. For me, it's the characters and the plot which kept me focused. I'd recommend taking a chance on it, but look at other reviews. Some folks didn't care for it, finding it a bit messy and unfocused. Not me tho! And to them, I say:
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. Note: All written content is my original creation and copyrighted to me, but the graphics and images were linked from other sites and belong to them. Many thanks to their original creators.
[polldaddy poll=9729544]
[polldaddy poll=9719251]
February 27, 2011
Thank goodness it's over.
Léonie has to be one of the most irritating female characters I've read in a while: she wants to be considered an adult (being a 17-year-old girl in France in 1891) and yet consistently behaves like a child. When she is caught and (rightly) chided, she throws a tantrum worthy of a toddler. Every time, up until the last 50 or so pages, only a chapter is devoted to her actual emotion growth--which would have made a far more interesting story. Even Léonie's aunt Isodel had promise as a character up until those last few pages--but unfortunately not being main focus character Léonie, Isodel is denied any character growth: until the end she is weak, weepy, and lost without her man.
(slight)
Meredith may be less irritating, if only because she is an adult (less her Tragic Backstory, but it wasn't too bad, considering). Her introduction to Léonie's story stretches the imagination--there was no reason for her not to have her own 'twist' in her story instead of the Debussy memoir. If your character is supposedly researching a significant (real) historical figure, either she'd better let me know more about him, or discover something important (even if not real) during the course of the story. Instead Meredith's memoir research is her reason for being in France, and is given a shout out at the end. She does grant it a few thoughts while she wanders merrily on her own adventures, but I would like to know how she managed the rest of her research during her trip.
The character description of both characters at times crossed into the terribly awkward: twice Léonie's hair is described as [paraphrased]: "falling down her back like a skein of silk to her slender waist", and Meredith gets a "she stretched her long, slender arms above her head." Neither is too terribly bad, but generally the text is fairly close 3rd person, which makes it sound like Léonie and Meredith have rather generous descriptions of themselves. Of course, this may well be my own insecurity, but since they've both had, and are continually given, perfectly serviceable and non-intrusive descriptions saying the same thing before, it's unnecessary purple prose.
Speaking of purple prose, there's a lot of it. Mosse wants to place the reader in France, either in the late 19th century or modern day, and she spends a lot of words attempting too. Unfortunately, it reads more like a laundry list or a description of a post card, and buries whatever atmosphere or authenticity the setting could have granted.
And frankly, I really don't care about the clothes. Patricia Clapp, in Jane-Emily had a few descriptions of clothes for her teenage narrator, but used them to indicate character growth. Here, it's just filler.
Sepulchre's plot seems to be based on a similar conspiracy theory to The Da Vinci Code I think (admittedly, I'm more than a little shaky on my French history, but since I just read Secret Societies, the names seemed familiar). The tarot angle, quite frankly, never seemed to go anywhere, but perhaps it's just because this book took me so long to read. Léonie, especially, became so irritating after just a few chapters I'd have to set it down for minutes/hours/a month.
Oh, and if you enjoy clever, engaging, convincing, threating villains, look somewhere else. Quite frankly, the foreshadowing in this novel, especially later, devolves into "That's an odd thing. It makes me think of ___. But that couldn't possibly be the case! Nope, no way. Couldn't possibly! Because I said so." Saying that, most of the rest wasn't too bad. But maybe trying to keep up suspense, a great many chapters ended on this note. Last, but not at all least, the villains are given their own point of view chapters, which is frankly one of the worst decisions in this book. This isn't a spoiler, because as soon as we get their pov, the villains announce their villainy. And in case you don't believe them, go out of their way to make their evil plans by rubbing their hands and cackling madly and commenting on the beauty of the protagonists. Both were despicable characters, not frightening antagonists.
As a final note, however 19th century rich people though of their servants, it's something of a turn-off when your narrator genuinely thinks of the 'commoners' as being lesser. Every time she ended outside her house and family and encountered real people, Léonie seemed incapable as seeing them as anything but threatening. (And honestly, even if she did know more, it wouldn't have helped her. She's not a critical thinker of anything). The closest she can come to identifying with someone from a lower class than herself is with her Most Loyal Servants. And regarding the end? If anyone else can tell me that the very end does anything more than confirm her attitude as right, please let me know. Because I was seeing red.
And thank goodness I only paid $3 for the hardcover at BigLots.
Léonie has to be one of the most irritating female characters I've read in a while: she wants to be considered an adult (being a 17-year-old girl in France in 1891) and yet consistently behaves like a child. When she is caught and (rightly) chided, she throws a tantrum worthy of a toddler. Every time, up until the last 50 or so pages, only a chapter is devoted to her actual emotion growth--which would have made a far more interesting story. Even Léonie's aunt Isodel had promise as a character up until those last few pages--but unfortunately not being main focus character Léonie, Isodel is denied any character growth: until the end she is weak, weepy, and lost without her man.
(slight)
Meredith may be less irritating, if only because she is an adult (less her Tragic Backstory, but it wasn't too bad, considering). Her introduction to Léonie's story stretches the imagination--there was no reason for her not to have her own 'twist' in her story instead of the Debussy memoir. If your character is supposedly researching a significant (real) historical figure, either she'd better let me know more about him, or discover something important (even if not real) during the course of the story. Instead Meredith's memoir research is her reason for being in France, and is given a shout out at the end. She does grant it a few thoughts while she wanders merrily on her own adventures, but I would like to know how she managed the rest of her research during her trip.
The character description of both characters at times crossed into the terribly awkward: twice Léonie's hair is described as [paraphrased]: "falling down her back like a skein of silk to her slender waist", and Meredith gets a "she stretched her long, slender arms above her head." Neither is too terribly bad, but generally the text is fairly close 3rd person, which makes it sound like Léonie and Meredith have rather generous descriptions of themselves. Of course, this may well be my own insecurity, but since they've both had, and are continually given, perfectly serviceable and non-intrusive descriptions saying the same thing before, it's unnecessary purple prose.
Speaking of purple prose, there's a lot of it. Mosse wants to place the reader in France, either in the late 19th century or modern day, and she spends a lot of words attempting too. Unfortunately, it reads more like a laundry list or a description of a post card, and buries whatever atmosphere or authenticity the setting could have granted.
And frankly, I really don't care about the clothes. Patricia Clapp, in Jane-Emily had a few descriptions of clothes for her teenage narrator, but used them to indicate character growth. Here, it's just filler.
Sepulchre's plot seems to be based on a similar conspiracy theory to The Da Vinci Code I think (admittedly, I'm more than a little shaky on my French history, but since I just read Secret Societies, the names seemed familiar). The tarot angle, quite frankly, never seemed to go anywhere, but perhaps it's just because this book took me so long to read. Léonie, especially, became so irritating after just a few chapters I'd have to set it down for minutes/hours/a month.
Oh, and if you enjoy clever, engaging, convincing, threating villains, look somewhere else. Quite frankly, the foreshadowing in this novel, especially later, devolves into "That's an odd thing. It makes me think of ___. But that couldn't possibly be the case! Nope, no way. Couldn't possibly! Because I said so." Saying that, most of the rest wasn't too bad. But maybe trying to keep up suspense, a great many chapters ended on this note. Last, but not at all least, the villains are given their own point of view chapters, which is frankly one of the worst decisions in this book. This isn't a spoiler, because as soon as we get their pov, the villains announce their villainy. And in case you don't believe them, go out of their way to make their evil plans by rubbing their hands and cackling madly and commenting on the beauty of the protagonists. Both were despicable characters, not frightening antagonists.
As a final note, however 19th century rich people though of their servants, it's something of a turn-off when your narrator genuinely thinks of the 'commoners' as being lesser. Every time she ended outside her house and family and encountered real people, Léonie seemed incapable as seeing them as anything but threatening. (And honestly, even if she did know more, it wouldn't have helped her. She's not a critical thinker of anything). The closest she can come to identifying with someone from a lower class than herself is with her Most Loyal Servants. And regarding the end? If anyone else can tell me that the very end does anything more than confirm her attitude as right, please let me know. Because I was seeing red.
And thank goodness I only paid $3 for the hardcover at BigLots.
March 9, 2021
The second of Kate Mosse books, was, I’m afraid to say, not as enjoyable as her first. This is, of course, my very personal opinion and by no means should be considered a measure of the quality of this book. It simply means that I didn’t find the setting and characters as intriguing or surprising as in Labyrinth, her first novel.
Yet, if you are fascinated by Tarot related myths, and the France of the late 17th century holds your interest, you may come to enjoy this historical mystery. As in Labyrinth, the main character is a woman and as in Labyrinth, Mosse’s jumps among timelines to create a sense of secrecy that keeps the reader guessing the true relations between the many characters. There’s also a magic realism halo surrounding the story, but the magic is hard to clearly pinpoint as real or just perception, and just for that, all the more effective.
Full of wonderful imagery and incredibly well researched, this book makes for an intriguing reading, but don’t expect quick action and thrilling scenes, because the action here moves slowly.
Yet, if you are fascinated by Tarot related myths, and the France of the late 17th century holds your interest, you may come to enjoy this historical mystery. As in Labyrinth, the main character is a woman and as in Labyrinth, Mosse’s jumps among timelines to create a sense of secrecy that keeps the reader guessing the true relations between the many characters. There’s also a magic realism halo surrounding the story, but the magic is hard to clearly pinpoint as real or just perception, and just for that, all the more effective.
Full of wonderful imagery and incredibly well researched, this book makes for an intriguing reading, but don’t expect quick action and thrilling scenes, because the action here moves slowly.
February 8, 2017
There are many types of ghosts. Those who cannot rest because they have done wrong, who must seek forgiveness or atonement. Also those to whom wrong has been done and who are condemned to walk until they find an agent of justice to speak their cause.
This book has been sitting on my bookshelf way too long. Because once I l started reading, I just couldn't stop! A dual narrative, alternating between 1891 and 2007, Sepulchre explores the supernatural world and those who try to bend it to their will. In 1891, we are introduced to brother and sister, Anatole and Leonie Vernier. The two are visiting their recently widowed aunt, Isolde, far away from the dramatic events in Paris that Anatole has embroiled himself in. In 2007, we have Meredith Martin, and American grad student writing a book about Claude Debussy and tracking information regarding her biological mother's French connections. A pack of tarot cards and an isolated family home will set these two storylines on a collision course with supernatural forces and evil men.
Aside from the rather poor ending for the 2007 storyline, I "bought into" the idea of supernatural powers in the 19th century very quickly. I absolutely loved the Gothic atmosphere that surrounds the storyline and felt at times that I had to look over my shoulder to see if anyone was watching. A good read for a snowy day!
This book has been sitting on my bookshelf way too long. Because once I l started reading, I just couldn't stop! A dual narrative, alternating between 1891 and 2007, Sepulchre explores the supernatural world and those who try to bend it to their will. In 1891, we are introduced to brother and sister, Anatole and Leonie Vernier. The two are visiting their recently widowed aunt, Isolde, far away from the dramatic events in Paris that Anatole has embroiled himself in. In 2007, we have Meredith Martin, and American grad student writing a book about Claude Debussy and tracking information regarding her biological mother's French connections. A pack of tarot cards and an isolated family home will set these two storylines on a collision course with supernatural forces and evil men.
Aside from the rather poor ending for the 2007 storyline, I "bought into" the idea of supernatural powers in the 19th century very quickly. I absolutely loved the Gothic atmosphere that surrounds the storyline and felt at times that I had to look over my shoulder to see if anyone was watching. A good read for a snowy day!
April 30, 2015
Eh, I've read worse. But I've also read much better.
Despite some intriguing motifs & settings, this book is bloated with extraneous detail & hampered by flat characters. Even the most dramatic moments never manage to engage the reader beyond a momentary blip of acceptance. Example: "Oops, that crazy dude is dead. Wait, what? You're saying some tarot cards & a vaguely-described devil killed him? ...Oh well." Somewhere in this book is a decent gothic novel -- but it's trying way too hard. People behave stupidly for no reason other than to serve a flat, predictable plotline, & neither the story nor its inhabitants manage to compensate for the other.
The timeslip descendent stuff, in particular, was a waste of space. SEPULCHRE could've been half the length & twice as interesting without the meandering travelogue descriptions & boring-as-hell contemporary sections. Example (pg 172):
Thirty minutes later, feeling more like herself, she wrapped herself in a huge white bathrobe, plugged in her cell to recharge and sat down at her laptop. Discovering she couldn't get Internet access, she reached over and dialed reception.
"Hi. This is Ms. Martin. In the Yellow Room. I need to check e-mail, but I'm having trouble getting online. I'm wondering if you can give me the password or if you can organize it from your end?" Holding the receiver between her ear and her shoulder, she scribbled down the information. "Okay, that's great, thanks. Got it."
She hung up, struck by the coincidence of the password as she typed it in--CONSTANTINE--and quickly got a connection. She sent her daily e-mail to Mary, letting her known she'd arrived safely and that she'd already found the place where one of the photographs had been taken, and promising to be in touch if there was anything to report. Next she looked into her checking account and saw with relief that the money from the publisher had at last come through.
Finally.
There were a couple of personal e-mails, including an invitation to the wedding of two of her college friends in Los Angeles, which she declined, and one to a concert conducted by an old friend, now back in Milwaukee, which she accepted.
She was about to log off when she thought...
*YAWN* This? Yeah, this is NOT a substitute for character development. Rather, this is on the extreme end of Unimportant Information. Not every tangent in SEPULCHRE is so utterly useless to the plot, but c'mon. This breed of meandering play-by-play is the kind of thing you'd expect in second-rate fanfic, not a professional manuscript. For shame, editors. For shame.
2 stars. In this case, I'll go with the Goodreads caption; i.e., it was okay.
Despite some intriguing motifs & settings, this book is bloated with extraneous detail & hampered by flat characters. Even the most dramatic moments never manage to engage the reader beyond a momentary blip of acceptance. Example: "Oops, that crazy dude is dead. Wait, what? You're saying some tarot cards & a vaguely-described devil killed him? ...Oh well." Somewhere in this book is a decent gothic novel -- but it's trying way too hard. People behave stupidly for no reason other than to serve a flat, predictable plotline, & neither the story nor its inhabitants manage to compensate for the other.
The timeslip descendent stuff, in particular, was a waste of space. SEPULCHRE could've been half the length & twice as interesting without the meandering travelogue descriptions & boring-as-hell contemporary sections. Example (pg 172):
Thirty minutes later, feeling more like herself, she wrapped herself in a huge white bathrobe, plugged in her cell to recharge and sat down at her laptop. Discovering she couldn't get Internet access, she reached over and dialed reception.
"Hi. This is Ms. Martin. In the Yellow Room. I need to check e-mail, but I'm having trouble getting online. I'm wondering if you can give me the password or if you can organize it from your end?" Holding the receiver between her ear and her shoulder, she scribbled down the information. "Okay, that's great, thanks. Got it."
She hung up, struck by the coincidence of the password as she typed it in--CONSTANTINE--and quickly got a connection. She sent her daily e-mail to Mary, letting her known she'd arrived safely and that she'd already found the place where one of the photographs had been taken, and promising to be in touch if there was anything to report. Next she looked into her checking account and saw with relief that the money from the publisher had at last come through.
Finally.
There were a couple of personal e-mails, including an invitation to the wedding of two of her college friends in Los Angeles, which she declined, and one to a concert conducted by an old friend, now back in Milwaukee, which she accepted.
She was about to log off when she thought...
*YAWN* This? Yeah, this is NOT a substitute for character development. Rather, this is on the extreme end of Unimportant Information. Not every tangent in SEPULCHRE is so utterly useless to the plot, but c'mon. This breed of meandering play-by-play is the kind of thing you'd expect in second-rate fanfic, not a professional manuscript. For shame, editors. For shame.
2 stars. In this case, I'll go with the Goodreads caption; i.e., it was okay.
January 25, 2015
October 1891: a young Leonie Vernier and her brother, Anatole, are invited to leave gas-lit streets of Paris and travel to stay in the south at Domaine de la Cade, the home of their aunt. In the ancient, dark woods, Leonie comes across a ruined sepulchre and is drawn into a century-old mystery of murder, ghosts and a strange set of tarot cards that seem to hold enormous power over life and death.
October 2007; Meredith Martin decides to take a break from her research trip to Paris, where she is working on a biography of Claude Debussy, and head south to a beautiful hotel, Domaine de la Cade, in the woods outside Rennes-les-Bains. On a personal quest also, she becomes fascinated by the history of the place and by the tragic events of one Halloween night more than a century ago before, which shocked the small community. Thus, her fate becomes entwined with that of Leonie. But it is only when she, too, stumbles upon the secluded sepulchre in the forest that she realises the secrets it contains are far from dead and buried.* Meredith is on a search for her ancestry with only an unnamed photograph as a guide; she’s about to discover her own links with Domaine de la Cade.
While it is true that I prefer Historical Faction to Historical Fiction, this novel had me engrossed from its very early pages. Moss provided me with enough background to understand the characters in their historical context. She’s a skilled writer, her imagery is sometimes savage but for the main, beautiful and haunting. The Daily Telegraph writes: Brilliantly absorbing…Richly evocative and full of compelling twists and turns.” Recommended Reading for Historical Fiction lovers but also those readers who just plain enjoy a good story. 4★
* Content in Italics preceding '*' is cribbed from Reading Group Notes: In Brief at back of book.
March 31, 2009
ORIGINALLY POSTED AT Fantasy Literature.
Kate Mosse's Sepulchre is a historical fantasy -- historical fiction with fantastic elements. I enjoy both genres, and this novel features a female graduate student (somebody I can relate to) as one of the main characters, and it's available on audiobook, so I thought it would be good entertainment on my commute. I got about ten chapters in before quitting.
The book seems well-researched, is competently written, the tone switches easily and successfully from past to present and back, and the characters are interesting enough. Here is the problem: It is full of enormous amounts of tedious descriptions of ancient and current French landmarks, French historical events, French historical figures, and untranslated French dialogue. I realize, of course, that France is the setting of this historical novel, but the effect of all of this name-dropping is to make me think that Ms Mosse feels the need to prove she did her research -- she's trying too hard, and it comes off as pretentious. And obnoxious. Especially when I'm listening to it in audio format and I can't just skim over the French words. Here are some examples (some are from later in the book):
"It was not quite dawn, yet Paris was waking. In the distance, Anatole could hear the sounds of delivery carts. Wooden traps over the cobbles, delivering milk and freshly baked bread to the cafes and bars of the Faubourg Montmartre. He stopped to put on his shoes. The rue Feydeau was deserted; there was no sound except the clip of his heels on the pavement. Deep in thought, Anatole walked quickly, to the junction with the rue Saint-Marc, intending to cut through the arcade of the Passage des Panoramas. He saw no one, heard no one."
"By the time a smoggy and hesitant dawn broke over the offices of the Commissariat of Police of the eighth arrondissement in the rue de Lisbonne, tempers were already frayed. The body of a woman identified as Madame Marguerite Vernier has been discovered shortly after eight o'clock on the evening of Sunday, September 20. The news had been telephoned in from one of the new public booths on the corner of the rue de Berlin and the rue d'Amsterdam by a reporter from Le Petit Journal."
"In the next stack she discovered a first edition of Maistre's Voyage autour de ma chambre. It was battered and dog-eared, unlike Anatole's pristine copy at home. In another alcove she found a collection of both religious and fervently antireligious texts, grouped together as if to cancel one another out. In the section devoted to contemporary French literature, there was a set of Zola's Rougon-Macquart novels, as well as Flaubert, Maupassant and Huysmans --indeed, many of the intellectually improving texts Anatole tried in vain to press upon her, even a first edition of Stendhal's Le rouge et le noir. There were a few works in translation but nothing entirely to her taste except for Baudelaire's translations of Monsieur Poe. Nothing by Madame Radcliffe or Monsieur Le Fanu . . . The first was Dogme et rituel de la haute magie by Éliphaas Lévi. Next to it was a volume titled Traité méthodique de science occulte. On the shelf above, several other writings by Papus, Court de Gébelin, Etteilla and MacGregor Mathers. She had never read such authors but knew they were occultist writers and considered subversive. Their names appeared regularly in the columns of newspapers and periodicals."
At first, I found myself rolling my eyes at every French phrase and name-drop, but since that started to become a driving hazard, I just quit listening. I would much rather read a story whose purpose is to entertain me, not to enlighten or impress me. Sadly, Sepulchre did none of these things.
Read this review in context atFantasy Literature .
Kate Mosse's Sepulchre is a historical fantasy -- historical fiction with fantastic elements. I enjoy both genres, and this novel features a female graduate student (somebody I can relate to) as one of the main characters, and it's available on audiobook, so I thought it would be good entertainment on my commute. I got about ten chapters in before quitting.
The book seems well-researched, is competently written, the tone switches easily and successfully from past to present and back, and the characters are interesting enough. Here is the problem: It is full of enormous amounts of tedious descriptions of ancient and current French landmarks, French historical events, French historical figures, and untranslated French dialogue. I realize, of course, that France is the setting of this historical novel, but the effect of all of this name-dropping is to make me think that Ms Mosse feels the need to prove she did her research -- she's trying too hard, and it comes off as pretentious. And obnoxious. Especially when I'm listening to it in audio format and I can't just skim over the French words. Here are some examples (some are from later in the book):
"It was not quite dawn, yet Paris was waking. In the distance, Anatole could hear the sounds of delivery carts. Wooden traps over the cobbles, delivering milk and freshly baked bread to the cafes and bars of the Faubourg Montmartre. He stopped to put on his shoes. The rue Feydeau was deserted; there was no sound except the clip of his heels on the pavement. Deep in thought, Anatole walked quickly, to the junction with the rue Saint-Marc, intending to cut through the arcade of the Passage des Panoramas. He saw no one, heard no one."
"By the time a smoggy and hesitant dawn broke over the offices of the Commissariat of Police of the eighth arrondissement in the rue de Lisbonne, tempers were already frayed. The body of a woman identified as Madame Marguerite Vernier has been discovered shortly after eight o'clock on the evening of Sunday, September 20. The news had been telephoned in from one of the new public booths on the corner of the rue de Berlin and the rue d'Amsterdam by a reporter from Le Petit Journal."
"In the next stack she discovered a first edition of Maistre's Voyage autour de ma chambre. It was battered and dog-eared, unlike Anatole's pristine copy at home. In another alcove she found a collection of both religious and fervently antireligious texts, grouped together as if to cancel one another out. In the section devoted to contemporary French literature, there was a set of Zola's Rougon-Macquart novels, as well as Flaubert, Maupassant and Huysmans --indeed, many of the intellectually improving texts Anatole tried in vain to press upon her, even a first edition of Stendhal's Le rouge et le noir. There were a few works in translation but nothing entirely to her taste except for Baudelaire's translations of Monsieur Poe. Nothing by Madame Radcliffe or Monsieur Le Fanu . . . The first was Dogme et rituel de la haute magie by Éliphaas Lévi. Next to it was a volume titled Traité méthodique de science occulte. On the shelf above, several other writings by Papus, Court de Gébelin, Etteilla and MacGregor Mathers. She had never read such authors but knew they were occultist writers and considered subversive. Their names appeared regularly in the columns of newspapers and periodicals."
At first, I found myself rolling my eyes at every French phrase and name-drop, but since that started to become a driving hazard, I just quit listening. I would much rather read a story whose purpose is to entertain me, not to enlighten or impress me. Sadly, Sepulchre did none of these things.
Read this review in context atFantasy Literature .
January 11, 2020
"Siempre llega un momento en que el deseo de pasar a la acción, por malévola que sea la causa, es más poderoso que el deseo de escuchar a nadie."
En comparación con el anterior libro de la Serie, El laberinto, ¡Este libro me ha encantado! Pues contiene todos los ingredientes de la literatura fantástica, donde esoterismo, crimen, amor y venganza impregnan las páginas.
Está narrada alternando dos líneas de tiempos entre sus espectaculares protagonistas. La novela arranca en el París de 1891, y continua en siglo XXI al año 2007.
La autora nos hace viajar a dos momentos históricos, relacionando dos líneas argumentales y a dos mujeres unidas por una tirada de cartas de Tarot. Pero el verdadero protagonista es el misterio, no es Léonie Meredith, la intriga, por saber qué pasará, el deseo de descubrir lo que sigue, es lo que más te atrapa.
Junto a la lectura del tarot, la música juega un papel esencial en la obra, y las composiciones del francés Claude Debussy se convierten en un ingrediente más de la trama temporal.
Es un libro perfecto para los que adoramos la mezcla de thriller, ficción, romance, con un toque paranormal, pues tiene estos géneros juntos y muy bien combinados. Estará entre mis favoritas!
100% recomendado
PD: la presentación en tapa dura del libro es genial, viene con un "Tarot de Vernier", una baraja imaginaria, diseñada específicamente para "Sepulcro" por el artista Finn Campbell-Notman y basada en las clásicas cartas de tarot realizadas por Rider Waite en 1910.
En comparación con el anterior libro de la Serie, El laberinto, ¡Este libro me ha encantado! Pues contiene todos los ingredientes de la literatura fantástica, donde esoterismo, crimen, amor y venganza impregnan las páginas.
Está narrada alternando dos líneas de tiempos entre sus espectaculares protagonistas. La novela arranca en el París de 1891, y continua en siglo XXI al año 2007.
La autora nos hace viajar a dos momentos históricos, relacionando dos líneas argumentales y a dos mujeres unidas por una tirada de cartas de Tarot. Pero el verdadero protagonista es el misterio, no es Léonie Meredith, la intriga, por saber qué pasará, el deseo de descubrir lo que sigue, es lo que más te atrapa.
Junto a la lectura del tarot, la música juega un papel esencial en la obra, y las composiciones del francés Claude Debussy se convierten en un ingrediente más de la trama temporal.
Es un libro perfecto para los que adoramos la mezcla de thriller, ficción, romance, con un toque paranormal, pues tiene estos géneros juntos y muy bien combinados. Estará entre mis favoritas!
100% recomendado
PD: la presentación en tapa dura del libro es genial, viene con un "Tarot de Vernier", una baraja imaginaria, diseñada específicamente para "Sepulcro" por el artista Finn Campbell-Notman y basada en las clásicas cartas de tarot realizadas por Rider Waite en 1910.
September 10, 2020
I read Labyrinth by Kate mosse years ago but never got around to reading more of her books until now. Sepulchre is set in a similar SW region of France (mostly, there are some chapters early on in Paris) and has two timelines . The earlier timeline is 1891 and centres around Léonie and her brother Anatole. The modern timeline follows Meredith an American researching the composer Debussy and also her family history. The book alternates between the two stories and it is a chunkster. There’s lots of description that sets the atmosphere and drew me into the story from the start (though I found some extraneous details in the latter chapters annoying, just say what happened next!).
This is the kind of light read that I enjoy, some history, some mystery, a little bit of supernatural and a resolution that ties up all the loose ends.
This is the kind of light read that I enjoy, some history, some mystery, a little bit of supernatural and a resolution that ties up all the loose ends.
August 2, 2010
There might have been a good story in this book but it was overshadowed by flat and silly characters. As someone else has pointed out, so many of the events in this book are completely avoidable and the characters just act stupidly in order to carry out the plot.
The book centers on a brother (Anatole) and sister (Leonie) who go to live with their Aunt (Isolde). Isolde and Anatole are actually secret lovers hiding from her malicious former lover. Although Anatole knows he is being stalked by the former lover (Victor), he never reveals this to the two woman in his life. Eventually the violent Victor catches up with the lovers but again, this information is hidden from the sister.
The ultimate showdown between Leonie and her brother's rival is ridiculous. Within one pargraph she agrees it is time to leave her aunt's home and then "holds steady" in her decision to stay. She knows Victor will attempt to attack her on Halloween and plans to leave to avoid the confrontation but then does not (there is no explanation why she has not left). She receives a request to visit with the local priest on Halloween. Although clearly suspicious, she leaves to visit the priest but is surprised when he is not there to greet her. Shocked that this has been a ploy to drive her away.
There are story lines that go absolutely nowhere and seem to have nothing to do with the story. This is a fairly long book with a lot of exposition and very little to draw it all together. The secondary modern story line is tedious and boring.
I noticed that the book is listed as the second in a 3 part series and maybe the missing background on some of the story lines are embedded in these other books but this book is far too long to not be able to stand on it's own.
The book centers on a brother (Anatole) and sister (Leonie) who go to live with their Aunt (Isolde). Isolde and Anatole are actually secret lovers hiding from her malicious former lover. Although Anatole knows he is being stalked by the former lover (Victor), he never reveals this to the two woman in his life. Eventually the violent Victor catches up with the lovers but again, this information is hidden from the sister.
The ultimate showdown between Leonie and her brother's rival is ridiculous. Within one pargraph she agrees it is time to leave her aunt's home and then "holds steady" in her decision to stay. She knows Victor will attempt to attack her on Halloween and plans to leave to avoid the confrontation but then does not (there is no explanation why she has not left). She receives a request to visit with the local priest on Halloween. Although clearly suspicious, she leaves to visit the priest but is surprised when he is not there to greet her. Shocked that this has been a ploy to drive her away.
There are story lines that go absolutely nowhere and seem to have nothing to do with the story. This is a fairly long book with a lot of exposition and very little to draw it all together. The secondary modern story line is tedious and boring.
I noticed that the book is listed as the second in a 3 part series and maybe the missing background on some of the story lines are embedded in these other books but this book is far too long to not be able to stand on it's own.
This entire review has been hidden because of spoilers.
June 19, 2019
Loved it! Read it years ago too.
January 4, 2008
The things I didn't like about this book far oughtweighed the good that there was in it for me, I liked how it was based around a fictional tarot, characters included a violinist and an archaeologist (I like reading about what I do, then who doesn't?). I got it in easons on the 7.99 table on the premise of it being cheap, & that I liked the idea of it. Quelle erreur! the description at the back was misleading.
Characters contradiciting themselves frequently; there were many instances that suggested it wasn't even proof read or edited correctly. Meredith the american protagonist with a phd in english speaks and thinks in cliche;leonie the nineteenth century counterpart is described by her brother as not hugely into books, then says in passing to her tante isolde that her brother thinks she reads too much; also she gets startled by a "tiny wood pidgeon" in the woods? ehm tiny..they're actually kind of big.
Then there are the historical discrepancies,okay it's fiction but come on if I wanted to read denis wheatley I would. Coming from someone who knows a bit about the ecclesiastical history of the area, she has made major omissions that I could devote the entire review to, that are doubtlessly there for effect, as are the child killings at the end, inserted as an afterthought.
If I was purchasing a mystery novel I'd like some indication of it. Why guild it up like something that is more complex? I disliked the faux pretention of french inserts when she promptly writes the english translation after every word she italicies, does she think much of her readership or what?!! I don't mind reading 550+ pages of a novel, but not of this calibre.Every time I picked it up for another 100 page installment it produced an unbearable ennui.
Aargh, this book annoyed the hell out of me it was so bad!
Characters contradiciting themselves frequently; there were many instances that suggested it wasn't even proof read or edited correctly. Meredith the american protagonist with a phd in english speaks and thinks in cliche;leonie the nineteenth century counterpart is described by her brother as not hugely into books, then says in passing to her tante isolde that her brother thinks she reads too much; also she gets startled by a "tiny wood pidgeon" in the woods? ehm tiny..they're actually kind of big.
Then there are the historical discrepancies,okay it's fiction but come on if I wanted to read denis wheatley I would. Coming from someone who knows a bit about the ecclesiastical history of the area, she has made major omissions that I could devote the entire review to, that are doubtlessly there for effect, as are the child killings at the end, inserted as an afterthought.
If I was purchasing a mystery novel I'd like some indication of it. Why guild it up like something that is more complex? I disliked the faux pretention of french inserts when she promptly writes the english translation after every word she italicies, does she think much of her readership or what?!! I don't mind reading 550+ pages of a novel, but not of this calibre.Every time I picked it up for another 100 page installment it produced an unbearable ennui.
Aargh, this book annoyed the hell out of me it was so bad!
November 20, 2008
A Great Audio Book
Since I listened to snippets of this book over a couple of weeks commuting here and there,I can't testify to the writing as much as to the well-read presentation of the audiobook. I enjoyed the novel's 1890s sections more than the present-day story that overlaps setting and plot. Many times I lifted an eyebrow at the contrived plot or why characters did what they did, but the book kept me engaged enough that even when I wasn't in the car, I sometimes thought of the protagonist, Leonie, or the horrific villain. For those who want some creepiness in an historical novel without all-out horror, and who can suspend belief about spirit and tarot cards, SEPULCHRE is a fun read.
Since I listened to snippets of this book over a couple of weeks commuting here and there,I can't testify to the writing as much as to the well-read presentation of the audiobook. I enjoyed the novel's 1890s sections more than the present-day story that overlaps setting and plot. Many times I lifted an eyebrow at the contrived plot or why characters did what they did, but the book kept me engaged enough that even when I wasn't in the car, I sometimes thought of the protagonist, Leonie, or the horrific villain. For those who want some creepiness in an historical novel without all-out horror, and who can suspend belief about spirit and tarot cards, SEPULCHRE is a fun read.
January 11, 2019
A very well constructed series, this book is a 'can't put down' page turner, enjoyed every page. Not a disappointment as the 2nd in the series either.
Read them all, it is worth it!
Read them all, it is worth it!
January 29, 2011
Okay. I would not have picked up this book, except for the fact that I'm currently in Cambodia and reading materials are thin on the ground, so one is forced to make do with whatever crosses one's path.
First of, be warned that this book contains a beautiful heroine whose "silken hair" falls to her "slender waist" - I generally take beautiful, slender-waisted, silken-haired heroines as a warning that there will be very little character development. Also that the writing will probably be trite, because really, if you can't come up with a better description of your heroine than that, it doesn't bode well for your ability to describe anything else well. In this book, that proved generally true.
It's too bad because there was some promise for, at the least, an exciting story, and there were some good and interesting descriptions of southern France, but the story was a mish-mash of Visigoths, music, and the Tarot, and the connections among them were never clear to me. And of course a long-lost descendant, not knowing she was a descendant, showed up in the 21st century portion of the book to uncover the entire mystery - unwitting long-lost descendants, like slender-waisted silken haired heroines, are another bad sign.
First of, be warned that this book contains a beautiful heroine whose "silken hair" falls to her "slender waist" - I generally take beautiful, slender-waisted, silken-haired heroines as a warning that there will be very little character development. Also that the writing will probably be trite, because really, if you can't come up with a better description of your heroine than that, it doesn't bode well for your ability to describe anything else well. In this book, that proved generally true.
It's too bad because there was some promise for, at the least, an exciting story, and there were some good and interesting descriptions of southern France, but the story was a mish-mash of Visigoths, music, and the Tarot, and the connections among them were never clear to me. And of course a long-lost descendant, not knowing she was a descendant, showed up in the 21st century portion of the book to uncover the entire mystery - unwitting long-lost descendants, like slender-waisted silken haired heroines, are another bad sign.
November 19, 2013
* Grumpy spoilers! *
Arghhh. This book was readable, but all-in-all, pretty bad. Main gripes were:
1) Language. The constant French phrases in italics grated on me massively. Why italicise them? Or even better, why have them at all? The characters are French, yet speak English apart from to throw out the odd French word, like Anatole constantly calling Leonie 'petite'. Do it in English, or do it in French...no need for both. Definitely no need for italics as if the reader is so moronic that they would not recognise a French word otherwise. I got particularly annoyed by Anatole's letter to Leonie, which addresses her in French, but continues in English. Also, Mosse tries too hard to make Meredith 'American', littering Americanisms throughout her speech yet dropping the ball so often that it's clear the author is not an American herself.
2) I found it hard to get to grips with the 'mystery' in Sepulchre, since there was none. Throughout most of the first half I wasn't sure if I was supposed to be picking up on things, or whether Mosse was just very clumsy at foreshadowing. As soon as Leonie and Anatole arrived at Domaine de la Cade it was obvious that Anatole and Isolde were in a relationship, yet Leonie was clueless for most of the novel. It was unclear whether their relationship was meant to surprise the reader in the same way as it surprises Leonie, or whether we were meant to pick up on the clues right from the start. As soon as Isolde mentioned that a certain sweet was Anatole's favourite it was clear.
3) The book was confusing at times as it is so (overly) long that some characters went hundreds of pages between mentions, so when I came across a name later in the novel I couldn't remember who it was. 'Louisa' was mentioned at the beginning, then again about halfway through, but it was only when Meredith did a run-down of her family tree that I remembered who Louisa actually was (her grandmother).
4) Most of the characters behaved in ways that were completely ridiculous in order that the plot could go the way Mosse wanted with little narrative effort, eg:
- Leonie is aware that someone is hunting Anatole from the moment they flee Paris, yet consistently goes against his wishes, placing herself in danger and freely giving information to Victor Constant, a perfect stranger..who just happens to be the one person she shouldn't tell.
- Similarly, Hal believes his uncle to be gulty of his father's murder yet proceeds to constantly parade his crusade for the truth under said uncle's nose, even to the point of inviting the one identified witness to the death, Dr Sheila Whatever-Her-Name-Is, to discuss it IN THE BAR OF THE UNCLE'S HOTEL. Jeeeesus...at least take her up to a private room? But no, that wouldn't do, because the uncle had to be able to overhear the conversation and Mosse is clearly too lazy to work out another way for him to find out about it. She doesn't even explain why evil uncle Julian wants the original cards so much that he's willing to murder everyone in his path to get them.
- Leonie does not leave Domaine de la Cade! This was the most ridiculous point for me. Anatole & Isolde's mortal enemy, Constant, finds out where the family lives, murders Anatole and guns down Isolde, freely admits to murdering Marguerite (Anatole and Leonie's mother) and yet they don't leave! Instead of selling up and moving somewhere he would never find them, Leonie decides to stay at the Domaine on the grounds that Constant might be dead. Might. And surprise, suprise, he's not. And neither is his bizarre obsession with a woman he dated for 5 minutes years ago.
5) The conclusion. How on earth would Leonie know how to use the tarot cards to raise a demon? She had snippets of information from her uncle's pamphlet and from Audric Baillard, who didn't actually tell her how to do it. Why would she even rely on supernatural means to kill Constant when she could have pulled out a gun and shot him? What did music have to do with anything? Why did Leonie die? Meredith also witnessed the demon come to life, yet she wasn't killed. Why would the cards magically turn into Leonie's portraits of the Verniers? How did Meredith's modern day investigations constitute 'Justice' for Leonie - it was known that Constant murdered Anatole, and, indirectly, Isolde. Leonie was not murdered, so why did she need 'Justice'?
6) Meredith's celebration of Leonie as the heroine of the story. She wasn't a heroine, in fact she may as well be called the antagonist. Everything bad that happens in the novel is a direct result of her stupidity and selfish behaviour. Yes, she makes herself a martyr at the end, but could just as easily have organised the sale of the Domaine de la Cade on Isolde/Louis-Anatole's behalf and moved them all to safety, instead of staying there until it was too late to leave, despite knowing the danger they were in, and then essentially killing herself and leaving Louis-Anatole completely orphaned.
Overall, 'Sepulchre' was just too convenient. Kate Mosse uses the improbable and downright ridiculous to propel her story towards the conclusions she wants in the easiest way possible. Obviously, I was not a fan of this book and, having already disliked Labyrinth, will not be returning to Mosse's work.
Arghhh. This book was readable, but all-in-all, pretty bad. Main gripes were:
1) Language. The constant French phrases in italics grated on me massively. Why italicise them? Or even better, why have them at all? The characters are French, yet speak English apart from to throw out the odd French word, like Anatole constantly calling Leonie 'petite'. Do it in English, or do it in French...no need for both. Definitely no need for italics as if the reader is so moronic that they would not recognise a French word otherwise. I got particularly annoyed by Anatole's letter to Leonie, which addresses her in French, but continues in English. Also, Mosse tries too hard to make Meredith 'American', littering Americanisms throughout her speech yet dropping the ball so often that it's clear the author is not an American herself.
2) I found it hard to get to grips with the 'mystery' in Sepulchre, since there was none. Throughout most of the first half I wasn't sure if I was supposed to be picking up on things, or whether Mosse was just very clumsy at foreshadowing. As soon as Leonie and Anatole arrived at Domaine de la Cade it was obvious that Anatole and Isolde were in a relationship, yet Leonie was clueless for most of the novel. It was unclear whether their relationship was meant to surprise the reader in the same way as it surprises Leonie, or whether we were meant to pick up on the clues right from the start. As soon as Isolde mentioned that a certain sweet was Anatole's favourite it was clear.
3) The book was confusing at times as it is so (overly) long that some characters went hundreds of pages between mentions, so when I came across a name later in the novel I couldn't remember who it was. 'Louisa' was mentioned at the beginning, then again about halfway through, but it was only when Meredith did a run-down of her family tree that I remembered who Louisa actually was (her grandmother).
4) Most of the characters behaved in ways that were completely ridiculous in order that the plot could go the way Mosse wanted with little narrative effort, eg:
- Leonie is aware that someone is hunting Anatole from the moment they flee Paris, yet consistently goes against his wishes, placing herself in danger and freely giving information to Victor Constant, a perfect stranger..who just happens to be the one person she shouldn't tell.
- Similarly, Hal believes his uncle to be gulty of his father's murder yet proceeds to constantly parade his crusade for the truth under said uncle's nose, even to the point of inviting the one identified witness to the death, Dr Sheila Whatever-Her-Name-Is, to discuss it IN THE BAR OF THE UNCLE'S HOTEL. Jeeeesus...at least take her up to a private room? But no, that wouldn't do, because the uncle had to be able to overhear the conversation and Mosse is clearly too lazy to work out another way for him to find out about it. She doesn't even explain why evil uncle Julian wants the original cards so much that he's willing to murder everyone in his path to get them.
- Leonie does not leave Domaine de la Cade! This was the most ridiculous point for me. Anatole & Isolde's mortal enemy, Constant, finds out where the family lives, murders Anatole and guns down Isolde, freely admits to murdering Marguerite (Anatole and Leonie's mother) and yet they don't leave! Instead of selling up and moving somewhere he would never find them, Leonie decides to stay at the Domaine on the grounds that Constant might be dead. Might. And surprise, suprise, he's not. And neither is his bizarre obsession with a woman he dated for 5 minutes years ago.
5) The conclusion. How on earth would Leonie know how to use the tarot cards to raise a demon? She had snippets of information from her uncle's pamphlet and from Audric Baillard, who didn't actually tell her how to do it. Why would she even rely on supernatural means to kill Constant when she could have pulled out a gun and shot him? What did music have to do with anything? Why did Leonie die? Meredith also witnessed the demon come to life, yet she wasn't killed. Why would the cards magically turn into Leonie's portraits of the Verniers? How did Meredith's modern day investigations constitute 'Justice' for Leonie - it was known that Constant murdered Anatole, and, indirectly, Isolde. Leonie was not murdered, so why did she need 'Justice'?
6) Meredith's celebration of Leonie as the heroine of the story. She wasn't a heroine, in fact she may as well be called the antagonist. Everything bad that happens in the novel is a direct result of her stupidity and selfish behaviour. Yes, she makes herself a martyr at the end, but could just as easily have organised the sale of the Domaine de la Cade on Isolde/Louis-Anatole's behalf and moved them all to safety, instead of staying there until it was too late to leave, despite knowing the danger they were in, and then essentially killing herself and leaving Louis-Anatole completely orphaned.
Overall, 'Sepulchre' was just too convenient. Kate Mosse uses the improbable and downright ridiculous to propel her story towards the conclusions she wants in the easiest way possible. Obviously, I was not a fan of this book and, having already disliked Labyrinth, will not be returning to Mosse's work.
March 11, 2020
Languedoc Trilogy, book 2 - Two stories one in the past, one in the present… a tale of vengeance, retribution, greed and murder…. Which I found hard to get involved with. The fact that I had no idea that it was the second part of a trilogy didn't help either. 1 out of 12 Sorry!
February 27, 2019
Geçmiş ve bugün çok güzel harmanlanmış ti. Heyecan son sayfalarda daha çok arttı ve kitabı elimden birakmama engel oldu :)
May 30, 2008
Although I found Labyrinth a bit of a struggle, I enjoyed the basic idea of it (two stories, seperated by time, linked in mysterious ways). Which is lucky, as this is more of the same, but - in my humble opinion - better written and more compelling. Gone is Labyrinth's constant repetition - that, I imagine, was symbolic of the story repeating through the ages but which, quite frankly, got on my nerves.
France is gloriously and passionately evoked, and the characters of the 1891 story are rounded and intreguing. I was less fond of the 2007 characters, and found myself disappointed when the story flipped back to them sometimes. However, the entire tarot storyline entranced me, and I was held until the end, despite predicting what was going to happen fairly early on. This didn't matter too much, as it is the glorious richness of Mosse's prose that hooks you, rather than just the storyline.
Audric Baillard and Dr Shelagh O'Donnell are two characters from Labyrinth that reappear here, which is a nice inside joke to those who ploughed their way through that one. However, having read Labyrinth is not required to enjoy this book. Indeed, the styles are so similar that I would recommend anyone new to Mosse to go straight to Sepulchre, as it is by far the superior product.
France is gloriously and passionately evoked, and the characters of the 1891 story are rounded and intreguing. I was less fond of the 2007 characters, and found myself disappointed when the story flipped back to them sometimes. However, the entire tarot storyline entranced me, and I was held until the end, despite predicting what was going to happen fairly early on. This didn't matter too much, as it is the glorious richness of Mosse's prose that hooks you, rather than just the storyline.
Audric Baillard and Dr Shelagh O'Donnell are two characters from Labyrinth that reappear here, which is a nice inside joke to those who ploughed their way through that one. However, having read Labyrinth is not required to enjoy this book. Indeed, the styles are so similar that I would recommend anyone new to Mosse to go straight to Sepulchre, as it is by far the superior product.
March 7, 2016
This one has a good story even if some of the characters are annoying, and the problems they encounter would have been completely avoidable had it not been for their own stupidity. One such matter is how one of the main characters, Leonie, is treated like a child but tries to prove she is not a child by asserting her independence, and then is berated for "acting like a child." No, she is acting like a young woman who has not been told her family is in mortal danger.
Also, Kate Moss uses a lot of random french phrases throughout the book without any character, or for that matter the writer, alluding to what it means. Now if you have taken at least high school french you can probably pick your way around it. Seeing as I opted for spanish in school, I kind of felt like I was not privy to an inside joke. Although I can't decide which i disliked most, what I just mentioned or when she actually does tell you what some phrase means because it is done without any sense of delicacy on the writers part. ~i.e. "Hola" he said, "hello."~ what is the point?
Also, Kate Moss uses a lot of random french phrases throughout the book without any character, or for that matter the writer, alluding to what it means. Now if you have taken at least high school french you can probably pick your way around it. Seeing as I opted for spanish in school, I kind of felt like I was not privy to an inside joke. Although I can't decide which i disliked most, what I just mentioned or when she actually does tell you what some phrase means because it is done without any sense of delicacy on the writers part. ~i.e. "Hola" he said, "hello."~ what is the point?
December 4, 2020
Saddened! I enjoyed the first novel but it read like an encyclopedia, I had hoped listening to this in audio would help...NOPE! Felt like I was sitting through a lecture, and listening to directions via Google...Who knew a tarot reading could be so boring...
August 16, 2009
This is a great book if you want something light and page-turning if you go on holiday to the south of France. If you're not, then don't bother. The description on the back is far more interesting than what you encounter inside the pages. Also, I found the author has a very awkward and cringe-worthy way of writing that really managed to get on my nerves very quickly. It's fine if you're writing from the point-of-view of a character from a different country than yourself (the main character is American, the author is British). However, the author seems very unsure of herself when she comes to describing the main character, as if she is afraid of getting to know her. She also goes to great lengths to make sure the reader is aware that the main character is American and not British, but still manages to make the actual words coming out of her mouth sound so very British that it fails. The author also has a tendency to repeat incredibly annoying turns of phrase such as: 'he ran his hand through his mop of hair,' 'she did *insert here* with her slender arm', 'she pulled a face' (the last one is repeated every other line it seems like, and by the middle of the book I wanted to punch every asshole who pulled one directly in their smug, under-developed face). It's embarrassing! It's like reading a first draft that hasn't been edited! Also, the two stories set in different times isn't a very keen idea...it's really like reading a plot synopsis that hasn't been thought through. The bad guys were leaden and absurd (in both time eras...seriously, if I had Stage 3 Syphilis the last thing I would be interested in doing would be organising a mob of hysterical French boogins to raid a castle like some sort of pathetic, deleted scene from Frankenstein). Overall, it's a fun read for a vacation in the south of France unless it totally gets on your nerves and you pull a face in disgust as you fling it across the rustic French bedroom you're staying in.
August 6, 2022
2.5 stars (rounded down for having THE MOST awkward sex scene I have ever read)
This was a disappointment. I enjoyed Kate Mosse’s Labyrinth and was expecting something on par with that novel. There are similarities. The location of course. The back and forth between the stories in the past and the present. The hint of some supernatural connection between the characters in the past and the present. That worked in Labyrinth because I was invested in the main characters in both timelines.
Not the case in Sepulchre. I just could not connect with Meredith and that made the present day story feel unauthentic and clunky. Vastly preferred the story and characters in the past. Leonie was a more believable and fully developed character than Meredith. Heck, even the insane syphilitic villain of the past was more interesting than the present day villain.
Oh well. They can’t all be great. 🤷🏼♀️
This was a disappointment. I enjoyed Kate Mosse’s Labyrinth and was expecting something on par with that novel. There are similarities. The location of course. The back and forth between the stories in the past and the present. The hint of some supernatural connection between the characters in the past and the present. That worked in Labyrinth because I was invested in the main characters in both timelines.
Not the case in Sepulchre. I just could not connect with Meredith and that made the present day story feel unauthentic and clunky. Vastly preferred the story and characters in the past. Leonie was a more believable and fully developed character than Meredith. Heck, even the insane syphilitic villain of the past was more interesting than the present day villain.
Oh well. They can’t all be great. 🤷🏼♀️
January 17, 2015
A surprisingly quick read, despite the thickness of the book! Sepulchre is quite entertaining and I actually enjoyed it a lot more than Mosse's first book, Labyrinth. That said, the plot is a bit clumsy sometimes and the present-day heroine is not a very interesting character. One more thing: there are so many mistakes in the French text that I'm wondering if anyone actually copy-edited the book (if they did, their French is obviously very poor!). There are also quite a few clichés about life in France, which was annoying at times (I haven't seen anyone smoke a Gauloise in the past 20 years but I guess it adds to the French "ambiance" of the book!). Still, this was an entertaining read.
May 28, 2017
This was a reread for me, although I can't remember exactly how long ago I first read it. It was definitely several years ago. I have found that sometimes when I reread a favorite book it may or may not hold on to it's "favorite" status. I am happy to report that this one passed the test ;).
Mosse is a master at mixing up history, mythology, legend, and a little supernatural magic into creating a story filled with everything a reader could want.
This book gets my highest recommendation!!
Mosse is a master at mixing up history, mythology, legend, and a little supernatural magic into creating a story filled with everything a reader could want.
This book gets my highest recommendation!!
August 28, 2017
Sepulchre wraps its ghostly tendrils around you. Flee you may, escape you cannot. The book was so good that I finished it in two days.
The story is fascinating and the characters are interesting. Except Isolde, I detested her. I loved the atmosphere, it wonderfully Gothic. While the esoteric aspect held no interest for me, it certainly influenced many of the characters. Also I would have appreciated an English translation of all the French, since I don't speak French, some of the nuance of the dialogue was lost on me. A thoroughly good weekend read.
The story is fascinating and the characters are interesting. Except Isolde, I detested her. I loved the atmosphere, it wonderfully Gothic. While the esoteric aspect held no interest for me, it certainly influenced many of the characters. Also I would have appreciated an English translation of all the French, since I don't speak French, some of the nuance of the dialogue was lost on me. A thoroughly good weekend read.
abgebrochen-und-aussortiert
May 6, 2021 „Die Achte Karte“ war eines meiner 12 Books in 12 Months-Bücher für dieses Jahr, die ich aber gar nicht unbedingt auswähle, weil ich sie jetzt endlich mal lesen „muss“ oder zwingend lesen will, sondern die eher dem SUB-Abbau – egal auf welche Weise – dienen sollen.
Das ist Buch ist zu einem Zeitpunkt bei mir eingezogen, wo ich endlich die totale Lust am Lesen wiedergefunden hatte und dem absoluten Kaufwahn erlegen bin. Wenn ich in dem Moment bei etwas klarerem Verstand gewesen wäre, dann weiß ich nicht, ob es wirklich eingezogen wäre. Um zu verdeutlichen, wie ausgeprägt der Kaufwahn (auf dem Flohmarkt) in dem Moment war: ich habe u.a. zwei weitere Bücher gekauft, die ich schon hatte. Das eine mit Absicht, weil es gut erhalten war (im Gegenteil zu meinem eigenen alten Exemplar) und beim anderen hatte ich prompt vergessen, dass ich es schon hatte. Da hab ich schon etwas blöd geschaut, als ich mein Charlie Lyne-Regal geschaut habe und das Buch – in einer anderen Ausgabe – entdeckt habe.
„Die achte Karte“ gehört wie „Das verlorene Labyrinth“ und „Die Frauen von Carcasonne“ zu Langue d’oc-Trilogie von Kate Mosse, wobei ich mir relativ sicher bin, dass man die drei Bücher auch komplett unabhängig von einander lesen kann. Es spielt auf zwei Zeitebenen, Ende der 19. Jahrhunderts und 2007 und wie Lannie auch schon schrieb, gibt es in beiden Erzählebenen Thrillerelemente und mysteriöse bis paranormale Phänomene. Und gerade letzteres hätte mich schon abschrecken müssen, denn ich hatte vor vielleicht 15 Jahren schon mal ein Buch gelesen, wo mich diese paranormalen Phänomene echt genervt habe. Ich habe zwar auch schon Bücher dieser Art gelesen, die ich gut fand, aber naja, eigentlich ist es nicht so mein Ding und mit Mitte 40 eigentlich noch viel weniger als mit Anfang 30.
Den Anfang fand ich eigentlich noch ganz gut und ja, die Sprache passt zur jeweiligen Zeitebene. Und auch mit den französischen Sätzen hatte ich glücklicherweise aufgrund meiner Sprachenausbildung weniger Probleme, ich habe das sogar genossen, aber ich kann verstehen, wenn das jemanden stört oder auch aus dem Lesefluss reißt. An sich hat die Autorin auch echt schöne Ideen und kann auch gut und atmosphärisch schreiben, aber ich finde sie verzettelt sich und kommt nicht in die Pötte. Ich finde es mitunter furchtbar langatmig und ich hab mich wirklich von Seite zu Seite gequält. Ich fand den Part der Gegenwart deutlich interessanter, als den in der Vergangenheit. Aber mit dem Tarot-Gedöns konnte ich nicht wirklich viel anfangen.
Im Endeffekt wollte ich mich einfach nicht weiter quälen. Ich hatte schon mit dem Labyrinth-Buch meine Probleme (vor zig Jahren), wobei mir letztes Jahr, das Buch „Der Kreis der Rabenvögel“ von Kate Mosse richtig gut gefallen hat. In einer Rezi in meinem Heimat-Forum habe ich gelesen, dass „am Ende hinsichtlich des Tarots vieles ungeklärt bleibt bzw. zu flüchtig aufgeklärt wird. Man könne die Auflösung nicht greifen, habe nur ein unbestimmtes Gefühl und schlage das Buch eher unzufrieden zu und dass man den Eindruck haben könne, es fehle noch was, die Geschichte sei nicht auserzählt. Zu viele Fragen bleiben unbeantwortet.“ Und ganz ehrlich auf die Meinung dieser Rezensentin lege ich nach wie vor viel Wert und darum bin ich einmal mehr froh, dass ich das Buch abgebrochen habe. Ich fand es zum Beispiel schade, dass wir nicht noch mehr über den Komponisten Debussy erfahren haben, lediglich dass er Anatoles Freund war (Vergangenheit) und Meredith über ihn eine Biografie schreiben wollte (Gegenwart), aber ansonsten spielte er keine Rolle. Zumindest nicht bis zu der Stelle, bis wohin ich gelesen habe.
Ich bin mir jedenfalls sehr, sehr sicher, dass ich nichts mehr von Kate Mosse lesen werde, auch wenn ihre Plots eigentlich immer klug und spannend klingen und sie auch nicht so schlimm schmalzig / kitschig sind, aber das reizt mich halt nicht genug, um noch ein viertes Buch von ihr anzulesen.
Das ist Buch ist zu einem Zeitpunkt bei mir eingezogen, wo ich endlich die totale Lust am Lesen wiedergefunden hatte und dem absoluten Kaufwahn erlegen bin. Wenn ich in dem Moment bei etwas klarerem Verstand gewesen wäre, dann weiß ich nicht, ob es wirklich eingezogen wäre. Um zu verdeutlichen, wie ausgeprägt der Kaufwahn (auf dem Flohmarkt) in dem Moment war: ich habe u.a. zwei weitere Bücher gekauft, die ich schon hatte. Das eine mit Absicht, weil es gut erhalten war (im Gegenteil zu meinem eigenen alten Exemplar) und beim anderen hatte ich prompt vergessen, dass ich es schon hatte. Da hab ich schon etwas blöd geschaut, als ich mein Charlie Lyne-Regal geschaut habe und das Buch – in einer anderen Ausgabe – entdeckt habe.
„Die achte Karte“ gehört wie „Das verlorene Labyrinth“ und „Die Frauen von Carcasonne“ zu Langue d’oc-Trilogie von Kate Mosse, wobei ich mir relativ sicher bin, dass man die drei Bücher auch komplett unabhängig von einander lesen kann. Es spielt auf zwei Zeitebenen, Ende der 19. Jahrhunderts und 2007 und wie Lannie auch schon schrieb, gibt es in beiden Erzählebenen Thrillerelemente und mysteriöse bis paranormale Phänomene. Und gerade letzteres hätte mich schon abschrecken müssen, denn ich hatte vor vielleicht 15 Jahren schon mal ein Buch gelesen, wo mich diese paranormalen Phänomene echt genervt habe. Ich habe zwar auch schon Bücher dieser Art gelesen, die ich gut fand, aber naja, eigentlich ist es nicht so mein Ding und mit Mitte 40 eigentlich noch viel weniger als mit Anfang 30.
Den Anfang fand ich eigentlich noch ganz gut und ja, die Sprache passt zur jeweiligen Zeitebene. Und auch mit den französischen Sätzen hatte ich glücklicherweise aufgrund meiner Sprachenausbildung weniger Probleme, ich habe das sogar genossen, aber ich kann verstehen, wenn das jemanden stört oder auch aus dem Lesefluss reißt. An sich hat die Autorin auch echt schöne Ideen und kann auch gut und atmosphärisch schreiben, aber ich finde sie verzettelt sich und kommt nicht in die Pötte. Ich finde es mitunter furchtbar langatmig und ich hab mich wirklich von Seite zu Seite gequält. Ich fand den Part der Gegenwart deutlich interessanter, als den in der Vergangenheit. Aber mit dem Tarot-Gedöns konnte ich nicht wirklich viel anfangen.
Im Endeffekt wollte ich mich einfach nicht weiter quälen. Ich hatte schon mit dem Labyrinth-Buch meine Probleme (vor zig Jahren), wobei mir letztes Jahr, das Buch „Der Kreis der Rabenvögel“ von Kate Mosse richtig gut gefallen hat. In einer Rezi in meinem Heimat-Forum habe ich gelesen, dass „am Ende hinsichtlich des Tarots vieles ungeklärt bleibt bzw. zu flüchtig aufgeklärt wird. Man könne die Auflösung nicht greifen, habe nur ein unbestimmtes Gefühl und schlage das Buch eher unzufrieden zu und dass man den Eindruck haben könne, es fehle noch was, die Geschichte sei nicht auserzählt. Zu viele Fragen bleiben unbeantwortet.“ Und ganz ehrlich auf die Meinung dieser Rezensentin lege ich nach wie vor viel Wert und darum bin ich einmal mehr froh, dass ich das Buch abgebrochen habe. Ich fand es zum Beispiel schade, dass wir nicht noch mehr über den Komponisten Debussy erfahren haben, lediglich dass er Anatoles Freund war (Vergangenheit) und Meredith über ihn eine Biografie schreiben wollte (Gegenwart), aber ansonsten spielte er keine Rolle. Zumindest nicht bis zu der Stelle, bis wohin ich gelesen habe.
Ich bin mir jedenfalls sehr, sehr sicher, dass ich nichts mehr von Kate Mosse lesen werde, auch wenn ihre Plots eigentlich immer klug und spannend klingen und sie auch nicht so schlimm schmalzig / kitschig sind, aber das reizt mich halt nicht genug, um noch ein viertes Buch von ihr anzulesen.
June 15, 2022
4,5 sterren - Nederlandse paperback
Na het lezen van het verloren labyrinth ben ik na wat andere boeken te hebben gelezen begonnen aan de vergeten tombe. Het is zeker een goed verhaal alhoewel het hier en daar wel wat zweverig wordt met de tarotkaarten en de geesten. Maar dat is een van de aantrekkingspunten van dit boek voor mij.
Twee verhaallijnen vloeien samen, één uit het einde van de 19e eeuw, de ander uit 2007. En dat is meesterlijk gedaan.
Ik vind de figuur van de oude man, die eeuwen oud is/lijkt te zijn de meest intrigerende. Het heeft iets bevreemdends, maar ook iets vertrouwds, iets warms, iets vaderlijks.
Verder laat de auteur zien dat ze inderdaad de Queen of Research is. Ik smul werkelijk van alle details, of het nu om de Tarot gaat, of over hoe Parijzenaars over Wagner dacht. Historisch verantwoord en spannend.
Na het lezen van het verloren labyrinth ben ik na wat andere boeken te hebben gelezen begonnen aan de vergeten tombe. Het is zeker een goed verhaal alhoewel het hier en daar wel wat zweverig wordt met de tarotkaarten en de geesten. Maar dat is een van de aantrekkingspunten van dit boek voor mij.
Twee verhaallijnen vloeien samen, één uit het einde van de 19e eeuw, de ander uit 2007. En dat is meesterlijk gedaan.
Ik vind de figuur van de oude man, die eeuwen oud is/lijkt te zijn de meest intrigerende. Het heeft iets bevreemdends, maar ook iets vertrouwds, iets warms, iets vaderlijks.
Verder laat de auteur zien dat ze inderdaad de Queen of Research is. Ik smul werkelijk van alle details, of het nu om de Tarot gaat, of over hoe Parijzenaars over Wagner dacht. Historisch verantwoord en spannend.
May 19, 2018
Το βιβλίο είχε ενδιαφέρουσα πλοκή και ημετάβαση από το παρελθόν στο παρόν, και αντίστροφα, γίνεται αβίαστα. Το διάβαζα ευχάριστα το βράδυ όντας νυσταγμένη και θέλοντας κάτι εύκολο να διαβάσω για να με πάρει ο ύπνος.
Ωστόσο, οι χαρακτήρες είναι μη ρεαλιστικοί. Τα πρόσωπα που ��ρωταγωνιστούν κσομούνται συνεχώς με ένα σωρό επίθετα για να τονιστεί η ομορφιά τους, ενώ ο τρόπος που λειτουργούν πολλές φορές είναι αδικαιολόγητα ανόητος. Οι ενέργειες τους πολλές φορές αποσκοπούν απλά στο να συνεχίσει να τρέχει το στόρι.
Ακόμη και ο κακός χαρακτήρας της υπόθεσης φέρει ακραία και μη ρεαλιστικά χαρακτηριστικά.
Τέλος, βρήκα περιττό το ότι πολλές λέξεις και φράσεις είναι στα γαλλικά, απλά και μόνο επειδή η υπόθεση διεξάγεται στη Γαλλία.
Ωστόσο, οι χαρακτήρες είναι μη ρεαλιστικοί. Τα πρόσωπα που ��ρωταγωνιστούν κσομούνται συνεχώς με ένα σωρό επίθετα για να τονιστεί η ομορφιά τους, ενώ ο τρόπος που λειτουργούν πολλές φορές είναι αδικαιολόγητα ανόητος. Οι ενέργειες τους πολλές φορές αποσκοπούν απλά στο να συνεχίσει να τρέχει το στόρι.
Ακόμη και ο κακός χαρακτήρας της υπόθεσης φέρει ακραία και μη ρεαλιστικά χαρακτηριστικά.
Τέλος, βρήκα περιττό το ότι πολλές λέξεις και φράσεις είναι στα γαλλικά, απλά και μόνο επειδή η υπόθεση διεξάγεται στη Γαλλία.
Displaying 1 - 30 of 1,634 reviews