Ich bin bei dieser Autorin ein wenig zwiegespalten - ich mag die Art, wie sie das Setting aufbaut, die Landschaft beschreibt, aber für meinen Geschmack kommen die Figuren ein wenig zu kurz, bleiben etwas zu blass. Gerade bei den Nebenfiguren finde ich das ungemein schade. Das ist einer der seltenen Fälle, in denen ich sagen muss, ein paar Dutzend Seiten mehr hätten dem Buch echt gut getan. ( )

I thought re-reading this would be a good follow-up to Robert McFarlane's Underland. And indeed the naming of places and things and actions with local words brings the first story leaping into life. That first story is a hard act to follow but the author took me with her. I'm reading this near the start of the coronavirus lockdown in the Peak District which is also a hollow land with limestone caverns and and mining from Roman times but also active in the present and stripping out whole hillsides, even whole hills. I had forgotten the 'crisis' that towards the end returns the world to horse and cart and steam trains. In this uncertain time it was a comforting book to read. In some ways a very adult book but has the sense of completeness and fairness that escapes us in the adult world but feels very fitting here. ( )

If you haven't yet become a Gardam acolyte -- let me induct you. Gardam is a writing genius at the level of Hillary Mantel or Norman Maclean. Utterly unflinching, always surprising, a voice you know within the first two lines. This is a delightful set of linked stories, with two boys -- farmer Bell and cityboy Harry -- at the center. The characters around them -- the Egg-witch, Kendal the chimney sweep -- are so well drawn. Just spectacular ( )

Short stories. ( )

This can be enjoyed equally by older children and adults. There's a real sense of place. The opening chapter has an outstanding description of natural beauty. There's gentle humour throughout that makes you smile rather than laugh. It was a little rose-tinted and sentimental for my taste and lacked bite. ( )