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Hazel Gaynor

Autor(a) de The Girl Who Came Home

16+ Works 3,334 Membros 340 Críticas 4 Favorited

About the Author

Hazel Gaynor's debut novel, The Girl Who Came Home: A Novel of the Titanic, was a New York Times and USA Today bestseller. A Memory of Violets is her second novel. In addition to historical fiction, she writes a popular guest blog, Carry on Writing, for national Irish writing website writing.ie. mostrar mais She shares thoughts and experiences of the writing process and has interviewed a number of popular authors, including; Philippa Gregory, Sebastian Faulks, John Boyne and Cheryl Strayed. Hazel received the 2012 Cecil Day Lewis award for Emerging Writers and was selected by Library Journal as one of Ten Big Breakout Authors for 2015. (Bowker Author Biography) mostrar menos

Inclui os nomes: Hazel Gaynor, by Hazel Gaynor

Image credit: Hazel Gaynor

Obras por Hazel Gaynor

The Girl Who Came Home (2014) 669 exemplares
A Memory of Violets (2015) 478 exemplares
The Lighthouse Keeper's Daughter (2018) 425 exemplares
Last Christmas in Paris (2017) 402 exemplares
The Cottingley Secret (2017) 391 exemplares
Meet Me in Monaco (2019) 262 exemplares
When We Were Young & Brave (2020) 262 exemplares
The Girl from the Savoy (2016) 227 exemplares
Three Words for Goodbye (2021) 126 exemplares
The Last Lifeboat (2023) 80 exemplares
Hush (2016) 4 exemplares

Associated Works

Fall of Poppies: Stories of Love and the Great War (2016) — Contribuidor — 148 exemplares


Conhecimento Comum

Data de nascimento
20th century
Local de nascimento
Yorkshire, England, UK
Locais de residência
Prémios e menções honrosas
Cecil Day Lewis Award for Emerging Writers

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Hazel Gaynor is an award-winning New York Times, USA Today and international bestselling author. Her 2014 debut THE GIRL WHO CAME HOME won the 2015 RNA Historical Novel of the Year award, A MEMORY OF VIOLETS was a 2015 WHSmith Fresh Talent pick, THE GIRL FROM THE SAVOY was shortlisted for the 2017 Irish Book Awards, and THE LIGHTHOUSE KEEPER'S DAUGHTER was shortlisted for the 2019 HWA Gold Crown Award. LAST CHRISTMAS IN PARIS (co-written with Heather Webb) won the 2018 Women's Fiction Writers Association Star Award. Their most recent collaboration is MEET ME IN MONACO. Hazel's forthcoming historical novel, WE WILL BE BRAVE, set in China during WW2, will be published in North America in October 2020.

Hazel was selected by Library Journal as one of Ten Big Breakout Authors for 2015. Her work has been translated into fourteen languages to date. She is co-founder of creative writing events The Inspiration Project, and lives in Ireland with her husband and two children. She is represented by Michelle Brower of Aevitas Creative Management, New York.

For more information, visit www.hazelgaynor.com



Abcdarian | 51 outras críticas | May 18, 2024 |
Being old enough to remember these events in history I found this novel an enjoyable read.
Carole46 | 31 outras críticas | Mar 22, 2024 |
3.5 stars

Unmarried and pregnant, Matilda is 19-years old in 1938 when she is sent across the ocean to live with a distant relative in Rhode Island, Harriet, who watches the lighthouse there.

One hundred years earlier, in England, a storm washed up survivors of a shipwreck, including Sarah. Sarah’s two young children died in the wreck. Grace Darling is the lighthouse keeper’s daughter who saw the survivors still in the water, so she and her dad went to help them. Grace become a local hero after this. (And apparently, Grace Darling was a real person.)

Matilda has a book on keeping lighthouses that she brings with her. The inscription includes one from Grace to Sarah and Sarah to (a different) Matilda.

I listened to the audio and it was good. I did lose focus at times, but I think I caught the main happenings in the book. Harriet also kept secrets and it took time for her to open up to Matilda. I liked her, though she did seem “gruff” at times. I liked all the characters, really. The women were pretty tough and self-sufficient – or certainly tried/wanted to be as much as they could in their time periods. There were a lot of characters, though, and there were times that it took me a bit to figure out which time frame and character’s POV I was listening to. It did say when the POV changed, but since I know my mind wandered some plus putting away the audio and picking it up later sometimes made it a bit tricky.
… (mais)
LibraryCin | 37 outras críticas | Feb 10, 2024 |
** spoiler alert ** *** But I can't comment on why I've rated it as I have without revealing a fair bit of the plot. ****

I read about the Cottingley fairies years ago, so was interested to read this fictional treatment. However, it was nearly a DNF at about two thirds. I put it aside but finally returned to it a couple of days ago. Luckily, the story picked up in the last part.

The narrative consists of two timelines: one set in present day Ireland, where Olivia has returned following the death of her beloved grandfather - she was raised by her grandparents - and the first person journal of Frances Griffiths, one of the girls in the Cottingley fairies story. Olivia is running away from marriage to a wealthy and hard-nosed businessman and has also not broken devastating news to him about her inability to have children. She has inherited a struggling bookshop from her granddad and sets about trying to get it on a better footing while dealing with the grief of her grandmother developing dementia and now in a nursing home.

Olivia finds Frances' personal account and begins to read it, plus a photograph of Frances with the fairies and a magazine article which gives Frances and her cousin Elsie aliases. Instead of realising their names were changed to fend off thrill-seekers, she persists for quite a while in a misconception that they are different people. That was a minor irritation though, compared to her general wimpish character. Instead of phoning the wedding planner to tell them the wedding is off, she throws her phone into the harbour! She behaves as if she 'has' to marry a man she now realises she doesn't love: something that would only be an issue in an historical novel where women had no choices. The treatment of her medical issue is also unconvincing: she should be experiencing an early menopause but has none of the symptoms.

The historical narrative was more interesting. Frances arrives in Yorkshire with her mother in 1917, having been raised in South Africa. Her father has gone off to fight in France. They live in Cottingley with an aunt, uncle and cousin Elsie. Although Frances is nine and her cousin about six years older, they get on really well. Frances spends a lot of time at the nearby beck (stream) and woodland, sometimes on her own as her cousin is working in a photography shop, and catches glimpses of colourful entities: the fairies.

One day when scolded by her mother for getting her dress wet wading in the beck, she blurts out that she sees fairies. Elsie, in whom she has already confided, comes up an idea of how to exonerate her: they will fake photographs. Being a reasonable artist, Elsie produces two sets of fairies, and they take the first two iconic photos which eventually end up being made public through the actions of her aunt and the interest of Sir Arthur Conan Doyle and the Theosophist Society. Outside interest gathers momentum over the next few years and they stage a couple more. Then Frances' father returns safely at the end of the war, and her family moves away. She thinks the fairy episode is over, apart from her guilty twinges about lying, but is drawn back to Cottingley in the early 1920s by outside pressure to take more photos.

Her narrative is more interesting than Olivia's, based on the historical account, though with some fictional elements, such as the schoolteacher with a missing child who provides the connection to Olivia's family. It's odd though that Olivia reads it at the same pace as its narrative placement in the novel and doesn't finish it until near the end, as the reader does. That comes across as unrealistic: why wouldn't she read it in a few days given the increasingly obvious connection to her own family?

The main issue with the older timeline were occasional jarring anachronisms: I'm pretty sure that 'teenager' wasn't coined till the 1950s, and surely the expression 'elephant in the room ' is quite modern? There were also a few Americanisms in the other part of the story such as 'gotten'. But these are insignificant compared to the annoying character of Olivia. Luckily she does become a bit more assertive in the last third and the book doesn't take the obvious happy ending.

There's a short section at the back which explains some of the history, how the author came to write the book, and includes the fairy photos. Since the last third of the story was better, and the non-fiction section was interesting, I've rated the book as 2 stars overall rather than the DNF it was originally headed towards.
… (mais)
kitsune_reader | 43 outras críticas | Jan 18, 2024 |



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