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Cities of Women
“With a scholar’s commitment to accurate detail, and the heart of a lover of beauty, Kathleen B. Jones’s engaging and well-crafted parallel story is as colorful and lucid as the illuminated manuscripts at the center of her novel.” —Laurel Corona, author of The Mapmaker’s Daughter
A deeply affecting dual narrative separated by several centuries, Cities of Women examines the lives of women who dare to challenge the social norms of their days, risking their reputations and livelihoods for the sake of their passions.
In the twenty-first century, we meet Verity Frazier, a disillusioned history professor who sets out to prove that the artist responsible for the illuminated artwork in Christine de Pizan’s medieval manuscripts was a remarkable woman named Anastasia. As Anastasia’s story unfolds against the exquisitely-rendered medieval backdrop of moral disaster, political intrigue, and extraordinary creativity, Verity finds her career on the brink of collapse by her efforts to uncover evidence of the lost artist’s existence.
Inspired by a decade of research, Jones has woven together a luminous and incisive masterpiece of historical fiction, evoking the spare joys and monumental pitfalls facing medieval women artists and a contemporary woman who becomes obsessed with medieval books.
A deeply affecting dual narrative separated by several centuries, Cities of Women examines the lives of women who dare to challenge the social norms of their days, risking their reputations and livelihoods for the sake of their passions.
In the twenty-first century, we meet Verity Frazier, a disillusioned history professor who sets out to prove that the artist responsible for the illuminated artwork in Christine de Pizan’s medieval manuscripts was a remarkable woman named Anastasia. As Anastasia’s story unfolds against the exquisitely-rendered medieval backdrop of moral disaster, political intrigue, and extraordinary creativity, Verity finds her career on the brink of collapse by her efforts to uncover evidence of the lost artist’s existence.
Inspired by a decade of research, Jones has woven together a luminous and incisive masterpiece of historical fiction, evoking the spare joys and monumental pitfalls facing medieval women artists and a contemporary woman who becomes obsessed with medieval books.
272 pages, Kindle Edition
First published September 5, 2023
21 people are currently reading
1660 people want to read
About the author
Kathleen B. Jones
9 books18 followersBorn and educated in New York, Kathleen B. Jones taught Women’s Studies for twenty-four years at San Diego State University.
Her academic writing includes Compassionate Authority: Democracy and the Representation of Women, (Routledge, 1993), The Political Interests of Gender, (Sage, 1988), and The Political Interests of Gender Revisited, (Manchester University Press, 2009) both edited with Anna G. Jónasdóttir, and Women Transforming Politics (New York University Press, 1997) edited with Cathy Cohen and Joan Tronto, She was founding co-editor of the International Feminist Journal of Politics from 1997-2005.
Her creative non-fiction includes Living Between Danger and Love, (Rutgers University Press, 2000), a memoir about the difficult choices we make in the face of violence, and Diving for Pearls: A thinking Journey with Hannah Arendt, (Thinking Women Books, 2015) a memoir about her thirty year long fasciantion with the life and work of the philosopher Hannah Arendt.
Her essays and short fiction have appeared in Fiction International, Mr. Bellar’s Neighborhood, and The Briar Cliff Review l. Kathy was managing director of Laterthanever Productions, a non-profit regional theater in San Diego. Her first play, Acts of Faith, a world premiere based on the short stories of Grace Paley, was written in collaboration with Sharyn C. Blumenthal, and produced in March 2009 by Laterthanever Productions.
Among her numerous awards, she is a recipient of multiple grants from the National Endowment of the Humanities, writers’ grants to the Vermont Studio Center, and an honorary doctorate from Örebro University, Sweden.
Her academic writing includes Compassionate Authority: Democracy and the Representation of Women, (Routledge, 1993), The Political Interests of Gender, (Sage, 1988), and The Political Interests of Gender Revisited, (Manchester University Press, 2009) both edited with Anna G. Jónasdóttir, and Women Transforming Politics (New York University Press, 1997) edited with Cathy Cohen and Joan Tronto, She was founding co-editor of the International Feminist Journal of Politics from 1997-2005.
Her creative non-fiction includes Living Between Danger and Love, (Rutgers University Press, 2000), a memoir about the difficult choices we make in the face of violence, and Diving for Pearls: A thinking Journey with Hannah Arendt, (Thinking Women Books, 2015) a memoir about her thirty year long fasciantion with the life and work of the philosopher Hannah Arendt.
Her essays and short fiction have appeared in Fiction International, Mr. Bellar’s Neighborhood, and The Briar Cliff Review l. Kathy was managing director of Laterthanever Productions, a non-profit regional theater in San Diego. Her first play, Acts of Faith, a world premiere based on the short stories of Grace Paley, was written in collaboration with Sharyn C. Blumenthal, and produced in March 2009 by Laterthanever Productions.
Among her numerous awards, she is a recipient of multiple grants from the National Endowment of the Humanities, writers’ grants to the Vermont Studio Center, and an honorary doctorate from Örebro University, Sweden.
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Displaying 1 - 30 of 111 reviews
September 13, 2023
On the face of it this is an interesting book of historical fiction looking at the the intersection between the lives of Christine de Pisan and an illuminator called Anastasia.
Verity Frazier is the professor who, bored with her book concerning the Paris Commune women, comes across some interesting research that may mean a woman illuminated the work of Christine de Pisan. So, following advice, she heads to London to find more material to support her theory.
And it is at this point (or shortly after) most of the book descends into a romance of such excruciating farce with the most tortured dialogue I ever heard, that it almost ruins the set pieces with Christine and Anastasia.
I'd have no problem moaning for several pages about what irritated me about the romance but I'll list a few of the worst - Anastasia (because Verity just happens to meet someone of the same name as her illuminator - what are the odds?) has a nails down a chalkboard accent that even Queen Elizabeth would laugh at, while Verity constantly seems to be on the point of tears; both women consistently blow up for no reason, pouting and stomping off like children; the places they visit (which Anastasia seems to have the keys to and know everyone - quelle surprise!) are consistently mispronounced (this also happens with names and poor Lizzie Siddall had her name pronounced 3 different ways in 2 sentences). Now the muspronunciations wouldn't be so bad but it's the Brit who does it. Lacock Abbey (pronounced Laycock) and Salisbury (pronounced Saulsbury) being the worst offenders.
There I'm done. The history parts were interesting and I've no doubt that some illuminators were women. Christine certainly stamped her mark on history without the help of a man. However the romance utterly ruined the book for me and I ground my teeth through it.
I gave it 2 for the third of the book that was good.
Thanks to Netgalley and Dreamscape Media for the advance review copy.
Verity Frazier is the professor who, bored with her book concerning the Paris Commune women, comes across some interesting research that may mean a woman illuminated the work of Christine de Pisan. So, following advice, she heads to London to find more material to support her theory.
And it is at this point (or shortly after) most of the book descends into a romance of such excruciating farce with the most tortured dialogue I ever heard, that it almost ruins the set pieces with Christine and Anastasia.
I'd have no problem moaning for several pages about what irritated me about the romance but I'll list a few of the worst - Anastasia (because Verity just happens to meet someone of the same name as her illuminator - what are the odds?) has a nails down a chalkboard accent that even Queen Elizabeth would laugh at, while Verity constantly seems to be on the point of tears; both women consistently blow up for no reason, pouting and stomping off like children; the places they visit (which Anastasia seems to have the keys to and know everyone - quelle surprise!) are consistently mispronounced (this also happens with names and poor Lizzie Siddall had her name pronounced 3 different ways in 2 sentences). Now the muspronunciations wouldn't be so bad but it's the Brit who does it. Lacock Abbey (pronounced Laycock) and Salisbury (pronounced Saulsbury) being the worst offenders.
There I'm done. The history parts were interesting and I've no doubt that some illuminators were women. Christine certainly stamped her mark on history without the help of a man. However the romance utterly ruined the book for me and I ground my teeth through it.
I gave it 2 for the third of the book that was good.
Thanks to Netgalley and Dreamscape Media for the advance review copy.
June 1, 2023
'Women's stories of use and achievement never figured much in the annals of history. Of the inequity accompanying the birth of a daughter, of the treachery hidden b between false lovers' words, of the tribulations of women abandoned for the thrill of battle, of the depredations besetting downtrodden poor, of the loneliness and penury of widows, of the discourse of scorn heaped on women, and of their valiant accomplishments.'
Verity a history professor, has become despondent after being asked to edit her academic book, and compromise its integrity, for the sake of popularity before publishing it. However, a local museum exhibition on medieval illumination inspires her to pivot to studying female scriptor Christine de Pizan. Specifically, Verity is determined to prove that Christine's work was illustrated by another woman Anastasia and thereby dispel the emphatic belief that it was a man. 'As if man were the only architects of beauty, as if vision had only one sex.' Told in a dual timeline, we are transported to the life and times of Anastasia. Her world of privilege due to royal regard for her father, is quickly collapsed by black death and sinister rumours. What did happen to Anastasia and how do you prove a woman's existence and work hundreds of years later when traditional, recorded history, has only flailingly captured women's stories?
'Cities of Women' is inspired by real-life 14th Century writer Christine de Pizan. Kathleen B Jones uses luscious language when describing the medieval times Anastasia lived in; evocative of the illuminations she created. However, I was less captured by the modern Verity and her quest. For me, this was a case where the dual timeline failed to add depth to the overall story. To that end, you can tell the amount of research Jones has gone to in understanding medieval times, Christine de Pizan, and how women of that era worked, lived, and were regarded. I would have loved to have read a story wholly on this. I suggest anyone who has an interest in medieval fiction, with a strong feminist tone, read this book and decide for themselves.
Thank you NetGalley and Turner Publishing for the opportunity to read and review this book.
Verity a history professor, has become despondent after being asked to edit her academic book, and compromise its integrity, for the sake of popularity before publishing it. However, a local museum exhibition on medieval illumination inspires her to pivot to studying female scriptor Christine de Pizan. Specifically, Verity is determined to prove that Christine's work was illustrated by another woman Anastasia and thereby dispel the emphatic belief that it was a man. 'As if man were the only architects of beauty, as if vision had only one sex.' Told in a dual timeline, we are transported to the life and times of Anastasia. Her world of privilege due to royal regard for her father, is quickly collapsed by black death and sinister rumours. What did happen to Anastasia and how do you prove a woman's existence and work hundreds of years later when traditional, recorded history, has only flailingly captured women's stories?
'Cities of Women' is inspired by real-life 14th Century writer Christine de Pizan. Kathleen B Jones uses luscious language when describing the medieval times Anastasia lived in; evocative of the illuminations she created. However, I was less captured by the modern Verity and her quest. For me, this was a case where the dual timeline failed to add depth to the overall story. To that end, you can tell the amount of research Jones has gone to in understanding medieval times, Christine de Pizan, and how women of that era worked, lived, and were regarded. I would have loved to have read a story wholly on this. I suggest anyone who has an interest in medieval fiction, with a strong feminist tone, read this book and decide for themselves.
Thank you NetGalley and Turner Publishing for the opportunity to read and review this book.
September 10, 2023
I absolutely loved the beautiful writing in the Cities of Women. The words Kathleen B Jones chose to describe the illuminated artwork made it come alive in my mind. It’s obvious that the book’s subject is dear to her heart.
The two women from different centuries telling their stories alternately was easy to follow. I listened to the audio version and I found all three narrators to have pleasant voices. The only time I had difficulty was with the part of the story that took place in France. The narrator spoke in English except for words she chose to add the french accent to and I could not understand her. Because it was an audiobook I could not look at the text to look up the word and see what she was referencing.
I enjoyed following Verity on her journey to find and honor the unnamed Illuminator of her favorite manuscript and the detailed descriptions of how the books and artwork were created. I was not too interested in the romance storyline but all in all it was a wonderful book.
Many thanks to Dreamscape media and Kathleen B Jones for the ARC via NetGalley!!!
The two women from different centuries telling their stories alternately was easy to follow. I listened to the audio version and I found all three narrators to have pleasant voices. The only time I had difficulty was with the part of the story that took place in France. The narrator spoke in English except for words she chose to add the french accent to and I could not understand her. Because it was an audiobook I could not look at the text to look up the word and see what she was referencing.
I enjoyed following Verity on her journey to find and honor the unnamed Illuminator of her favorite manuscript and the detailed descriptions of how the books and artwork were created. I was not too interested in the romance storyline but all in all it was a wonderful book.
Many thanks to Dreamscape media and Kathleen B Jones for the ARC via NetGalley!!!
May 29, 2023
2.5 ⭐️
I received an ARC from NetGalley in exchange for an honest review.
The premise of Cities of Women sounded incredibly promising to me, since I, too, was fascinated by medieval manuscripts during my studies. Unfortunately, however, it failed to hit the mark for me.
I enjoyed the first half of the book, and especially the chapters following the life of the 14th century illuminator Béatrice were very moving and absorbing. As the story progressed and the present claimed more and more space in the story, I found myself growing rather frustrated and bored. The romance was a quite uninteresting (and at times problematic) subplot that didn't add anything to the story, but took the attention away from the main plot which redirected the story's course in a confusing and unsatisfying way. The dialogue was very stilted and caused the characters to fall quite flat - at the end I still didn't feel like I really knew them. Despite the fact that the chapters in the present didn't really speak to me, I did greatly appreciate the vast cast of characters that were women in academia.
I found it quite confusing why the author chose to include a couple of chapters from Christine de Pizan's pov, but abandoned her perspective once Béatrice made her acquaintance and why she didn't even mention Béatrice in Christine's chapters. I did like the chapters set in medieval France, though, and I'm certain I would have liked the book better if the ratio present-past had been different.
The writing style in general had a little too much telling and too little showing for my tastes and was littered with unnecessarily complex words and too detailed descriptions of every single action Verity made, which both resulted in a quite artificial and dragging feeling to the story.
It is clear that Jones has put an incredible amount of research behind this book which I greatly admire, as well as her view on womanhood and her passionate campaign to put women in the foreground of history and their own stories.
I received an ARC from NetGalley in exchange for an honest review.
The premise of Cities of Women sounded incredibly promising to me, since I, too, was fascinated by medieval manuscripts during my studies. Unfortunately, however, it failed to hit the mark for me.
I enjoyed the first half of the book, and especially the chapters following the life of the 14th century illuminator Béatrice were very moving and absorbing. As the story progressed and the present claimed more and more space in the story, I found myself growing rather frustrated and bored. The romance was a quite uninteresting (and at times problematic) subplot that didn't add anything to the story, but took the attention away from the main plot which redirected the story's course in a confusing and unsatisfying way. The dialogue was very stilted and caused the characters to fall quite flat - at the end I still didn't feel like I really knew them. Despite the fact that the chapters in the present didn't really speak to me, I did greatly appreciate the vast cast of characters that were women in academia.
I found it quite confusing why the author chose to include a couple of chapters from Christine de Pizan's pov, but abandoned her perspective once Béatrice made her acquaintance and why she didn't even mention Béatrice in Christine's chapters. I did like the chapters set in medieval France, though, and I'm certain I would have liked the book better if the ratio present-past had been different.
The writing style in general had a little too much telling and too little showing for my tastes and was littered with unnecessarily complex words and too detailed descriptions of every single action Verity made, which both resulted in a quite artificial and dragging feeling to the story.
It is clear that Jones has put an incredible amount of research behind this book which I greatly admire, as well as her view on womanhood and her passionate campaign to put women in the foreground of history and their own stories.
September 9, 2023
very thoroughly researched, but the writing for me was just dry and the dialogue stilted
read my review on ig
Rep: bi mc, lesbian li
read my review on ig
Rep: bi mc, lesbian li
December 13, 2023
4,5 star read for me.
August 22, 2023
this historical tale alternates between two perspectives: verity, a modern academic, and beatrice, a medieval french artist, with occasional chapters from the pov of christine de pizan's, a real-life 14th century french-italian proto-feminist writer.
cities of women explores understanding women's history and pursuing one's passions. in verity's quest to prove that the illustrations in christine's manuscripts were by a woman rather than a man, she uncovers the life and experience of a woman in medieval history.
“The assumption everyone made that the master artists of medieval manuscripts were men seemed as unfounded as the prejudices Christine had castigated with her prose. As if men were the only architects of beauty, as if vision had only one sex.”
the writing was descriptive and well paced, and beatrice's narrative, though slow, fit the historical context. the perspective shifts were a bit confusing though, and i surprisingly related more to verity's. but overall the book was engaging (for the most part) and informative, a testament to the author's commitment to the research done for this novel.
rating: 3.25⭐
cities of women explores understanding women's history and pursuing one's passions. in verity's quest to prove that the illustrations in christine's manuscripts were by a woman rather than a man, she uncovers the life and experience of a woman in medieval history.
“The assumption everyone made that the master artists of medieval manuscripts were men seemed as unfounded as the prejudices Christine had castigated with her prose. As if men were the only architects of beauty, as if vision had only one sex.”
the writing was descriptive and well paced, and beatrice's narrative, though slow, fit the historical context. the perspective shifts were a bit confusing though, and i surprisingly related more to verity's. but overall the book was engaging (for the most part) and informative, a testament to the author's commitment to the research done for this novel.
rating: 3.25⭐
June 20, 2023
The Cities of Women is a dual point of view novel that goes between Verity, a 21st Century academic; Beatrice, a Medieval French artist and the occasional chapter from the point of view of Christine (de Pizan) the French-Italian writer. The story encompasses themes of understanding women from the past and striving to achieve your passion and goals within your chosen career.
The beginning of the book really resonated with me, I think so many of us experience the debilitating effects of imposter syndrome when we are working on new things in our careers that Verity felt. The writing was fabulous, as it perfectly encapsulated how flat imposter syndrome can make you feel and how you can question every little professional decision you make, even when, in the case of Verity, you are an expert in your field. The authors background as in academia is clear, I too often complain about how long it takes me (a History Teacher) to mark a paper, when my colleagues in other subjects are able to mark several. Parts of the story like these add an additional layer of authenticity, making the story and characters believable and more importantly, relatable.
Generally, the plot was well paced, with necessary description and almost poetic prose at times. I found the outline of Beatrice’s girlhood a bit slow, however, it vividly captured the essence of the period and was able to establish itself within the historical context really well. It is clear from the writing that this book was meticulously researched. I was a touch thrown with the point of views being in third person for Verity and Christine, but first person for Beatrice, I felt I had to readjust at the beginning of each new chapter. I also felt I wasn’t as in tune with the emotions of Verity as I was Beatrice’s.
Overall I found this book engaging and entertaining and I actually learnt a lot of really interesting information about niche topics like creating parchment. It also inspired me to seek out a copy of The Book of the City of Ladies, which has promptly been added to my TBR pile. This would be a great read for anyone who enjoys historical fiction through a feminine voice, with intertwining dual point of views across time. Thank you to NetGalley, and the publisher for giving me the opportunity to read this book in exchange for an honest review, these thoughts are all my own.
The beginning of the book really resonated with me, I think so many of us experience the debilitating effects of imposter syndrome when we are working on new things in our careers that Verity felt. The writing was fabulous, as it perfectly encapsulated how flat imposter syndrome can make you feel and how you can question every little professional decision you make, even when, in the case of Verity, you are an expert in your field. The authors background as in academia is clear, I too often complain about how long it takes me (a History Teacher) to mark a paper, when my colleagues in other subjects are able to mark several. Parts of the story like these add an additional layer of authenticity, making the story and characters believable and more importantly, relatable.
Generally, the plot was well paced, with necessary description and almost poetic prose at times. I found the outline of Beatrice’s girlhood a bit slow, however, it vividly captured the essence of the period and was able to establish itself within the historical context really well. It is clear from the writing that this book was meticulously researched. I was a touch thrown with the point of views being in third person for Verity and Christine, but first person for Beatrice, I felt I had to readjust at the beginning of each new chapter. I also felt I wasn’t as in tune with the emotions of Verity as I was Beatrice’s.
Overall I found this book engaging and entertaining and I actually learnt a lot of really interesting information about niche topics like creating parchment. It also inspired me to seek out a copy of The Book of the City of Ladies, which has promptly been added to my TBR pile. This would be a great read for anyone who enjoys historical fiction through a feminine voice, with intertwining dual point of views across time. Thank you to NetGalley, and the publisher for giving me the opportunity to read this book in exchange for an honest review, these thoughts are all my own.
Read
August 14, 2023I received a copy of Katheen Jones' Cities of Women through Turner Publishing in exchange for an honest book review.
I was so excited by the premise of this story, which was described as women breaking free of molds and acting in ways that supported their passions but could impact their reputations.
The storyline follows modern-day Verity, an academic working on a project that the academia world wants, but that she feels passionless about, Beatrice, an illustrator and artist from the Medieval times, as well as snippets of a POV from Christine de Pizan, a Medieval writer and poet. Verity comes across Christine de Pizan's work, as well as the gorgeous illustrations in her manuscripts. The current art and academic world associate these illustrations with well known Medieval men artists of the time. Verity, however, can't shake an intuitive feeling that a woman must have created the beauty she sees on the pages, and sets her pursuits on trying to find her.
While historical stories usually have a hard time capturing my interest, I do have to say that Beatrice's story is far more captivating and interesting than Verity's. Beatrice is driven, smart, and cunning, and the choices she makes to get where she wants to go are daring and risky. Beatrice, and Christine, to some extent, fulfill the promise of women risking it all in order to pursue their passions and live their lives the way they want to. Verity's story is less interesting as she attempts to track down traces of Beatrice throughout history while meeting a colorful character who helps her along the way, but her risks don't feel as big. Perhaps those within the world of academia would feel differently, having been faced themselves with parts of her situation.
Overall, I think this book is really well written. The prose, at times, match the artistry of illustration in their luscious descriptions. The modern-day plot, however, misses the mark for the promised premise. Those in the art and academia worlds may disagree, truly understanding what Verity's risks were to her reputation as she pursued a theory relentlessly and presents it to the world with very little evidence. What will stick with me, however, is Beatrice and the impact she made on her own life and those around her.
I was so excited by the premise of this story, which was described as women breaking free of molds and acting in ways that supported their passions but could impact their reputations.
The storyline follows modern-day Verity, an academic working on a project that the academia world wants, but that she feels passionless about, Beatrice, an illustrator and artist from the Medieval times, as well as snippets of a POV from Christine de Pizan, a Medieval writer and poet. Verity comes across Christine de Pizan's work, as well as the gorgeous illustrations in her manuscripts. The current art and academic world associate these illustrations with well known Medieval men artists of the time. Verity, however, can't shake an intuitive feeling that a woman must have created the beauty she sees on the pages, and sets her pursuits on trying to find her.
While historical stories usually have a hard time capturing my interest, I do have to say that Beatrice's story is far more captivating and interesting than Verity's. Beatrice is driven, smart, and cunning, and the choices she makes to get where she wants to go are daring and risky. Beatrice, and Christine, to some extent, fulfill the promise of women risking it all in order to pursue their passions and live their lives the way they want to. Verity's story is less interesting as she attempts to track down traces of Beatrice throughout history while meeting a colorful character who helps her along the way, but her risks don't feel as big. Perhaps those within the world of academia would feel differently, having been faced themselves with parts of her situation.
Overall, I think this book is really well written. The prose, at times, match the artistry of illustration in their luscious descriptions. The modern-day plot, however, misses the mark for the promised premise. Those in the art and academia worlds may disagree, truly understanding what Verity's risks were to her reputation as she pursued a theory relentlessly and presents it to the world with very little evidence. What will stick with me, however, is Beatrice and the impact she made on her own life and those around her.
April 12, 2023
Cities of Women by Kathleen B. Jones takes readers on an adventure that connects the lives of two ladies who lived hundreds of years apart. Professor Verity Frazier is determined to establish that a woman named Anastasia was the artist responsible for the illuminated artwork in mediaeval manuscripts, despite her own disappointment in the field of history. As Verity's tale progresses, readers are taken back in time to Anastasia, a mediaeval land where women confronted moral calamities, political intrigue, and artistic obstacles. Based on a decade of research, Jones's brilliant work of historical fiction vividly portrays the triumphs and tribulations experienced by mediaeval women artists and the modern women who draw inspiration from them. Cities of Women is an inspiring look at the lives of women who defy expectations and put their names on the line to pursue their dreams. Fans of historical fiction and those curious about the experiences of women throughout history will find much to enjoy in Jones's bright and incisive prose.
4/5 Stars from me.
***A big thank you to NetGalley and the publisher for my advanced reader copy in exchange for an honest review.***
4/5 Stars from me.
***A big thank you to NetGalley and the publisher for my advanced reader copy in exchange for an honest review.***
February 26, 2025
Verity’s point of view was worthless, the rest of the story was somewhat interesting but the ending was awful and didn’t even feel like an ending
July 30, 2023
Switching POVs and timelines between Verity in 2018 and Beatrice in the 1300s, which I enjoyed in the first half but quickly became bored and just wanted to finish the novel.
A little overly descriptive for my taste-the author clearly did her research and wanted to include everything she found. But it made the story drag and threw off the pacing, almost pulling me out; accuracy got in the way of the flow. I honestly started skimming especially in Verity’s chapters, this book could’ve been cut by 1/3 and nothing of substance would change.
I preferred Beatrice’s chapters and felt like we skimmed so much of her life, giving brief sentences about what’s happening spanning 5-10 years at a time. I wanted to hear more from her! I wish the minute details describing Verity’s routines and the buildings had been cut and made more space for Beatrice’s life. More balance should’ve been given to both timelines as we get a day by day look at Verity, but then we get a few years or a decade at a time for Beatrice.
Actually I wish Verity was cut period, this would have been a MUCH stronger book if it focused on the past from Beatrice and Christine instead. We get two chapters from Christine’s POV before she meets Beatrice. Once this happens, we don’t hear from her again so I questioned what the point of that was.
The characters lacked depth maybe because the author tried to include a lot from her research without giving us any insight into the people and their motivations. For this reason I didn’t connect with a single character. The romance in the present timeline happened so quickly that it was unbelievable and felt forced. It was also problematic at times and distracted from the main plot rather than building onto it.
The ending felt rushed and surface level, almost unfinished. I read the whole book and felt I had learned next to nothing. It was as if nothing stuck because the main info was so passed over, in exchange for excessive details about the setting. And at times was more of an info dump than a cohesive novel.
Overall the novel held a lot of promise but fell flat in its execution. If it weren’t for the romance I would’ve kept this around 3 stars, but it drove me so crazy I’m dropping half a star. This is a book I should’ve loved based on the synopsis and similar concept novels I’ve read before, but sadly it’s my worst book of July 😭 Finding out that the author is in academia and this is her first novel, it makes sense why it’s so info heavy and lacks character/world building.
A little overly descriptive for my taste-the author clearly did her research and wanted to include everything she found. But it made the story drag and threw off the pacing, almost pulling me out; accuracy got in the way of the flow. I honestly started skimming especially in Verity’s chapters, this book could’ve been cut by 1/3 and nothing of substance would change.
I preferred Beatrice’s chapters and felt like we skimmed so much of her life, giving brief sentences about what’s happening spanning 5-10 years at a time. I wanted to hear more from her! I wish the minute details describing Verity’s routines and the buildings had been cut and made more space for Beatrice’s life. More balance should’ve been given to both timelines as we get a day by day look at Verity, but then we get a few years or a decade at a time for Beatrice.
Actually I wish Verity was cut period, this would have been a MUCH stronger book if it focused on the past from Beatrice and Christine instead. We get two chapters from Christine’s POV before she meets Beatrice. Once this happens, we don’t hear from her again so I questioned what the point of that was.
The characters lacked depth maybe because the author tried to include a lot from her research without giving us any insight into the people and their motivations. For this reason I didn’t connect with a single character. The romance in the present timeline happened so quickly that it was unbelievable and felt forced. It was also problematic at times and distracted from the main plot rather than building onto it.
The ending felt rushed and surface level, almost unfinished. I read the whole book and felt I had learned next to nothing. It was as if nothing stuck because the main info was so passed over, in exchange for excessive details about the setting. And at times was more of an info dump than a cohesive novel.
Overall the novel held a lot of promise but fell flat in its execution. If it weren’t for the romance I would’ve kept this around 3 stars, but it drove me so crazy I’m dropping half a star. This is a book I should’ve loved based on the synopsis and similar concept novels I’ve read before, but sadly it’s my worst book of July 😭 Finding out that the author is in academia and this is her first novel, it makes sense why it’s so info heavy and lacks character/world building.
April 20, 2023
I loved the parallel stories in this novel, but Beatrice's and Christine's story lines stuck out to me and kept me hooked. I loved the descriptions of Beatrice's life, and I thought it to be a very convincing creation of the past.
I thought that Verity could do much better than Anastasia-- their relationship felt more out of convenience than true affection. Anastasia's reasons for hiding elements of her life from Verity annoyed me rather than evoking pity.
I recommend this book for history lovers & anyone interested in looking back at the past through a queer lens. Overall, I enjoyed reading this novel and I think the pace picked up after the first 50 pages or so. Also, I love the cover!
I thought that Verity could do much better than Anastasia-- their relationship felt more out of convenience than true affection. Anastasia's reasons for hiding elements of her life from Verity annoyed me rather than evoking pity.
I recommend this book for history lovers & anyone interested in looking back at the past through a queer lens. Overall, I enjoyed reading this novel and I think the pace picked up after the first 50 pages or so. Also, I love the cover!
October 16, 2023
Thank you to libro.fm for providing me with an ALC of this audiobook. I am offering my honest opinion voluntarily.
This one sounded like a really intriguing story, and I couldn't wait to get into it. I'm typically a big fan of historical fiction, especially those with dual timelines.
Since it's an audiobook, I want to start with the narration. There were three narrators, and all were great. The voices were pleasant and did a wonderful job with this story, although the narrator for Anastasia in the past often used French words, and as someone who doesn't speak any French, the words ran together and were incomprehensible for me. Since it was an audiobook, I couldn't even make sense of the words to attempt to look them up, and had to write them off and hope for the best in the rest of the story.
I found Anastasia's story to be incredibly intriguing. The amount of research that Jones did for this book must have been astounding, and it shows clearly in the writing. I was fascinated by her life and the way that she bucked tradition to do something that women weren't doing at the time.
I was less invested in Verity's story. She came across as bland, and her part of the story wasn't nearly as interesting to me. I found myself waiting to get back to the Anastasia chapters. The most interesting thing about Verity, to me, was the fact that she was bisexual.
While dual timelines generally add to the story, in this case, it didn't really add much to the story. It wasn't as if Verity had made major discoveries about Anastasia, or was providing information that we didn't have, but rather was just kind of trying to hunt down information. Overall, this was a slow-paced story that was right in the middle of my rating scale. Some was really interesting, some wasn't as interesting, but it was a decent read and I enjoyed learning more about the creation of illuminated manuscripts and the life of women in the middle ages.
This one sounded like a really intriguing story, and I couldn't wait to get into it. I'm typically a big fan of historical fiction, especially those with dual timelines.
Since it's an audiobook, I want to start with the narration. There were three narrators, and all were great. The voices were pleasant and did a wonderful job with this story, although the narrator for Anastasia in the past often used French words, and as someone who doesn't speak any French, the words ran together and were incomprehensible for me. Since it was an audiobook, I couldn't even make sense of the words to attempt to look them up, and had to write them off and hope for the best in the rest of the story.
I found Anastasia's story to be incredibly intriguing. The amount of research that Jones did for this book must have been astounding, and it shows clearly in the writing. I was fascinated by her life and the way that she bucked tradition to do something that women weren't doing at the time.
I was less invested in Verity's story. She came across as bland, and her part of the story wasn't nearly as interesting to me. I found myself waiting to get back to the Anastasia chapters. The most interesting thing about Verity, to me, was the fact that she was bisexual.
While dual timelines generally add to the story, in this case, it didn't really add much to the story. It wasn't as if Verity had made major discoveries about Anastasia, or was providing information that we didn't have, but rather was just kind of trying to hunt down information. Overall, this was a slow-paced story that was right in the middle of my rating scale. Some was really interesting, some wasn't as interesting, but it was a decent read and I enjoyed learning more about the creation of illuminated manuscripts and the life of women in the middle ages.
September 19, 2023
Hugely promising storyline and the first half of the book was heading in an interesting direction.
Alas, the audiobook actress was so incredibly awful that even a stellar storyline wouldn’t have been enjoyable. For example, I have no idea where Beatrice’s “accent” came from. It felt 5% French and 95% a haltingly weird… nothingness. It was distractingly confusing.
The handful of chapters from Christine’s POV were (jarringly) either recorded by a completely different person or the actress recorded it during a severe head cold.
And don’t even get me started on how British Anastasia was represented. The accent here, too, was distractingly confusing. While I initially liked the character of British Anastasia, that vibe wore down within a few more scenes. That girl is toxic and she’s unfortunately pretty one-dimensional. Her tantrums are as predictable as they are flaccid. She’s got only two modes — manic pixie dream girl and enraged sobbing psychopath — and neither of them are mature enough to represent even a moderately balanced teenager. If she was struck from the plot completely & Verity went on the same journey (but solo) the story would have been significantly more compelling.
The plot saw some odd pacing, reliance on (shared!) visions (which feels like cheating), and a lukewarm ending. I felt like the author started off with an idea she was passionate about and then ran into the “ah shoot, what now?” dilemma, but there were definitely areas of opportunity that got missed here.
Alas, the audiobook actress was so incredibly awful that even a stellar storyline wouldn’t have been enjoyable. For example, I have no idea where Beatrice’s “accent” came from. It felt 5% French and 95% a haltingly weird… nothingness. It was distractingly confusing.
The handful of chapters from Christine’s POV were (jarringly) either recorded by a completely different person or the actress recorded it during a severe head cold.
And don’t even get me started on how British Anastasia was represented. The accent here, too, was distractingly confusing. While I initially liked the character of British Anastasia, that vibe wore down within a few more scenes. That girl is toxic and she’s unfortunately pretty one-dimensional. Her tantrums are as predictable as they are flaccid. She’s got only two modes — manic pixie dream girl and enraged sobbing psychopath — and neither of them are mature enough to represent even a moderately balanced teenager. If she was struck from the plot completely & Verity went on the same journey (but solo) the story would have been significantly more compelling.
The plot saw some odd pacing, reliance on (shared!) visions (which feels like cheating), and a lukewarm ending. I felt like the author started off with an idea she was passionate about and then ran into the “ah shoot, what now?” dilemma, but there were definitely areas of opportunity that got missed here.
This entire review has been hidden because of spoilers.
July 17, 2023
Remember my #1 complaint about people in books dealign with delicate/old manuscripts: WE DON'T WEAR COTTON GLOVES. Moreover, and despite the author being an academic, the whole "abandon one research specialization for another when you're up for tenure and then get more funding for the new project" is also NOT a thing. C'mon. Also not good in this book: the multiple but voices that all read the same; the forced, no-chemistry-at-all romance between the protagonist and a really unpleasant and controlling person--didn't the protag leave Regina for the same exact traits?; and a lot of wishful thinking about how art history works in the academy. It was also, I'm sorry to report, boring. How you could make Christine de Pizan boring is beyond me, but in omitting a lot of context about her and her world, Jones instead gives us an overwrought housewife. Does she not think readers are smart enough to get the philosophy of the City of Women and other books? Ugh.
September 5, 2023
Cities of Women by Kathleen B. Jones is an entertaining dual timeline historical fiction that takes us back to the 14th century.
This is an interesting dual timeline historical fiction that weaves between current day academic Verity and a 14th century illustrator named Anastasia.
I enjoyed how through the author’s passion and intensive research, she was able to illuminate the lives, society, social norms, and challenges of women within the past. Her ability to paint this picture while weaving a separate narrative within was definitely informative and engaging.
4/5 stars
Thank you NG and Turner Publishing Company, Keylight Books for this wonderful arc and in return I am submitting my unbiased and voluntary review and opinion.
I am posting this review to my GR and Bookbub accounts immediately and will post it to my Amazon, Instagram, and B&N accounts upon publication on 9/5/23.
This is an interesting dual timeline historical fiction that weaves between current day academic Verity and a 14th century illustrator named Anastasia.
I enjoyed how through the author’s passion and intensive research, she was able to illuminate the lives, society, social norms, and challenges of women within the past. Her ability to paint this picture while weaving a separate narrative within was definitely informative and engaging.
4/5 stars
Thank you NG and Turner Publishing Company, Keylight Books for this wonderful arc and in return I am submitting my unbiased and voluntary review and opinion.
I am posting this review to my GR and Bookbub accounts immediately and will post it to my Amazon, Instagram, and B&N accounts upon publication on 9/5/23.
January 21, 2024
I would give this 3.5 stars. It started off so strong for me then just really petered out. Whatever she was trying to do just really didn't happen for me. The modern day characters besides the main were all jerks and I have no idea why the main character was friends/lovers with them.
Read
December 12, 2023I made it 30% into this book, but I just couldn't get into it. It's clearly well researched and written well, but my attention wasn't grabbed by it.
Thank you Netgalley for providing a digital ARC.
Thank you Netgalley for providing a digital ARC.
May 10, 2024
DNF; I wanted to like this book. The premise was really exciting. However, the writing style is a bit dull and pretentious. I know the author is a scholar but I think in this instance it was alienating more than it was informative to the plot.
January 11, 2024
4+
ILLUMINATING BEAUTY AND FEMINISM IN THE MIDDLE AGES (California, New York, England, France; 21st century sweeping into 14th century to early 15th): “Medieval sleuthing” cannot be rushed. Savor this brilliant, richly-detailed historical novel that vividly takes us back to the late medieval era, alternating with 2018 modernity.
Venturing into the medieval period, new for this blog, might not be the case if Cities of Women weren’t so entrancingly written, enlightening, and relevant to our historic era.
Ten years of scholarly research by Kathleen Jones, professor emerita at San Diego State University women’s studies program, triumphantly transitions to historical novelist.
That doesn’t mean you shouldn’t concentrate as Jones invites us to put on our detective-thinking caps in this medieval whodunit. Not a murder, but an art mystery as to who exquisitely embellished a coveted medieval “Illuminated Manuscript”?
Created for religious purposes, royalty, and others before paper was invented, the art of illustrating glimmering manuscripts applied delicate gold leaf and brilliant-colored paints along the borders of impossibly hard-to-decipher medieval handwriting scripts, on parchment or vellum (see description, differences, images here), reflects a fervent “determination to bring beauty to life” during the dark Middle Ages.
Dedicated to “invisible” women artists, Jones’ modern-day protagonist, Verity Frazier, is seeking tenure at a California college, depicting what 21st women in academic settings go up against – the pressures of academia to publish and gender assumptions.
On page one, we learn that Verity’s feminist scholarly interests mesh with her personal preference for female lovers, thus the knowledge, instinct, and sensitivity she brings to bear is a strong belief that the mystery artist was a woman not a man as medieval historians claim and later ones presume too. It’s not that a man couldn’t arrive at the same hunch, but likely not as acutely as Verity, arguing that “the only architects of beauty” weren’t only men” – “as if vision had only one sex.”
Verity is willing to risk tenure to find evidence to alter art history and her tenure chances since she’s been longing for something more radical.
The hunt for a medieval female artist buried in history proves elusive and transporting. Splendid atmospheric prose combined with unknown familiar history and art is charismatic.
Historians know who wrote the manuscript, but not the name of the artist who adorned it with intricate artistry and devotion: Christine de Pizan was prolific, “regarded as one of Europe’s earliest female professional writers” (https://blogs.bl.uk/digitisedmanuscri...). The British Library’s online comments and images, refers to this medieval manuscript as “one of our best-loved (and most-requested).”
Verity takes us to the London-based library, considered one of the greats and largest, on her quest to pursue truth, accountability, recognition. Housed in their Treasure Gallery, Christine’s stunning manuscript survives. Commissioned by the Queen of France, Isabeau of Bavaria who reigned in the early 15th century, it’s called The Book of the Queen or Harley 4431. Jones describes how and why this extraordinary work came to be.
Alternating mostly between the 1300s and 2018, the medieval chapters consume much of the story. Opening when Verity is late submitting her dissertation, only the final chapter left. Interestingly, it’s already been critiqued for not sounding scholarly, rather in the writing style of a novelist. Cleverly mirroring what Jones has done.
Prior to leaving America for Britain, Verity attends a medieval lecture and exhibition in Manhattan at the Morgan Library, J. P, a voracious collector.
There she stumbles on a mesmerizing medieval painting an astute female librarian notices her admiring.
“Tantalized by its central image: a large initial C decorated in the brightest blue she’d ever seen. The initial was fitted inside a square illuminated in glittering gold, while out of its edges tumbled tendrils of vines and other flora in red and green, with gold-flecked flourishes . . . the longer she stared, the more it seemed as if the gold-embossed letters, tendrils, and halos were some kind of multidimensional time machine: incandescent, ethereal, and luminous, transporting meaning beyond the ordinary boundary of understanding. It was like seeing dust burst into flames.
“She took out her notebook and wrote one word: Beauty.”
Creating Beauty, the primary theme, shows why women seek “beautiful things” in the darkest of times.
Other important themes include Learnedness, Integrity, Justice, and Reason. Leading female characters choose to tell stories of “charity and goodness and the welcoming embrace of a community of women” instead of dwelling on the darkness. The Morgan librarian is pivotal, suggesting Verity read Christine de Pizan’s Book of the City of Ladies. From there, the sleuthing ignites.
This timeless, affecting story portrays women standing up for their beliefs and values no matter the odds against them, or the sacrifices they have to make.
Verity reasons that for a female to climb the ultimate echelons of respect for her talent during the medieval ages when knights, kings, clergymen reigned supreme, Christine wouldn’t choose a man to partner with. So who was the female medieval artist Christine trusted with her life’s work?
History is shown to repeat itself, including personally when another woman, a professor from France notices Verity at another library, this one in London. Her scholarly interest in medieval women isn’t new, like Verity’s (who specializes in 19th century female French revolutionaries), so she offers to assist with her research, also leading to a tender love affair fraught with jealousy on the part of Anastasia. A name that becomes very significant in the investigation.
Past and present history also converge with wars and a pandemic. During this medieval timeline, The Hundred Years War between France and England and The Black Death (bubonic plague) happened, each killing millions. The Great Plague, history’s worst, millions more.
Poverty versus wealth; the hypocrisy of sacred values and sexual abuse in the church; transformative childhood influences; and human emotions that run the gamut from grief, loss, lust, violence to love. All stand the test of time.
Moreover, Cities of Women shows people with divergent agendas coming together. Can that comparison between the ages happen today?
You’ll be introduced to technical words in the laborious process of making parchment or vellum, creating “suede-like” sensations derived from drying and stretching the young skins of cows, sheep, and goats. Single pages of medieval manuscripts are called “orphaned leaves;” a double page “bifolia”; a collection of pages “quires”; bound pages transformed into a book “codex.” Artistic embellishments were intended to push past the ugliness” to “make beauty burst into it like a bright light.”
Paris is seen as a thriving center of medieval paper-making for book publishing. Today, when you walk along the Left Bank of the Seine you’ll still see booksellers lined up but their status is unclear because of the upcoming Olympics.
The energizing spirit of persevering women artists in the face of atrocities and adversities is palpable. Makes you wonder how many other great women of the arts have yet become visible.
ILLUMINATING BEAUTY AND FEMINISM IN THE MIDDLE AGES (California, New York, England, France; 21st century sweeping into 14th century to early 15th): “Medieval sleuthing” cannot be rushed. Savor this brilliant, richly-detailed historical novel that vividly takes us back to the late medieval era, alternating with 2018 modernity.
Venturing into the medieval period, new for this blog, might not be the case if Cities of Women weren’t so entrancingly written, enlightening, and relevant to our historic era.
Ten years of scholarly research by Kathleen Jones, professor emerita at San Diego State University women’s studies program, triumphantly transitions to historical novelist.
That doesn’t mean you shouldn’t concentrate as Jones invites us to put on our detective-thinking caps in this medieval whodunit. Not a murder, but an art mystery as to who exquisitely embellished a coveted medieval “Illuminated Manuscript”?
Created for religious purposes, royalty, and others before paper was invented, the art of illustrating glimmering manuscripts applied delicate gold leaf and brilliant-colored paints along the borders of impossibly hard-to-decipher medieval handwriting scripts, on parchment or vellum (see description, differences, images here), reflects a fervent “determination to bring beauty to life” during the dark Middle Ages.
Dedicated to “invisible” women artists, Jones’ modern-day protagonist, Verity Frazier, is seeking tenure at a California college, depicting what 21st women in academic settings go up against – the pressures of academia to publish and gender assumptions.
On page one, we learn that Verity’s feminist scholarly interests mesh with her personal preference for female lovers, thus the knowledge, instinct, and sensitivity she brings to bear is a strong belief that the mystery artist was a woman not a man as medieval historians claim and later ones presume too. It’s not that a man couldn’t arrive at the same hunch, but likely not as acutely as Verity, arguing that “the only architects of beauty” weren’t only men” – “as if vision had only one sex.”
Verity is willing to risk tenure to find evidence to alter art history and her tenure chances since she’s been longing for something more radical.
The hunt for a medieval female artist buried in history proves elusive and transporting. Splendid atmospheric prose combined with unknown familiar history and art is charismatic.
Historians know who wrote the manuscript, but not the name of the artist who adorned it with intricate artistry and devotion: Christine de Pizan was prolific, “regarded as one of Europe’s earliest female professional writers” (https://blogs.bl.uk/digitisedmanuscri...). The British Library’s online comments and images, refers to this medieval manuscript as “one of our best-loved (and most-requested).”
Verity takes us to the London-based library, considered one of the greats and largest, on her quest to pursue truth, accountability, recognition. Housed in their Treasure Gallery, Christine’s stunning manuscript survives. Commissioned by the Queen of France, Isabeau of Bavaria who reigned in the early 15th century, it’s called The Book of the Queen or Harley 4431. Jones describes how and why this extraordinary work came to be.
Alternating mostly between the 1300s and 2018, the medieval chapters consume much of the story. Opening when Verity is late submitting her dissertation, only the final chapter left. Interestingly, it’s already been critiqued for not sounding scholarly, rather in the writing style of a novelist. Cleverly mirroring what Jones has done.
Prior to leaving America for Britain, Verity attends a medieval lecture and exhibition in Manhattan at the Morgan Library, J. P, a voracious collector.
There she stumbles on a mesmerizing medieval painting an astute female librarian notices her admiring.
“Tantalized by its central image: a large initial C decorated in the brightest blue she’d ever seen. The initial was fitted inside a square illuminated in glittering gold, while out of its edges tumbled tendrils of vines and other flora in red and green, with gold-flecked flourishes . . . the longer she stared, the more it seemed as if the gold-embossed letters, tendrils, and halos were some kind of multidimensional time machine: incandescent, ethereal, and luminous, transporting meaning beyond the ordinary boundary of understanding. It was like seeing dust burst into flames.
“She took out her notebook and wrote one word: Beauty.”
Creating Beauty, the primary theme, shows why women seek “beautiful things” in the darkest of times.
Other important themes include Learnedness, Integrity, Justice, and Reason. Leading female characters choose to tell stories of “charity and goodness and the welcoming embrace of a community of women” instead of dwelling on the darkness. The Morgan librarian is pivotal, suggesting Verity read Christine de Pizan’s Book of the City of Ladies. From there, the sleuthing ignites.
This timeless, affecting story portrays women standing up for their beliefs and values no matter the odds against them, or the sacrifices they have to make.
Verity reasons that for a female to climb the ultimate echelons of respect for her talent during the medieval ages when knights, kings, clergymen reigned supreme, Christine wouldn’t choose a man to partner with. So who was the female medieval artist Christine trusted with her life’s work?
History is shown to repeat itself, including personally when another woman, a professor from France notices Verity at another library, this one in London. Her scholarly interest in medieval women isn’t new, like Verity’s (who specializes in 19th century female French revolutionaries), so she offers to assist with her research, also leading to a tender love affair fraught with jealousy on the part of Anastasia. A name that becomes very significant in the investigation.
Past and present history also converge with wars and a pandemic. During this medieval timeline, The Hundred Years War between France and England and The Black Death (bubonic plague) happened, each killing millions. The Great Plague, history’s worst, millions more.
Poverty versus wealth; the hypocrisy of sacred values and sexual abuse in the church; transformative childhood influences; and human emotions that run the gamut from grief, loss, lust, violence to love. All stand the test of time.
Moreover, Cities of Women shows people with divergent agendas coming together. Can that comparison between the ages happen today?
You’ll be introduced to technical words in the laborious process of making parchment or vellum, creating “suede-like” sensations derived from drying and stretching the young skins of cows, sheep, and goats. Single pages of medieval manuscripts are called “orphaned leaves;” a double page “bifolia”; a collection of pages “quires”; bound pages transformed into a book “codex.” Artistic embellishments were intended to push past the ugliness” to “make beauty burst into it like a bright light.”
Paris is seen as a thriving center of medieval paper-making for book publishing. Today, when you walk along the Left Bank of the Seine you’ll still see booksellers lined up but their status is unclear because of the upcoming Olympics.
The energizing spirit of persevering women artists in the face of atrocities and adversities is palpable. Makes you wonder how many other great women of the arts have yet become visible.
June 22, 2023
*3.5 rounded down*
Thank you to NetGalley and Turner Publishing Company, Keylight Books for my advanced copy in exchange for my honest opinion.
"Cities of Women" is a dual narrative in which we follow two women separated by centuries and what they're willing to risk and do for their passions. At the center of the narrative is the work and research of medieval manuscripts and the people who created them and the scholars that study them. Although, medieval manuscripts are older than my field of research, I've always been interested in them in general. I got to study some of the Auchinleck manuscript during my first semester of graduate school and it was incredible just to see the amount of work and attention to detail that went into it so when Verity first sees that artwork by Anastasia, I related so much to her reaction. It was obvious how much research that Jones did for this novel and honestly, it was so cool. I think there is a special talent in taking scholarship and turning it into something creative like a novel. I enjoyed reading this a lot but there were some things that I wasn't a huge a fan of.
I wasn't a huge fan of how prevalent the present timeline with Verity became as the narrative progressed. I was really enjoying the chapters in medieval France, especially because it's so out of my realm of research. I guess at the heart of it, I kind of found Verity unlikable. I don't know what it was, but I guess I just found myself at odds with Verity, scholar to scholar. There's also quite a bit of archival/rare books and printing terminology that if you're not in the know, I think would be frustrating to come across with little to no explanation. Having taken the previously mentioned course where I got to look at the Auchinleck manuscript (not the real one, of course!) and learned about rare books, archival research, and the history and mechanics of printing, I think I would have been annoyed and frustrated by the elitism. I also just did not care for the romance subplot in this. It was just so convoluted and I feel like it really didn't do anything for the narrative.
Overall, I thought this was a fine read but there were a lot of glaring issues that for me, really took the enjoyment down.
Thank you to NetGalley and Turner Publishing Company, Keylight Books for my advanced copy in exchange for my honest opinion.
"Cities of Women" is a dual narrative in which we follow two women separated by centuries and what they're willing to risk and do for their passions. At the center of the narrative is the work and research of medieval manuscripts and the people who created them and the scholars that study them. Although, medieval manuscripts are older than my field of research, I've always been interested in them in general. I got to study some of the Auchinleck manuscript during my first semester of graduate school and it was incredible just to see the amount of work and attention to detail that went into it so when Verity first sees that artwork by Anastasia, I related so much to her reaction. It was obvious how much research that Jones did for this novel and honestly, it was so cool. I think there is a special talent in taking scholarship and turning it into something creative like a novel. I enjoyed reading this a lot but there were some things that I wasn't a huge a fan of.
I wasn't a huge fan of how prevalent the present timeline with Verity became as the narrative progressed. I was really enjoying the chapters in medieval France, especially because it's so out of my realm of research. I guess at the heart of it, I kind of found Verity unlikable. I don't know what it was, but I guess I just found myself at odds with Verity, scholar to scholar. There's also quite a bit of archival/rare books and printing terminology that if you're not in the know, I think would be frustrating to come across with little to no explanation. Having taken the previously mentioned course where I got to look at the Auchinleck manuscript (not the real one, of course!) and learned about rare books, archival research, and the history and mechanics of printing, I think I would have been annoyed and frustrated by the elitism. I also just did not care for the romance subplot in this. It was just so convoluted and I feel like it really didn't do anything for the narrative.
Overall, I thought this was a fine read but there were a lot of glaring issues that for me, really took the enjoyment down.
June 9, 2023
In Cities of Women we meet Verity who is a modern day academic who is feeling a disconnect with her current work. Her passion is resurrected by an art installation, which leads her on a quest to find the notorious Anastacia from Christine De Pizan's "The Book of the City of Ladies". Simultaneously we are introduced to Bèatrice, a woman in the 14th century. As we follow Veirty on her scholarly journey we learn both of a of a life lived undiscovered by history, and another trying to uncover that history.
The research talent of the author is very clear throughout the book, seen both in the modern and the historical chapters. Jones has done an excellent job bringing history into this book, even if I find it to be a bit much at times where accuracy comes in the way of the flow of the book. This is a personal preference, where I find too many "unnecessary" details added.
The writing in this book is two sided for me. Early on I found the Verity chapters to embody the arrogance of academia, both in the books vocabulary, but also the descriptions. Complex words are tossed around that I think will deter readers, especially people who isn't well versed in English academia. As someone who's native (and study) language isn't English I found it tedious. On the other hand the author is extremely skilled in painting a picture with words, and if that's important to you as a reader, this should be good for that.
I really wanted to love this book with my whole heart. When I started reading it it felt like an instant 5 star book, but it ended with me having to put it down for a while to really digest it and see what I felt about it. The first half had me hooked (mainly the Bèatrice chapters), but the enthusiasm ebbed. The romance sideplot in the Verity chapters felt very forced and hurried to me, where the characters became more and more unlikeable as the book went on. I'm sorry the book didn't turn out the way I would have liked, but it's not a book I regret reading.
The research talent of the author is very clear throughout the book, seen both in the modern and the historical chapters. Jones has done an excellent job bringing history into this book, even if I find it to be a bit much at times where accuracy comes in the way of the flow of the book. This is a personal preference, where I find too many "unnecessary" details added.
The writing in this book is two sided for me. Early on I found the Verity chapters to embody the arrogance of academia, both in the books vocabulary, but also the descriptions. Complex words are tossed around that I think will deter readers, especially people who isn't well versed in English academia. As someone who's native (and study) language isn't English I found it tedious. On the other hand the author is extremely skilled in painting a picture with words, and if that's important to you as a reader, this should be good for that.
I really wanted to love this book with my whole heart. When I started reading it it felt like an instant 5 star book, but it ended with me having to put it down for a while to really digest it and see what I felt about it. The first half had me hooked (mainly the Bèatrice chapters), but the enthusiasm ebbed. The romance sideplot in the Verity chapters felt very forced and hurried to me, where the characters became more and more unlikeable as the book went on. I'm sorry the book didn't turn out the way I would have liked, but it's not a book I regret reading.
September 11, 2023
Verity Frazer is stuck in her research and waiting on tenure at her university posting in California. She flys to NYC to see an old flame and in doing so stumbles upon an exhibit that changes the course of her studies. Verity becomes fascinated with Christine De Pizan’s written work, but more specifically with the illustrations of her folios. De Pizan a notable feminist far ahead of her medieval contemporaries references Anastasia once, and that is enough to send Verity on a journey to prove that these learned women wrote and illustrated in a time when men ran the world.
Beatrice is a woman almost lost to time. The child of a gifted weaver, she was fortunate enough to have a father who believe she deserved to learn a craft. Her gifted hand at illumination set her dream in motion of her own atelier where she could support herself. Despite many horrific setbacks, this was the era of the plague and she was a woman with no authority as a widow, Beatrice was fascinating. The few chapters from Christine De Pizan’s perspective only enhanced my respect for the young woman.
This dual timeline novel does a great job of alternating between the 14th century and modern times without feeling jarring, but the multiple points of view threw me a bit. I particularly enjoyed the learning historical timeline, which is typical for me. The modern timeline was less engrossing. I struggled to believe a university-backed historian was as ignorant about the production of manuscripts as Verity seemed to be when doing her medieval research. Her relationship with the modern Anastasia also felt unimportant, and didn’t add to the story. The three narrators did an excellent job, despite the storyline dragging at times.
Thank you to NetGalley, Dreamscape Media, and the author for the advanced copy of the audiobook. Cities of Women is out now. All opinions are my own.
Http://www.instagram.com/passionforprose
Beatrice is a woman almost lost to time. The child of a gifted weaver, she was fortunate enough to have a father who believe she deserved to learn a craft. Her gifted hand at illumination set her dream in motion of her own atelier where she could support herself. Despite many horrific setbacks, this was the era of the plague and she was a woman with no authority as a widow, Beatrice was fascinating. The few chapters from Christine De Pizan’s perspective only enhanced my respect for the young woman.
This dual timeline novel does a great job of alternating between the 14th century and modern times without feeling jarring, but the multiple points of view threw me a bit. I particularly enjoyed the learning historical timeline, which is typical for me. The modern timeline was less engrossing. I struggled to believe a university-backed historian was as ignorant about the production of manuscripts as Verity seemed to be when doing her medieval research. Her relationship with the modern Anastasia also felt unimportant, and didn’t add to the story. The three narrators did an excellent job, despite the storyline dragging at times.
Thank you to NetGalley, Dreamscape Media, and the author for the advanced copy of the audiobook. Cities of Women is out now. All opinions are my own.
Http://www.instagram.com/passionforprose
June 18, 2023
This was a classic case where I adored the historic storyline and characters, but didn't connect as much with the modern day parts. I would have been thrilled it the whole book just followed Beatrice and Christine. The role of women in Medieval times, the art of books and illumination, the way women can empower other women... all this is so fascinating and ripe that I didn't want to switch back to the world of academia and research. All-in-all it was an enjoyable read even with feeling more emotionally drawn to one of the worlds. Thank you NetGalley and Keylight Books for the ARC.
June 29, 2024
Christine de Pizan is one of the few medieval women we know from their own words who wasn’t either a member of a religious order or a member of a royal family. Her works reflect a philosophical mind that wanted to improve the world around her. Illuminated copies of her books are absolutely beautiful; they are treasures from an otherwise appalling century. The beauty of de Pizan’s poetry and the books made to show off that poetry are a central part of Kathleen B. Jones’s novel, Cities of Women. Unfortunately, the inspiration of Christine de Pizan and the Book of the Queen are not enough to elevate an otherwise dull story of two women who have to deal with mundanities in order to have beauty in their lives...
Read the rest of my review at A Bookish Type. I received a free copy of this book from the publisher via NetGalley, for review consideration.
Read the rest of my review at A Bookish Type. I received a free copy of this book from the publisher via NetGalley, for review consideration.
May 26, 2023
A story with a wonderful premise, well-written and intriguing, but somehow missed the mark for me. I'm a bit hard-pressed to explain how. Maybe not knowing if any of it has historical basis. Maybe the rather uncomfortable romance between the modern-era characters ... alarm bells still ringing for me with respect to Anastasia ... and the way that sex was described was surprisingly robotic ... is this the sapphic love story of anyone's dreams ...? I was also in some part confused and others distracted by the historical perspectives ... too much space paid to the goings-on of the times ... too little on how the central characters got from here to there ... at least the rampant sexism in academia was accurate.
Thank you to NetGalley and Keylight Books for the advance copy.
Thank you to NetGalley and Keylight Books for the advance copy.
September 6, 2023
This is a historian’s historical novel, in every sense of the word. Not surprisingly, is is written by a former academic; Kathleen Jones began her writing career as a political scientist and professor, before turning to literary fiction. Cities of Women is a seamless blend of these two domains of their experience, reflecting a deep respect for the scholarly pursuit of history while offering readers a deeply textured and emotional perspective of the past.
The novel toggles between the modern present and the medieval past, beginning with a tenure track historian’s search for her place in the academia. Verity Frazier then encounters, by chance, that rare glimpse of an undiscovered history. This is the sort of thing historians dream of when they enter archives; Jones portrayal Verity’s hope and desire is palpable — or perhaps that is just my historian’s heart set aflutter. Buried, like so many women of his age, is the presence of a female illuminator, Anastasia.
The unfolding of Verity’s archival adventure draws the reader into a world that is both exotic and familiar. Verity and Anastasia (like us all) live in a patriarchal world, one which fails to take women seriously, which gaslights us, and forces us to make undesirable choices. This is a feminist novel, bringing to the fore these age-old prejudices and the battles women must fight to be heard, seen, remembered.
Then novel also contains more than one beautiful and flawed sapphic romance, highlighting the containment and self-sustaining world of womanhood. This is the beauty of Cities of Women; it is an illumination of women, an honest portrait of women’s struggles and successes, a tale of oppression and empowerment as the two sides of our collective experience. Readers should know this realist capturing of the female experience may trigger; who among us cannot point to some evidence of trauma in our lives?
Indeed, Jones’ characters are as made of flesh as ourselves, so well does her characterization reflect the depth of her historical research and her skill as an author. We can feel Verity’s pain, the elasticity of Anastasia’s tenacity, Christine’s boldness and pride. We can also recognize the women around them, the friends who succumbed to the status quo, the colleagues who share in the frustration of being a woman in a man’s world, the lovers who boost us and tear us down.
The novel revolves around these women and their lives, and as such, being character-driven, moves at a languid pace, stretching the length of lives for some characters and capturing mere months of others. Time, in fact, is fluid in this novel, a kind of ephemeral backdrop; the lives Jones tells us about cut across time, flatten it. Women have then, as now, experienced much the same things.
Dialogue between the characters is seamless, perhaps too much so sometimes; I was left wondering if people really talk like this? But then, the world is wide and there are many in it, so perhaps they do. Or perhaps Jones is referencing the physic unity between women, so One-Of-Mind are we that our words may zipper so flawlessly together. Overall, however, Jones’ prose is splendid, mature, and expressive; it is smooth, flowing, and sensuous in many parts. Readers will find themselves cradled in gorgeous text throughout.
The novel toggles between the modern present and the medieval past, beginning with a tenure track historian’s search for her place in the academia. Verity Frazier then encounters, by chance, that rare glimpse of an undiscovered history. This is the sort of thing historians dream of when they enter archives; Jones portrayal Verity’s hope and desire is palpable — or perhaps that is just my historian’s heart set aflutter. Buried, like so many women of his age, is the presence of a female illuminator, Anastasia.
The unfolding of Verity’s archival adventure draws the reader into a world that is both exotic and familiar. Verity and Anastasia (like us all) live in a patriarchal world, one which fails to take women seriously, which gaslights us, and forces us to make undesirable choices. This is a feminist novel, bringing to the fore these age-old prejudices and the battles women must fight to be heard, seen, remembered.
Then novel also contains more than one beautiful and flawed sapphic romance, highlighting the containment and self-sustaining world of womanhood. This is the beauty of Cities of Women; it is an illumination of women, an honest portrait of women’s struggles and successes, a tale of oppression and empowerment as the two sides of our collective experience. Readers should know this realist capturing of the female experience may trigger; who among us cannot point to some evidence of trauma in our lives?
Indeed, Jones’ characters are as made of flesh as ourselves, so well does her characterization reflect the depth of her historical research and her skill as an author. We can feel Verity’s pain, the elasticity of Anastasia’s tenacity, Christine’s boldness and pride. We can also recognize the women around them, the friends who succumbed to the status quo, the colleagues who share in the frustration of being a woman in a man’s world, the lovers who boost us and tear us down.
The novel revolves around these women and their lives, and as such, being character-driven, moves at a languid pace, stretching the length of lives for some characters and capturing mere months of others. Time, in fact, is fluid in this novel, a kind of ephemeral backdrop; the lives Jones tells us about cut across time, flatten it. Women have then, as now, experienced much the same things.
Dialogue between the characters is seamless, perhaps too much so sometimes; I was left wondering if people really talk like this? But then, the world is wide and there are many in it, so perhaps they do. Or perhaps Jones is referencing the physic unity between women, so One-Of-Mind are we that our words may zipper so flawlessly together. Overall, however, Jones’ prose is splendid, mature, and expressive; it is smooth, flowing, and sensuous in many parts. Readers will find themselves cradled in gorgeous text throughout.
May 16, 2023
Switching between the Medieval period and Modern Day, Jones details the lives of three extraordinary women: Verity, Anastasia, and Christine. As Verity races to uncover a centuries-long secret hidden in modern English and French archives, Anastasia and Christine make their marks in a time period where we know little about the lives and work of female writers and artists. Jones weaves a masterful tale that highlights the accomplishments of all types of women, and she draws you in with rich prose and fascinating historical details.
Coming into this book, I wasn't sure what to expect, but I was pleasantly surprised by all the history I was able to learn. As a history major, I am always awed by authors who can make novels out of seemingly ordinary history points. This book was no exception; I was most interested in Anastasia and Christine's POVs for this reason. It was also enlightening to learn more about The Black Death, indulgences, Charles V, etc. The history of book making/illustrating was also explained well, although sometimes it was a bit too technical for my tastes. I imagine that those who don't have a background in rare books or printing might be a bit confused by all the terminology.
In my opinion, Verity's chapters dragged the book down. She was just so boring; she had no personality besides her research. Additionally, I found it hard to believe that she could switch research topics so easily (and that her new manuscript idea would be accepted so readily by her university.) Also, there was such a huge buildup to her learning Anastasia's secret, and then there was a measly half-chapter that actually discussed her research presentation in front of other scholars. I was expecting something way bigger, so that was disappointing.
The romance subplot was disheartening, too. I don't know why, but I expected there to be something going on between Christine and Anastasia. However, Jones did not mention any chemistry between them. Also, the modern Anastasia was so toxic. I did not like her relationship with Verity, and all her drama was unnecessary to the plot. I wish she was not so rude and that she didn't belittle Verity all the time.
Finally, I loved the themes in this book. It was empowering to read about all the women who helped these main characters throughout their journeys, whether that be their mothers, their friends, the nuns, or the wives of powerful men. When examining history, it is essential to highlight the often-overlooked contributions made by women, so I appreciated that Jones handled this aspect of the book so well.
Thank you, NetGalley and Turner, for this digital ARC!
Coming into this book, I wasn't sure what to expect, but I was pleasantly surprised by all the history I was able to learn. As a history major, I am always awed by authors who can make novels out of seemingly ordinary history points. This book was no exception; I was most interested in Anastasia and Christine's POVs for this reason. It was also enlightening to learn more about The Black Death, indulgences, Charles V, etc. The history of book making/illustrating was also explained well, although sometimes it was a bit too technical for my tastes. I imagine that those who don't have a background in rare books or printing might be a bit confused by all the terminology.
In my opinion, Verity's chapters dragged the book down. She was just so boring; she had no personality besides her research. Additionally, I found it hard to believe that she could switch research topics so easily (and that her new manuscript idea would be accepted so readily by her university.) Also, there was such a huge buildup to her learning Anastasia's secret, and then there was a measly half-chapter that actually discussed her research presentation in front of other scholars. I was expecting something way bigger, so that was disappointing.
The romance subplot was disheartening, too. I don't know why, but I expected there to be something going on between Christine and Anastasia. However, Jones did not mention any chemistry between them. Also, the modern Anastasia was so toxic. I did not like her relationship with Verity, and all her drama was unnecessary to the plot. I wish she was not so rude and that she didn't belittle Verity all the time.
Finally, I loved the themes in this book. It was empowering to read about all the women who helped these main characters throughout their journeys, whether that be their mothers, their friends, the nuns, or the wives of powerful men. When examining history, it is essential to highlight the often-overlooked contributions made by women, so I appreciated that Jones handled this aspect of the book so well.
Thank you, NetGalley and Turner, for this digital ARC!
October 1, 2023
This audiobook was just not my cup of tea.
NetGalley has Cities of Women categorized as "General Fiction (Adult), Historical Fiction, Literary Fiction". With the title, I should have known better. I saw "Historical Fiction", read the description and thought it would be interesting and I would learn something. Yes, in the sense that you find out details of book creation & illustration from around the 1300-1400's. At some point, I figured ... just pretend the story is a cross of science fiction and LGBT and finish reading so I can provide a review. I can't even tell you the number of times I thought, "ugghh, this book (groan)." (I don't feel that it is right to review a book that I DNF/Did Not Finish, this one was honestly close to a DNF for me. But I slogged through it.)
So ... for example (at one hour in, 9 hours to go) ... in the 1300's around the time of plague ... after the young (female) teenager's mom gambled away the "best" of two mules ... "we drifted from village to village ... along the way we exchanged what we looted for a bit of shelter we stayed alive one more day, one more week and then one more month. ... I bartered my last plundered goods for a plow, a mule, two pigs and some sticks of furniture. We set up home in this tiny cottage ... " Wow, pretty good bartering; (ugghh this book).
I know, every (most) books has added a LGBTQ character. I get it. But a couple parts of this book were more "open door" (in my opinion) than I wanted or expected. And this couple was a rollercoaster of arguments about the stupidest things. (ugghh, this book)
So instead of this being what I had expected as "historical fiction", it was more in line of what historical fiction could be, when re-written by a woman who has majored in women's studies.
So, the disclaimer. Thank you to NetGalley and the publisher Dreamscape Media for the opportunity to review the advance read (LISTEN) copy of the Cities of Women audiobook in exchange for an honest review. I honestly hope that you enjoy Cities of Women more than I did; and that you don't think "ugghhh" even once.
Giving this book 2 stars because ... I should have known better based on the title. ugghh, this book.
NetGalley has Cities of Women categorized as "General Fiction (Adult), Historical Fiction, Literary Fiction". With the title, I should have known better. I saw "Historical Fiction", read the description and thought it would be interesting and I would learn something. Yes, in the sense that you find out details of book creation & illustration from around the 1300-1400's. At some point, I figured ... just pretend the story is a cross of science fiction and LGBT and finish reading so I can provide a review. I can't even tell you the number of times I thought, "ugghh, this book (groan)." (I don't feel that it is right to review a book that I DNF/Did Not Finish, this one was honestly close to a DNF for me. But I slogged through it.)
So ... for example (at one hour in, 9 hours to go) ... in the 1300's around the time of plague ... after the young (female) teenager's mom gambled away the "best" of two mules ... "we drifted from village to village ... along the way we exchanged what we looted for a bit of shelter we stayed alive one more day, one more week and then one more month. ... I bartered my last plundered goods for a plow, a mule, two pigs and some sticks of furniture. We set up home in this tiny cottage ... " Wow, pretty good bartering; (ugghh this book).
I know, every (most) books has added a LGBTQ character. I get it. But a couple parts of this book were more "open door" (in my opinion) than I wanted or expected. And this couple was a rollercoaster of arguments about the stupidest things. (ugghh, this book)
So instead of this being what I had expected as "historical fiction", it was more in line of what historical fiction could be, when re-written by a woman who has majored in women's studies.
So, the disclaimer. Thank you to NetGalley and the publisher Dreamscape Media for the opportunity to review the advance read (LISTEN) copy of the Cities of Women audiobook in exchange for an honest review. I honestly hope that you enjoy Cities of Women more than I did; and that you don't think "ugghhh" even once.
Giving this book 2 stars because ... I should have known better based on the title. ugghh, this book.
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