Picture vs. Page – The Danish Girl

I have mixed feelings about the novel ‘The Danish Girl,’ I love the representation but once you start to get into the novel you find the representation is nothing like it should be. The story and historical setting are well crafted, but the psychology, physiology, and medical treatment around Einar/Lili are grossly fantasized. The author has little understanding of transgender, intersex, sexual orientation, sexual identity and what is means to live the experience any of these.

The first situation describing Einar and women’s clothing in the book was romanticised to the point of fetishism. I know Einar is meant to be transgender, but the description felt off – not really the type of experience a true transgender woman would have. The continual descriptions of Einar being small, tiny, frail, and acting in a passive way and how Greta was tall and the dominant of the pair painted a picture of them having swapped gender roles in a spiritual sense. I wasn’t quite sold on the characterisation – especially for the time period. I know this is based loosely on a true story, but it is obvious the subject matter has been romanticized and written from a cis white man’s viewpoint. In the film, Einar is obviously fascinated by women’s clothing but resistant at first, and is pushed into it by his wife Greta – who is played to ‘see’ Einar as feminine, her artistic eye breaking through the façade to view who Einar really is. Though, this is juxtaposed later when she starts to resist and pressure Einar for acting on their feelings. Like it was okay at home, as long as it fit her comfort level. But at the narrative progresses her thoughts transform after witnessing the pain Einar is in, and having conversations with Lili.

I get a strong sense like there is a mix of multiple personality disorder, fetishism, an intentional lens from the author of the novel that misses the mark on what it means to be a transgendered woman on so many points. The story had me squirming and uncomfortable. In the film they play a lot more to mental illness rather than identity – and Einar doing research to find his/her answer from medical and psychology journals alone.

The casting of Eniar/Lili was way off. The actor in no way represented the portrayal of Lili from the novel. Eddie Redmayne’s physicality in no way captured the character of Lili depicted in the novel. The actor reinvented the character for the film version, and while Eddie Redmayne is an exceptional actor, this character should have been played by a transgender actor. Having a cis gendered male play the part, contributes to negative stereotypes many have of male to female transgendered individuals – that they are playing dress up. Seeing Eddie Redmayne dressed and presenting as male in the public eye, as opposed to a transgender actress who lives the experience and presents as female, would help dismantle inappropriate myths spread about transgender individuals. There were an important points made like this in the Netfix documentary ‘Disclosure.‘

The film lacked the transition and personal history of Einar/Lili. Lili is born of drag in the film, where in the book she already had the physical attributes of Lili and did not need to learn how to be female, but embodied that side of her personality inherently.

In the movie it seems no-one is fooled by Lili – that she doesn’t ‘pass’ however in the novel it is much the opposite case. Again, the whole notion of ‘passing’ shows how little the author, and film producers of ‘The Danish Girl’ really understand about the transgender experience.

The movie shows a fully masculine Einar transitioning into Lili, a transgender narrative; where the novel shows in intersex Einar confirming her gender. In the film – 2 operations are required for the physical transformation, yet in the novel 3-4 operations are required (and include something medically impossible.) In the novel Lili goes back for a uterine transplant, where in the film she goes back to have a vagina constructed. This was so not representative of any type of gender confirmation surgery all I can do in reaction to this is a *facepalm*

The novel presents more of a dichotomy between Einar and Lili, like they are two separate people, but the film it is more Einar realising and wishing she could be Lili.

Lili\Einar is intentionally deceptive and selfish with a lot of their actions both in the film and the novel. Both the film and novel do injustice to the character when they deal with being transgender. There is more to a person than a single aspect. We go from a dynamic character, to a two-dimensional character. 

It’s hard to resolve this story with today’s understanding of being transgender and the setting of Coppenhagen, Paris, and Dresden in 1920-30’s. There are so many misrepresentations and inaccuracies I was quietly enraged.

The novel did feel altogether too long – Ebershoff frequently meanders with flowery language and asides of landscape, backstory, daydreams, and the like. It does match the dreamlike quality of his beautiful writing, but slows down the pacing of the story incredibly. I can see how this style of writing is best matched for historical fiction though.

The reveal of Lili later being intersex in the book confirmed my suspicions given the mostly feminine stature and physical attributes. And the journey of Lili’s operations for gender confirmation surgery are gruesome. Though while interesting reading and set a tone for the novel, feel poorly researched. Even for the time, medical operations and the healing of the human body afterward do not span the length of time described in the novel.

My opinion on ‘The Danish Girl’ (both film and novel) was a hodge-podge of concepts that were not thoroughly researched around identity, mental disorders, and medical knowledge. Though, like the art that Einar and Greta create, ‘The Danish Girl’ is merely an interpretation on Lili’s story. It’s is viewed through different lenses of the characters of the book. Like anecdotal histories, it is warped, interpreted and skewed by the narrator. And adapted by movie producers, again a little insensitive to the transgender experience.

Some notable instance where the film and novel diverge, is that Lili does not get caught going to naughty places in the novel by Greta. And most importantly, Lili does not die at the end of the novel, it ends on a hopeful note, even in there is a symbolic description that could be interpreted as her dying, though it does not describe a traditional death. It’s more a symbolic freeing. She has been set free to live her own life. The prospect of marriage. The scene in the book is of a boys kite breaking from its tether and drifting towards Lili and up into the sky, maybe depicting her rise to heaven. In the film, its Lili’s scarf that Greta is wearing, accidently blown away into the sky and Greta saying ‘Leave, it, Lili will find it.’ So the film depicts a certain death and the novel leaves it open to interpretation.

I have to admit actor Alicia Vikander as Gerda (Greta in the novel) was too short, petite and pretty in comparison to her literature counterpart. But Alicia Vikander was outstanding in her acting chops and is the standout in the film.

Regarding Lili’s first kiss: Lili was a willing participant in the novel, even excited about it, but in the film it was awkward, almost abusive, you could see she was pushing herself. I don’t quite understand the relevance of the scene in the film – they were trying to infer that she didn’t want to kiss because the gentleman whom she was entangled with thought of her as a man… again the tone of the film is that Einar is in drag, seen as a man. Where in the novel, Lili is a fully realised woman.

Greta/Gerda was much more supportive and accepting in the novel, she seemed more jealous and emotionally distraught in the film like it was a choice between Einar and Lili. In the novel Greta admired Einar’s feminity and softness. She lived for the opposite of societies norms. She was a rebel. So again we see the depiction of Lili’ transgenderism through different lenses of the same character, one where it is embraced, and the other where it is viewed as harmful.

In the film the nosebleed from Einar – symbolising a menstrual cycle happens only once; where in the novel it was happening a lot, even from downstairs (it is never stated exactly, but I’m assuming from Einar’s bottom – again this makes no medical sense.)

 The line “Lesbienne” is said from two men instead of children in the film, followed by the men harassing Einar/Lili in the park, and then physically assault her. This violence is not in the book, the scene is meant to show how Einar/Lili is passing as a woman.

Ultimately even though this is a fascinating story and character study, the novel was flourished with a heavy hand and I found myself putting the book down frequently because I was getting a bit tired. I almost wanted the narrative tied a little more to history, to events to ground the story. The characters are really well developed but difficult to relate to and even to love. They are all selfish in their own way and live out of step with the real world. Though in saying that, this creative bubble Greta and Einar lived in was the only environment which could have nurtured Lili in taking her first steps into the world.

I don’t really want to recommend this novel (or film) solely on the amount of factual inconsistencies – this read more like a fantasy novel than something based in historical significance. David Ebershoff admits in an interview after the publication of ‘The Danish Girl’ that the representation of Lili’s transgender journey in his novel is not representative of today’s transgender population and is purely fictional… I’m not sure if that is ignorance, damaging, or laziness. Why would you want to create a character based on actual events and not have the core motivation of that character also based on factual elements? It’s misrepresentation at its core. I would have preferred an ownvoices author’s take on this subject matter.

I feel like the film completely missed the tone and intention of the novel. It’s great to have the representation, but both the mediums that present this story are different creatures. The film feels like it is a tragic story that punishes the Lili for becoming a woman, and feels like Greta (Gerda) is the protagonist; whereas the novel made me feel like Lili was the protagonist who pushed the envelope too far – the untested exploratory surgeries – when she could of lived a fulfilling life without needing to bear children… The film is more realistic but loses the hope the novel had, and the book lacks the realism.

In the novel, Lili was living life as a woman, was in a romance and about to relocate to New York and get married, where in the film, there was no romance and she died before getting to live any aspect of her life as a fully realised woman. I feel like both film and novel, were a disappointment. It is so easy to research the facts, and have conversations with members of the transgender community to ensure that this kind of story does not harm, if unintentionally.

© Casey Carlisle 2020. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Picture vs. Page – Call Me By Your Name

Call Me By Your Name’ is the story of a crush. A love affair between Elio, a high schooler, and Oliver, a PhD student from the University that Elio’s father teaches at. There is a melancholic romantic tone in the novel’s writing style, which is duplicated expertly in the cinematography with sweeping vistas of the Italian countryside, and lengthy silences throughout the narrative.

The books narration has a beautiful cadence and reads like Elio’s journal, complete with inner musings, pontifications, daydreams and erotic fantasies. However I found it difficult to immerse myself into and speed-read the entire novel. The writing style did not sit well with me. It felt fanciful and full of itself… selfish. I found myself craving for more structure, more dialogue. For the film adaptation, with a slower pace too, but it worked a bit better because we get countryside and cinemaphotography to keep the viewer engaged.

Elio as a protagonist felt like a mix of intelligence, petulance, and aggressive/possessive hormone fuelled adolescence for the novel. However, the film version of Elio (played by Timothée Chalamet) feels a little more mature and less predatory – maybe because we are spared his inner monologue.

It felt uncomfortable the boy lusting after a man, Oliver, more than 7 years his senior. (This situation is legally statutory rape in our country.) Elio’s overtly flirtatious nature – and his intentions sometimes returned. A mix between grooming behaviour of a paedophile from Oliver and removing himself from the equation as to not be overcome by his desires. The teacher in me felt extremely uncomfortable. Elio and Oliver wouldn’t be sneaking around and trying to hide their actions if they didn’t know what they were doing was wrong.

Then in the novel, Oliver gives in to his desires and confirms to me of being the paedophile he is. Elio has regret, then turns into a tremendous flirt only to then go and have sex with Mariza… completely ruled by his lower region. What a floozy. This book is making me feel sick where everyone is throwing their cat around and ignoring the ramifications. For having such an inconsolable crush on Oliver, when Elio sleeps with Marzia on a whim and apparently likes it, wants to brag about it. No loyalty, no conviction. This increased my loss of respect for Elio. We get some detail in the film adaptation with this encounter, its clumsy and short (realistic) but what is it with Elio then chasing after Oliver straight after having sex with Marzia? (Esther Garrel) That’s effed up. Elio comes across as insensitive. Considering this is a romantic/erotic tale and the book gets explicit at times, the film is not as sexually charged as the book.

Oliver (played by Armie Hammer) makes the first move (pedo) in the film adaptation and Elio becomes sexually aggressive out of the blue. It did not feel like there was a build-up of tension or feeling between the two. Oliver is an idiot for instigating the encounter and then citing he couldn’t do any more so they had nothing to be ashamed of. Then it seems his mother gives him permission to start a relationship with a grown man… what tha?! Besides the nature of this story all the actors gave a beautiful and believable portrayal and I feel added further nuance to the story I did not get out of the novel.

Did they seriously watch each other pooh and marvel at it in the toilet bowl. *retching sounds* The other thing that had me throwing up in my mouth is of Oliver eating the peach that Elio had climaxed into. Some may see it as twistedly romantic in a symbolic way, but I couldn’t bet over the hygienic aspect of it. I am such a clean freak. I want to scream triggered! It’s hilarious in a meta perspective. The pooh scene is omitted in the film version of ‘Call Me By Your Name,’ and the peach scene is much more subtle (Oliver does not eat the peach though.) However there are a few scenes that jumped out at me that did not appear in the novel version: The dancing scene had me in stitches. Plus, Elio and his friends smoke a lot. Ew! But I guess it translates well for the time period this story is set in (1980’s) and the European town. Adding to that, we also see a lot of underage drinking.

There was an understated – delicate even – understanding of Elio’s father which I found endearing in the novel. However his hands-off approach leaves little to be desired. I would have preferred a father figure to help educate and guide Elio, instead of leaving his son to flounder around in the dark and figure things out by himself, and potentially placing him in dangerous situations. Elio’s father’s talk in the film adaptation makes you realise he treats Elio like an adult shows that his parents did not view their relationship as paedophilia. Father confesses he loved a man once too. Again, an excellent portrayal by Michael Stuhlbarg.

For the film he translation of the story Elio’s mum (Amira Casar) reads makes and important turning point in the story – giving Elio permission to talk about his feelings… and something I don’t remember occurring or standing out to me (maybe because I ended up skim-reading the book)

I can appreciate the romantic symbolism, the artistic eye, but the situation in the real world kinda makes me angry. It’s not about being gay, but about placing a boy in a sexually vulnerable situation where the parents do not seem to care, (in fact they encourage Elio to find his sexuality and explore) and an older man allegedly grooming a high school student – even if he wrestles with his conscience – grosses me out. If this were about two boys around the same age I would have liked it so much better. I feel the artistic tone of the writing covers up the reality of how inappropriate this relationship is. ‘Call Me By Your Name’ feels like a gay version of ‘Lolita.’

SPOILERS: Oliver got engaged?? This book/film is so messed up. The build-up for this relationship. The forbidden love of it all and then they both move on so quickly. It’s hard to believe they were in love – rather lust – because the events belie the tone of ‘Call Me By Your Name.’

Where the book and film both left me feeling a little unsettled, the film was also sad in a kind of way, both in tone and storyline.

I will not recommend this. There was no lesson to learn from the characters – the whole book read like some teen boy’s father-figure sexual fantasy. I couldn’t get over the age difference, one of them being an underage boy to be able to appreciate the love story, or the coming of age aspect. I was uncomfortable the entire time. I won’t be reading the sequel ‘Find Me’ either – after reading reviews and how it deals with more fantasy gratification adultery, I’m sorry, I just can’t.

© Casey Carlisle 2020. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

Picture vs Page – The Sun is Also a Star

The Sun is Also a Star Picture vs Page Pic 01 by Casey Carlisle

The Sun Is Also a Star’ exceeded any expectations I had. When the book was first released there was a lot of hype, and I tend to wait and read later without any influence to sway my opinion. But I had to get a move on with the release of the film adaptation. I wanted to read the novel before its release to avoid another lengthy wait for the hype to go down… and avoid spoilers.

The Sun is Also a Star’ novel is a contemporary narrated in alternating points of view between teens Natasha, a Jamaican native, grown up in New York about to be deported; and Daniel, a Korean-American with ‘tiger’ parents pushing him towards a Yale application and becoming a doctor, despite his passion for poetry. We also get the occasional factoid chapter around physics, science, or a side characters perspective/history/future. While all of these elements are present in the film, and because of the omnipresent nature of movies the story flowed much easier from scene to scene. And the cinematography was beautiful. One of the drawbacks of the film was that it eliminated a number of characters from the narrative which hindered the whole interconnectedness/universal fate theme that runs through ‘The Sun is Also a Star.’ Some of those secondary characters added something to the story too – and leaving them out of the film to focus solely on the two romantic leads (Yara Shahidi and Charles Melton) left the movie feeling like most other romances out there. Also the novel had enough time and space to develop a strong emotional connection with and between the characters – it did not feel as strong in the film.

The Sun is Also a Star FvN Pic 03 by Casey Carlisle

We see social issues of interracial relationships, racism (and typecasting), immigration (both legal and illegal), mixed in with identity, and coming of age all at that tender age where the world flips on its head – graduation of high school. It was a hot-bed of themes and issues to create a passionate contemporary. I don’t know if it’s just me but many of these hot-button issues did not resonate as strongly with me from the film; which is strange considering a visual medium can usually drag out a lot more pain. I think maybe the producers wanted to keep a lighter tone and focus on the romance.

The pacing did not lag anywhere in this novel – which is high praise for contemporary. Usually they are introspective, symbolic, and take some time to build. ‘The Sun is Also a Star’ set the stakes high straight away and kept the pressure on until the end. The pacing in the film by comparison was good, but a little slower. Maybe because the angst did not translate as strongly. Maybe I connected with Nicola Yoon’s writing style better than the tone of the movie?

We also get a pizza slice of the New York landscape. Coffee shops, record stores, the tourist strip, the corporate buildings – it was an almost magical depiction of the city as seen through the eyes of our protagonists. It was just as vibrant in the film as it was in the novel. Rotating wide shots, beautiful colour grading, and sultry close ups added atmosphere. You get some muted tones throughout to make other colours pop, and many shots had unfocused edges to draw the eye to the principal part of the scene. Brilliantly done.

On a side note – the movie soundtrack is pretty cool too!

The family dynamics of both Daniel and Natasha are also a great peek into how POC are depicted, and how their culture shape their behaviour. I will say the novel depicted more of a stereotypical version in compared to the film. But it was intentional in the book to illustrate a socio-political view. It was softened in the film – and successfully – I feel it may have come off a bit mirco-aggression-y without that tweak.

The Sun is Also a Star FvN Pic 02 by Casey Carlisle

I did find the ending typical of contemporaries, that ‘what if’ moment, leaving the reader to make up their own mind as to what happens after the last page. But it does this with an unexpected flair and twist that I enjoyed. The film’s conclusion felt – cute- it lost the impact of the novel (again due to the cuts from characters/loss of angst.) I liked it, but nothing I would rave about. The film teased the novels ending but then went in a different direction.

One theme that is strongly resonating throughout is that we are made up of the same molecules as the universe, proving that everything is connected. It pushes this further by playing with fate, predetermination, and how universal forces follow an order about things. I found it poetic. Sometimes it can be cliché, but the novel ‘The Sun Is Also a Star’ managed to pull it off with sophistication. The film did have this undercurrent, but it felt more like a story of love and fate. Like the universe will always open a door for your to find your one true love. A great concept, but less grand in stature to the novels theme. At least it didn’t come off as cheesy.

The novel is definitely superior to the film, but I’d recommend both.

The Sun is Also a Star FvN Pic 04 by Casey Carlisle

Critique Casey 2020 by Casey Carlisle

© Casey Carlisle 2020. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.

The Rook – Picture vs Page

The Rook Film vs Novel Pic 01 by Casey Carlisle

This story had everything that I loved. The paranormal, a mystery, a strong female lead, a dry comic wit, interesting characters, a supernatural secret service, and plenty of weirdness.

A warning though: be here some spoilers as this is a comparison between the book and the television series.

The biggest draw-back with the novel was its propensity to excessive info-dumping. In the form of diary entries, letters, re-tellings… and they went on for pages. You would get some sort of background information, flashback, or journal entry every 5 pages or so. It really bogged down the pacing of ‘The Rook,’ and frankly, had me losing interest many, many times. The subject matter was interesting and slightly relevant to the plot, but altogether longwinded and far too common in the narrative. I feel like this novel could have been 150pages shorter and been one heck of a read. The television series handled this a lot better; instead of lengthy letter reading, we get succinct video files. A more omnipresent form of narration meant we got to see things unravel for ourselves. This story is built better for television.

Consequently I had started this novel twice and abandoning it before getting 50 pages in because it was, well … scattered. At my third attempt, I pushed through as many pages as I could before I was again bombarded with all-too-many info-dumps. It wasn’t until I got just passed the halfway point (pg 260 or thereabouts) that I felt like the plot had a direction and a driving force for protagonist Myfanwy pulling the story into focus. I was hooked on the television series right away however. It is more in the tone of a spy thriller though… and to that end a lot of the paranormal happenings, and the outlandish comedy of some of these things from the novel were ignored by the small screen version to keep a more serious tone. A bummer really – I loved the concluding scenes of the novel, and there is nothing like that in the tv show.

I have a bit of a thing with amnesia as a storytelling device. It’s an overused trope and can either be executed poorly, or brilliantly. Thankfully ‘The Rook’ falls into the latter category. This wasn’t an ‘I bumped my head and my memories are slowly coming back’ type plot, but a part of a paranormal mystery. In the novel Myfanwy never gets her memories back, but the television show had her gaining back her memory in short snippets which I felt was a massive disservice to the story (and the abilities of paranormals)… but I guess it works better for a visual presentation. But Emma Greenwell’s portrayal of Myfanwy Thomas is definitely a highlight of the series. I was also bummed out at the special effects and how she uses her powers – like she was having a seizure – and the blackened fingers. I felt this was an unnecessary addition to add drama. I liked the fact her abilities were more covert like it was represented in the novel.

The Rook Season 1 2019

Daniel O’Malley has a quaint writing style with a dry sense of humour. He has a gorgeous way of painting a picture for character descriptions, and I thoroughly enjoyed – and got lost – in the narrative. Again, my only gripe is – edit! Edit lots! I’m uncertain if all the information we get in ‘The Rook’ was relevant to the storyline. Is all that superfluous information going to be resolved in the sequel ‘Stilletto,’ or was it just that Daniel was so immersed in the world of ‘The Rook’ that all the details felt like they were important? There are no pacing issues with the small screen version, but I was repeatedly wondering why they made the tweaks to the story they did. The show felt a little bland. The humour is gone. The tension of Myfanwy having nowhere to turn, not knowing who to trust was great in the novel – but in the show, felt a little all over the place.

Where American agent Monica Reed (played by Olivia Munn) was an ally in the novel, she has become more of an antagonist, or an alternate protagonist in the tv series, I was most unhappy of the treatment of the storyline involving Monica, Myfanwy, and Marcus Kevler. The whole thing had me going hrmmm…

The Rook Film vs Novel Pic 04 by Casey Carlisle

The paranormal powers were so imaginative, scary, and hilarious in the novel. So many obtuse and unique abilities to rival the X-Men. There are a lot of characters in ‘The Rook’ too. Even with all the copious explanations and backstories, I didn’t start to identify all the cast separately until after the halfway point. It was much easier in the television series, but did not like the treatment and storyline of Conrad Grantchester (played by Adrian Lester.) It moved away from the ominous tone of the members of the Checquy, how Myfanwy has to face them… and the power struggle, political manoeuvrings that play into the novels epic conclusion. The tv show went in a different – and in my opinion, much watered down tangent.

The Rook Film vs Novel Pic 05 by Casey Carlisle

There are definitely great characters in this story and to delve even further into them would turn this post into a novel in itself, but notable appearance and interpreted by some great actors were also Gestalt (Jon Fletcher, Ronan Raferty, and Catherine Steadman) and Lady Farrier (Joely Richardson.) Also of note – I was extremely disappointed to see Gestalts pregnancy ignored in the tv show… I thought that was a great twist.

The Rook Film vs Novel Pic 03 by Casey Carlisle

The main plot of the story in the novel is that Myfanwy is basically an impostor, impersonating her pre-amnesia self as the timid paranormal agent (or rook) and discover the identity of which of her workmates was responsible for the attack. An attack which was a failed murder attempt (we find out later in order to cover up a covert takeover of the Checquy.) It is all about deduction, investigation, and following instinct; not to mention dealing with all the strangeness of the paranormal around her. Working out who to trust. ‘The Rook’ is definitely up there as one of my favourite reads. While the television show followed the same vein, much of the fear of the Checquy (and their awesome abilities) was removed, or humanised. I guess it makes it more palatable to the general viewing public and keeps the tone of the show in a paranormal spy thriller (and omitted all of the wit and comedy from the novel.) I hoped it could have stayed truer to the source material.

In the novel the characters are all colourful and fully realised – how can they not be with all the narrative O’Malley dedicates to each. The storyline is intriguing and was the driving force in me picking up this title. At 482 pages long – and the formatting is at a maximum to fit a lot of words on each page without it looking crowded means this is a long book. Which brings me back to the pacing… ‘The Rook’ felt waaaay too long.

But when all is said and done, O’Malley has written a marvellous novel and I will definitely be continuing on with the series, and I hope a lot of the elements introduced in ‘The Rook’ will be addressed in the sequel ‘Stiletto.’ The tv show has yet to be cancelled or renewed as yet, and I will be interested to see in what direction the next season will go: will it swing back to the tone of the novel, or continue on its path of power struggle and political intrigue within a covert spy organisation?

I’d love to recommend this novel to all, but knowing the issues I had with the pacing, I don’t think everyone will have the patience to see it through to the end. But if you can handle a slower pace and love paranormal detective stories, then ‘The Rook’ has a lot to offer. Otherwise the small screen adaptation is a cracker of a show and one I’d happily recommend.

The Rook Film vs Novel Pic 07 by Casey Carlisle

In the meantime, stay tuned for my book review of ‘The Rook’s’ sequel ‘Stiletto’ in the months to come. Another Aussie born author I’m glad to add to my shelves.

Critique Casey 2020 by Casey Carlisle

© Casey Carlisle 2020. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Casey Carlisle with appropriate and specific direction to the original content.