Scan barcode
caitsidhe's review against another edition
challenging
dark
emotional
mysterious
reflective
sad
slow-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
2.5
An interesting book that at times manages to be wonderful, but the rest of the time is let down by bluntly drawn characters and prose that aims at poetic and lands in nonsensical
aceofwands90's review against another edition
challenging
dark
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
1.5
writersreads's review against another edition
5.0
Firstly, I must say – what a stunning debut this is! So weighty in its execution, and I must commend its author on that. Elizabeth Lowry’s handle on the language throughout this book seemed to have no crest, and not once did its pace falter, or its prose cease to shine. Page after page laid out before me like the two doors of a Victorian wardrobe, with its intricately carved panels of oceanic shapes and leaves, all a deep, rich brown … and similarly, upon reading, felt like thick cuts of meat, in need of attentive chewing.
Secondly, I feel I should give a hearty thanks to the people of Quercus, for sending this book to me. It was a delight and an adventure to read, even though ‘delight’ feels like too light a word. Especially to stand beneath such a heavy narrative. At any rate, on Thursday I will be voyaging down to Waterstones, and purchasing another copy. As a reader, I greatly enjoyed this book, but as a writer I found it incredibly inspiring. This is a book I’d like to keep on my shelf, and return to when I’m in need of a reminder of the sheer force and power that good writing can muster.
“We did not refer to the fact that we were on this vessel, trapped in this demented cage, because we could not get off: because – as long as we wanted to stay alive – there was simply nowhere else to go.”
Aboard the USS Orbis as it embarks from Boston and surges south to round Cape Horn, Hiram Carver takes up his first position as ship’s doctor. Callow and anxious among the seasoned sailors, he struggles in this brutal floating world until he meets William Borden. (taken from the synopsis on the Quercus website)
I think the sections of the story that took place on the Orbis, during the early stages of the book, were some of my favourite. I was swept in by the visceral descriptions and happenings onboard – as if I, too, were on a nine-month voyage with the men of that ship.
The characters introduced are incredibly easy to visualise – thanks to the remarkable physicality that was described, seemingly with ease, by Lowry. Every character seemed real to me, in what they did and said – but it was less in their dialogue, and more in their actions. Their believability amazed me, and drew me in further. I often, as a reader, find it difficult to root myself when it comes to characters. Even when writing them, it isn’t until I’m a bulk of the way through a book that I can really see them. But I could envisage each and every one of Lowry’s characters without any difficulty at all. The way they moved, the expressions they pulled, their presence on the page … masterfully done.
“In every life, I now believe, there is one event that is the wellspring of fundamental agony and decision in us. It lies beneath the sunlit layers of the present moment, throwing its shade across the foundations of our being, forming the self to come. If grasped and brought to the surface, it can save us or destroy us.”
I could harp on all day about the prose, in true Carver fashion, but it really was exquisite. The reviews that are surfacing, much like buoys in the ocean, have spoken at length about the story’s depth and resonance. About its twists and turning points, its synthesis and antithesis … and I stand by their positive words, I do. But the prose truly amazed me, and I can’t help but reel on about it.
Even the way that the metaphorical visuals never wavered from the book’s overall tone. Details like “–my thoughts were capsized by a wave of confusion–”, that served to keep the reader fully immersed in the story – and on that vinegar-soaked boat – at all times. And I don’t think any description felt out of place or out of theme. Few books, I feel, handle this as well as Dark Water. I’ll often find myself taken off the page by their descriptions, however beautiful or evocative they may be, and I’ll need to dive back in with every subsequent sentence.
With this story? I didn’t. Instead, I felt completely immersed each time I opened a chapter and resumed reading.
I will admit, at times I did find the prose overwhelming. There were moments when they read so richly and were so multifaceted that I was almost blinded by them. But those moments were short lived, and probably spoke less about Lowry’s handle on language, and more about my – probably lacklustre in comparison – vocabulary.
“Mad? I wanted to shout. Aren’t you mad? And you? Aren’t I? We’re all mad. Here we are, piloting a wood-shaving over an abyss. Is there a better definition of madness?”
Now, I will come away (briefly) from my thoughts on the structure of the book, and talk a little about its narrative.
Truth, I feel, is one of the core themes of this book. But the madness of the mind is, too. When protagonist Hiram is taken on as assistant physician at Charlestown’s mental asylum, the story begins to open its doors and show its true colours. I will admit I was briefly disheartened the moment Hiram returned to Boston after sailing on the Orbis. I had, in my mind, prepared myself for a book set entirely onboard, and was quite happy with that self-made premonition … but alas, the heart of the story wasn’t to be found on that boat – and I soon came to love the land-dwellers world, too.
But above Truth and Madness, the thing that sits in the centre of this story, and indeed embodies all its themes, is Hiram Carver’s private obsession … William Borden.
“And as I write I fear that the shape I am giving to Will Borden is not his true shape, that it has been digested, disfigured, in the acid element of myself.”
I found their relationship, and Hiram’s dissection of it, truly gripping. Almost romantic, in a dark way. And upon finishing the book, these two men remain in my mind. As if they’re still sitting on a boat, with a fishing net between them. A lasting impression, indeed – and further proof of this book’s well-sculpted characters.
‘So. Here we are, Hiram.’ He shrugged his scalpel-like shoulders. ‘Two scarecrows in a garden.’
Dark Water feels like a classic novel – despite being a (historic) contemporary debut. Like it could have been released many, many years ago. Not because it is literally set over a century ago, but because of its strength. Its lasting impact. And I think the story itself can stand alone as its own classic, regardless of its imminent debut.
Not only is Lowry’s mastery of prose sky-high, but her awareness of pace was enthralling. You almost feel like you’re sailing along whilst you read, actually aboard a ship of your own, and then occasionally a sentence will slam down like a whirlpool and you’ll almost feel it under you. I found it an exciting feeling and was happy with the ride from start to finish. Each high and each low was perfectly graduated, and when it did plummet, it hit hard every single time. No high-point felt underwhelming, and my reactions to them remained unnumbed.
“The place felt like glass, both fragile and dangerous, as if something might shatter at any moment.”
The final moments of the book held an intensity that made my eyes water, for I couldn’t blink. I felt pulled in by a sea-storm and span out the other side. It’s been a long while since I’ve read a book that held such relentless intensity, and tender beauty, all at the same time.
Seek this book out, especially if you’re a lover of historical fiction. It’s a voyage you will not regret climbing aboard, even if Hiram Carver himself regrets every minute of it.
***
(You can also find this review, and others like it, on my website: http://lewisjphillips.com/dark-water-by-elizabeth-lowry/)
Secondly, I feel I should give a hearty thanks to the people of Quercus, for sending this book to me. It was a delight and an adventure to read, even though ‘delight’ feels like too light a word. Especially to stand beneath such a heavy narrative. At any rate, on Thursday I will be voyaging down to Waterstones, and purchasing another copy. As a reader, I greatly enjoyed this book, but as a writer I found it incredibly inspiring. This is a book I’d like to keep on my shelf, and return to when I’m in need of a reminder of the sheer force and power that good writing can muster.
“We did not refer to the fact that we were on this vessel, trapped in this demented cage, because we could not get off: because – as long as we wanted to stay alive – there was simply nowhere else to go.”
Aboard the USS Orbis as it embarks from Boston and surges south to round Cape Horn, Hiram Carver takes up his first position as ship’s doctor. Callow and anxious among the seasoned sailors, he struggles in this brutal floating world until he meets William Borden. (taken from the synopsis on the Quercus website)
I think the sections of the story that took place on the Orbis, during the early stages of the book, were some of my favourite. I was swept in by the visceral descriptions and happenings onboard – as if I, too, were on a nine-month voyage with the men of that ship.
The characters introduced are incredibly easy to visualise – thanks to the remarkable physicality that was described, seemingly with ease, by Lowry. Every character seemed real to me, in what they did and said – but it was less in their dialogue, and more in their actions. Their believability amazed me, and drew me in further. I often, as a reader, find it difficult to root myself when it comes to characters. Even when writing them, it isn’t until I’m a bulk of the way through a book that I can really see them. But I could envisage each and every one of Lowry’s characters without any difficulty at all. The way they moved, the expressions they pulled, their presence on the page … masterfully done.
“In every life, I now believe, there is one event that is the wellspring of fundamental agony and decision in us. It lies beneath the sunlit layers of the present moment, throwing its shade across the foundations of our being, forming the self to come. If grasped and brought to the surface, it can save us or destroy us.”
I could harp on all day about the prose, in true Carver fashion, but it really was exquisite. The reviews that are surfacing, much like buoys in the ocean, have spoken at length about the story’s depth and resonance. About its twists and turning points, its synthesis and antithesis … and I stand by their positive words, I do. But the prose truly amazed me, and I can’t help but reel on about it.
Even the way that the metaphorical visuals never wavered from the book’s overall tone. Details like “–my thoughts were capsized by a wave of confusion–”, that served to keep the reader fully immersed in the story – and on that vinegar-soaked boat – at all times. And I don’t think any description felt out of place or out of theme. Few books, I feel, handle this as well as Dark Water. I’ll often find myself taken off the page by their descriptions, however beautiful or evocative they may be, and I’ll need to dive back in with every subsequent sentence.
With this story? I didn’t. Instead, I felt completely immersed each time I opened a chapter and resumed reading.
I will admit, at times I did find the prose overwhelming. There were moments when they read so richly and were so multifaceted that I was almost blinded by them. But those moments were short lived, and probably spoke less about Lowry’s handle on language, and more about my – probably lacklustre in comparison – vocabulary.
“Mad? I wanted to shout. Aren’t you mad? And you? Aren’t I? We’re all mad. Here we are, piloting a wood-shaving over an abyss. Is there a better definition of madness?”
Now, I will come away (briefly) from my thoughts on the structure of the book, and talk a little about its narrative.
Truth, I feel, is one of the core themes of this book. But the madness of the mind is, too. When protagonist Hiram is taken on as assistant physician at Charlestown’s mental asylum, the story begins to open its doors and show its true colours. I will admit I was briefly disheartened the moment Hiram returned to Boston after sailing on the Orbis. I had, in my mind, prepared myself for a book set entirely onboard, and was quite happy with that self-made premonition … but alas, the heart of the story wasn’t to be found on that boat – and I soon came to love the land-dwellers world, too.
But above Truth and Madness, the thing that sits in the centre of this story, and indeed embodies all its themes, is Hiram Carver’s private obsession … William Borden.
“And as I write I fear that the shape I am giving to Will Borden is not his true shape, that it has been digested, disfigured, in the acid element of myself.”
I found their relationship, and Hiram’s dissection of it, truly gripping. Almost romantic, in a dark way. And upon finishing the book, these two men remain in my mind. As if they’re still sitting on a boat, with a fishing net between them. A lasting impression, indeed – and further proof of this book’s well-sculpted characters.
‘So. Here we are, Hiram.’ He shrugged his scalpel-like shoulders. ‘Two scarecrows in a garden.’
Dark Water feels like a classic novel – despite being a (historic) contemporary debut. Like it could have been released many, many years ago. Not because it is literally set over a century ago, but because of its strength. Its lasting impact. And I think the story itself can stand alone as its own classic, regardless of its imminent debut.
Not only is Lowry’s mastery of prose sky-high, but her awareness of pace was enthralling. You almost feel like you’re sailing along whilst you read, actually aboard a ship of your own, and then occasionally a sentence will slam down like a whirlpool and you’ll almost feel it under you. I found it an exciting feeling and was happy with the ride from start to finish. Each high and each low was perfectly graduated, and when it did plummet, it hit hard every single time. No high-point felt underwhelming, and my reactions to them remained unnumbed.
“The place felt like glass, both fragile and dangerous, as if something might shatter at any moment.”
The final moments of the book held an intensity that made my eyes water, for I couldn’t blink. I felt pulled in by a sea-storm and span out the other side. It’s been a long while since I’ve read a book that held such relentless intensity, and tender beauty, all at the same time.
Seek this book out, especially if you’re a lover of historical fiction. It’s a voyage you will not regret climbing aboard, even if Hiram Carver himself regrets every minute of it.
***
(You can also find this review, and others like it, on my website: http://lewisjphillips.com/dark-water-by-elizabeth-lowry/)
shinysarah28's review against another edition
Too slow. I couldn’t quite get in to it, especially now it’s moved to an asylum. May try again in future.
katynka_'s review against another edition
5.0
this was way more complex than i expected going in, but it really drew me into the plot. i think there's maybe like, 3 likeable characters in this? but it was completely compelling and smart and well-developed. i started to have suspicions about elements of the plot, but it was told at an excellent pace and i finished the book feeling (ironically) completely satisfied.
ajcorn's review against another edition
challenging
dark
mysterious
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
3.5
starslang's review against another edition
dark
mysterious
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
2.0
kmac2022's review
adventurous
challenging
dark
informative
mysterious
reflective
sad
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.25
brooke_last_seen_reading's review
dark
emotional
mysterious
slow-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? It's complicated
5.0
maryw's review
dark
mysterious
reflective
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0