twistinthetale's review against another edition
4.0
This is a fictionalised account of an early naturalist and his work in studying the enigmatic platypus. It is his daughter that aims to bring the world's attention to her father's work but in the process learns a great deal, both good and bad, about her own family. Years later, a librarian, Tamsin, comes across the original notebook, the sketchbook, and is sent on her own journey of discovery. There ae a number of convenient co-incidences in this book and it is quite romancy in parts but overall a most enjoyable read.
tasmanian_bibliophile's review against another edition
4.0
‘We must always record our evidence. It’s the only way .’
In 1808 at Agnes Banks in NSW, a young Rose Winton is fascinated by her father’s work. Charles Winton is a naturalist, studying the platypus (or mallangong, as it is known by the local indigenous people). Charles Winton has been corresponding with Sir Joseph Banks, then President of the Royal Society, about the mysterious animal. Charles Winton’s ground-breaking research, accompanied by sketches, provides much more information about the platypus than anyone else has yet documented. Charles Winton is invited to present his findings to the Royal Society but becomes ill and is unable to sail to London. He sends Rose in his place: there are family connections Rose can turn to.
‘‘Ask all the questions you can think of and remember the Royal Society motto—Nullius in Verba.’
Take no one’s word for it.’’
In 1908 in Sydney, NSW, Tamsin Alleyn is a young woman working at the Public Library. She’s sent to Wollombi in the Hunter Valley to retrieve an old sketch book which has been gifted to the Library by an elderly woman. The journal is said to belong to Charles Winton, and if it’s genuine, it may be of great significance.
Two stories, separated by a century. Two young women, much more independent than is usual for the times. Two mysteries to be explained. While the reader will quickly understand where the sketchbook came from, the question of ownership needs to be resolved, as does how the sketchbook ended up in Wollombi. For part of the story, the reader has more information than Tamsin. I was engrossed by this stage: I wanted to know how Tamsin would trace the history of the sketchbook. I wanted to find the links between 1808 and 1908: what happened to Rose, and what about the presentation to the Royal Society?
To write more about the story could spoil it. There is more than one mystery in this novel (in both 1808 and 1908) as well as an occasional melodramatic flourish to hold the reader’s attention. I really enjoyed the characters of both Rose and Tamsin, and the way in which Ms Cooper presented this story.
This is the first of Ms Cooper’s novels I have read, but it certainly won’t be the last!
Jennifer Cameron-Smith
In 1808 at Agnes Banks in NSW, a young Rose Winton is fascinated by her father’s work. Charles Winton is a naturalist, studying the platypus (or mallangong, as it is known by the local indigenous people). Charles Winton has been corresponding with Sir Joseph Banks, then President of the Royal Society, about the mysterious animal. Charles Winton’s ground-breaking research, accompanied by sketches, provides much more information about the platypus than anyone else has yet documented. Charles Winton is invited to present his findings to the Royal Society but becomes ill and is unable to sail to London. He sends Rose in his place: there are family connections Rose can turn to.
‘‘Ask all the questions you can think of and remember the Royal Society motto—Nullius in Verba.’
Take no one’s word for it.’’
In 1908 in Sydney, NSW, Tamsin Alleyn is a young woman working at the Public Library. She’s sent to Wollombi in the Hunter Valley to retrieve an old sketch book which has been gifted to the Library by an elderly woman. The journal is said to belong to Charles Winton, and if it’s genuine, it may be of great significance.
Two stories, separated by a century. Two young women, much more independent than is usual for the times. Two mysteries to be explained. While the reader will quickly understand where the sketchbook came from, the question of ownership needs to be resolved, as does how the sketchbook ended up in Wollombi. For part of the story, the reader has more information than Tamsin. I was engrossed by this stage: I wanted to know how Tamsin would trace the history of the sketchbook. I wanted to find the links between 1808 and 1908: what happened to Rose, and what about the presentation to the Royal Society?
To write more about the story could spoil it. There is more than one mystery in this novel (in both 1808 and 1908) as well as an occasional melodramatic flourish to hold the reader’s attention. I really enjoyed the characters of both Rose and Tamsin, and the way in which Ms Cooper presented this story.
This is the first of Ms Cooper’s novels I have read, but it certainly won’t be the last!
Jennifer Cameron-Smith
mamasquirrel's review against another edition
3.0
I can't remember why I ordered this book, but it was just ok. The platypus element was absolutely fascinating, as was the Australian history, but mystery and the two storylines wrap up all a little too neatly.
jgwc54e5's review against another edition
5.0
Wonderful dual timeline historical fiction that I thoroughly enjoyed reading.
The first timeline begins in 1808 with Charles Winton, a naturalist and his young daughter, Rose studying the platypus in the very young colony of New South Wales. At this time the platypus is an enigma, and many back in England believe it to be a hoax. About ten years later, Charles is invited by Joseph Banks to present his research at the Royal Society but is unable to go and Rose sets sail instead.
The second timeline is a century later. Tamsin Alleyn who works at the state library is sent to Wollombi in the Hunter Valley to assess a sketch book that perhaps belonged to Charles Winton. In this timeline proving ownership of the sketchbook is the mystery and how it got to the Hunter when Winton was based in a place called Agnes Banks near Parramatta.
I found all the platypus stuff fascinating and enjoyed the female characters in both timelines. As the mystery unfolds there are coincidences of course, and nice bits of romance, and everything falls into place making it such a pleasure to read.
The first timeline begins in 1808 with Charles Winton, a naturalist and his young daughter, Rose studying the platypus in the very young colony of New South Wales. At this time the platypus is an enigma, and many back in England believe it to be a hoax. About ten years later, Charles is invited by Joseph Banks to present his research at the Royal Society but is unable to go and Rose sets sail instead.
The second timeline is a century later. Tamsin Alleyn who works at the state library is sent to Wollombi in the Hunter Valley to assess a sketch book that perhaps belonged to Charles Winton. In this timeline proving ownership of the sketchbook is the mystery and how it got to the Hunter when Winton was based in a place called Agnes Banks near Parramatta.
I found all the platypus stuff fascinating and enjoyed the female characters in both timelines. As the mystery unfolds there are coincidences of course, and nice bits of romance, and everything falls into place making it such a pleasure to read.
u311082's review against another edition
5.0
A beautifully written tale involving a mystery, romance and the history of the platypus. Rose Winton is growing up with her mother and father in Australia, who is documenting the biology of the platypus; a strange and wondrous creature that is a mammal but also lays eggs. Her father is sending information back to Joseph Banks in England and is invited to present his findings, but tragedy strikes and Rose must go herself. Her mother reveals a horrific secret before her departure and when Rose gets to England, a murder mystery unfolds.
A few generations later Tamsyn is working at the Library of New South Wales, determined to provide that Charles Winton, Rose's father, was the first person to discover the platypus. A sketchbook is gifted to the library which may provide answers and as Tamsyn journeys to Wollombai to collect it, she discovers more about her own family history than she could have imagined. This novel has a compelling plot with interesting characters and a surprising ending. It's a really great read and I couldn't help thinking it would make a great film.
I wish the author had covered off more on the end of Rose's story, just to tie up loose ends, but that would be my only criticism, probably born from the fact that I didn't want the story to end.
Lovers of historical fiction will eat this book up - 5 stars.
A few generations later Tamsyn is working at the Library of New South Wales, determined to provide that Charles Winton, Rose's father, was the first person to discover the platypus. A sketchbook is gifted to the library which may provide answers and as Tamsyn journeys to Wollombai to collect it, she discovers more about her own family history than she could have imagined. This novel has a compelling plot with interesting characters and a surprising ending. It's a really great read and I couldn't help thinking it would make a great film.
I wish the author had covered off more on the end of Rose's story, just to tie up loose ends, but that would be my only criticism, probably born from the fact that I didn't want the story to end.
Lovers of historical fiction will eat this book up - 5 stars.
meganori's review against another edition
3.0
I didn't get very drawn into the plot of this novel, but I still enjoyed being in the well described historical settings: Australia of 1908 and 1820.
jacbuchanan's review against another edition
3.0
Tea Cooper is a lovely writer who knows how to develop intriguing plots, and most certainly doesn't hold back in that regard.
There are many moments in The Naturalist's Daughter that an Australian can identify with, and that holds true to our culture. In that way, I believe this to be a bridge between us and the rest of the world.
The women are written to be engaging and intelligent, without compromising the sentiments of the era in which they live. Not something that is easily achieved, and for which Cooper should be highly regarded.
What I didn't expect from the blurb, or enjoy in the slightest, was the interruption of men's points of views (POVs). I picked up this book to read about two women, and the world through their very important eyes. Why would care to listen to men sexualising and infantilising them? Whether this was Cooper's own doing, or pressure from editors/publishers I don't know. I live in hope this is one day rewritten to omit the patriarchal POVs.
A note for other writers: there is a significant difference, as a reader, having a woman's POV filter these attitudes (particularly which such strong characters as these two women) and subjecting the reader to unfiltered patriarchal condescension. In this case, Cooper did a beautiful job of characterizing the patriarchy through the women's eyes, making the men's perspectives intrusive rather than necessary.
Harlequin also needs to lift their game on proofreading, given the typos and unintended ambiguities in dialogue and pronoun ownerships (some passages I had to read three times before I understood who was doing what). These are not, however, a reflection on the author, as independent eyes are needed to identify these things. Given how much money publishers take from authors, I think there is an onus to deliver a polished manuscript.
There are many moments in The Naturalist's Daughter that an Australian can identify with, and that holds true to our culture. In that way, I believe this to be a bridge between us and the rest of the world.
The women are written to be engaging and intelligent, without compromising the sentiments of the era in which they live. Not something that is easily achieved, and for which Cooper should be highly regarded.
What I didn't expect from the blurb, or enjoy in the slightest, was the interruption of men's points of views (POVs). I picked up this book to read about two women, and the world through their very important eyes. Why would care to listen to men sexualising and infantilising them? Whether this was Cooper's own doing, or pressure from editors/publishers I don't know. I live in hope this is one day rewritten to omit the patriarchal POVs.
A note for other writers: there is a significant difference, as a reader, having a woman's POV filter these attitudes (particularly which such strong characters as these two women) and subjecting the reader to unfiltered patriarchal condescension. In this case, Cooper did a beautiful job of characterizing the patriarchy through the women's eyes, making the men's perspectives intrusive rather than necessary.
Harlequin also needs to lift their game on proofreading, given the typos and unintended ambiguities in dialogue and pronoun ownerships (some passages I had to read three times before I understood who was doing what). These are not, however, a reflection on the author, as independent eyes are needed to identify these things. Given how much money publishers take from authors, I think there is an onus to deliver a polished manuscript.
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