I was delighted to see that critic and writing teacher Walter Cummins, mentor to generations of writers, included his review of my first novel The Etruscan, originally published in The Literary Review, in his new anthology of reviews and essays Knowing Writers (2017)
His generous review cuts through to what is for me the essence of the novel: the clash and fusion of the mythic and the temporal, gothic and modernism, romance and reality, Italian cynicism and Yankee yearning for spirit and beauty. My own life plays out, frazzled but energized, in the midpoints of those binaries.
This novel grew out of my exploration of the storied Etruscan landscape and my sojourn in an ancient house. It was nurtured by my literary studies of the Brontes and the gothic, DH Lawrence and Italy, Henry James, Vita Sackville West, and Daphne Du Maurier, as well as by my research into the lives of early twentieth century women travelers.
Here are some highlights from his review. The full text may be accessed at Cummins on The Etruscan
“Among the pleasures of The Etruscan are a compelling plot, intriguing characters, vivid sense of place, strong descriptive writing. But Linda Lappin’s principal achievement – and greatest challenge – may be found in her realization of Count Federigo Del Re and the strange power he exerts over the novel’s heroine, Harriet Sackett.
Lappin’s task -or that of any writer who wishes to create a Federigo Del Re- is convincing the reader to share Harriet’s complex, almost otherworldly, obsession with the man. In The Etruscan she succeeds.
While the novel has a twenty-first century publication date and a twentieth-century setting, many of its narrative strategies are Victorian, with the Gothic overtones found in writers like the Brontes. Del Re is clearly a Byronic figure in the tradition of Rochester and Heathcliffe. Mystery lies at the heart of the story-for much of the novel the question of what happened to Harriet in Italy and, even after the final page, the nature of what draws her to Del Re.
Two realities are contrasted, that of Edwardian perspectives of Wimbly, the Hamptons, and the Hampton’s housekeeper, Mrs Parsons, and that of Harriet’s immersion in another realm. Lappin presents the attitudes and perceptions of Wimbly, the Hamptons, and Mrs Parsons in close third person. But Harriet emerges directly through her first-person diary, a document like that found in many traditional novels. The physical diary itself becomes an object of contention, with Stephen trying to burn it, Mrs Parsons rescuing it, and Sarah preserving the final, torn out page until its content is revealed on the very last pages of the novel. The Italian settings are certainly Gothic, the ancient homes, the treacherous landscapes, the Etruscan tombs. Because of Lappin’s exact descriptions, they are very convincing” –Walter CumminsKnowing Writers: Essays & Reviews
Thank you Walter
The Etruscan is available on kindle.