Sunday, October 2, 2016

Happy U.S. publication day and review of Julia Margaret Cameron By Herself, Virginia Woolf And Roger Fry

This book reprints Virginia Woolf's witty and moving biographical essay of her great-aunt, and Roger Fry's pioneering study of the photographs published together in 1926 under the title Victorian Photographs of Famous Men and Fair Women. To these are added Julia Margaret Cameron's own auto-biographical fragment, Annals of the Glass House, and her only surviving poem, On a Portrait. They are introduced by Tristram Powell. Tristram Powell is a film-maker and historian of photography.

Virginia Woolf (1882-1941), a central figure of the Bloomsbury Group, is best known for the nonlinear narrative of her novels, and for her feminism.

Roger Fry (1866-1934), painter and critic, was another member of the Bloomsbury Group. He was a leading champion of Post-Impressionism.

Daguerreotype portrait of Julia Margaret Cameron and her daughter, Julia Hay Cameron by Unknown, 1845, National Media Museum

The photographer is unknown but it is possible that the image was made in Calcutta as both mother and daughter were there until January 1845, after which 'Little Julia' returned to England for three years. The case is inscribed by the daughter 'Feb 10th 1845. This for me to keep', and probably at a later date by her mother 'Given to my Julia by her request - her own choice.' Julia Hay Cameron died in childbirth in her early 30s, at which point the portrait appears to have been returned to her mother. (This portrait is now housed at Dimbola Lodge, Freshwater Bay, Isle of Wight, home of Julia Margaret Cameron. This image is not included in the book. I added it because its beautiful)

At the age of forty-eight, Julia Margaret Cameron (1815-1879) was given a camera by her daughter when she moved to the Isle of Wight:  'It might amuse you, Mother, to try to photograph during your solitude at Freshwater.' The gift was to begin Mrs.Cameron's short but prolific career as one of photography's first great artists.

Cameron's long exposures and softfocus portraits were criticised by photographers of the time as lacking skill, but these evocative manipulations were in fact early realisations of photography's true poetic potential. Such expressiveness was something more readily understood by the Pre-Raphaelite painters with whom Cameron became associated, and who gave her encouragement.

Her portraits capture some of the most famous intellectuals and artists of the Victorian era, all made to follow Mrs. Cameron's famously exacting direction.

Julia Margaret Cameron By Herself,Virginia Woolf, Roger Fry
128 Pages, 4.5 x 5.75
Formats: Trade Paper
Trade Paper, $16.95 (US $16.95) (CA $22.95)
Publication Date: October 2016
ISBN 9781843681212
Rights: US & CA
Pallas Athene (Oct 2016)

 In a letter to Sir Edward Ryan she says, 'Lastly as to spots, they must, I think remain. I could have them touched out, but I am the only photographer who always issues untouched photographs and artists for this reason, amongst others, value my photographs. So Mr. Watts and Mr. Rossetti and Mr. du Maurier write me above all others'. (Julia Margaret Cameron's letter, pg. 18). 

Dear Reader, if you are in search of first-hand accounts from Mrs. Cameron herself, her family members, closest friends, scholars, and the like then look no further.  For this small booklet is quite intimate and charming.  There are myriads of biographies on photographer, Julia Margaret Cameron's life and work. However, I am so in love with this beautiful yet introspective look beyond the lens into Mrs. Cameron's world in Ceylon and Freshwater Bay, Isle of Wight. 

It is as if her closest friends have gathered together all of Mrs. Cameron's surviving writings (Annals of the Glass House), excerpts from her letters to colleagues, family, and friends, as well as critiques of the day written by family members and scholars of photography and history. There is no better research than personal artifacts from the subject. Yes, we have her photographs but there was so much more to the woman behind the standing box camera lens. 
 Julia Margaret Cameron with sons Henry Herschel Hay and Charles Hay, 1857-8
by an unknown photographer, Harry Ransom Center

I was shocked when I read the story of Julia's father in his coffin returning home with his widow and young children (including a very young child named Julia Margaret) when his coffin exploded with him in it!  Apparently, James Pattle was something of a liar and a scoundrel with a temper!  There are several fascinating stories about young Julia Margaret Pattle's childhood and family; yes, she was born  a Pattle before marrying Charles Hay Cameron later in life and having her family.  So many wonderful mentions of Mr. Cameron, his viewpoint on living on their coffee plantation in Ceylon, his thoughts on his wife, Julia Margaret, their life together, etc. It is worth the money for learning about that rare aspect of her personal life alone!  

If you want to learn more about the poets and scholars of Freshwater Bay on the magical Isle of Wight, all her friends are gathered within these pages. Focus is put on the famous laureate, Alfred, Lord Tennyson but deeper exploration into Julia Margaret's earlier friendship with great men such as poet and essayist, Sir Henry Taylor and astronomer, chemist, polymath Sir John Herschel just to name a few!  Wonderful descriptive stories of dinners and parties at her sister Sarah Prinsep's Little Holland House. I could have stayed there forever.  

There are fifty of Julia Margaret Cameron's photographs numbered and labeled as plates. Next to each photograph is a story and anecdote of that particular friend and sitter. However, some wonderful stories of the famous visitors who met Mrs. Cameron and didn't exactly like or get on with her! Very funny tidbits indeed. 

One of my favorite quotes from the book is one I often remember and know to be true even to this day. I should know because I am blessed to have visited Freshwater Bay, Isle of Wight and most of my very dear 'friends' remain there...

Everybody is either a genius, or a poet, or a painter or peculiar in some way. 

Is there nobody commonplace?  


I am forever grateful to Trafalgar Square Publishing, Independent Publishers Group as well as Pallas Athene for mailing me a beautiful hardcover edition of, Julia Margaret Cameron By Herself, Virginia Woolf and Roger Fry for review. I will cherish it always. 

Now published in the United States and available for purchase, Amazon US

Already published in the United Kingdom and available for purchase, Amazon UK

Sunday, September 18, 2016

America finally meets Charlotte Brontë at The Morgan Library & Museum's Charlotte Brontë: An Independent Will exhibition September 9, 2016 through January 2, 2017

Photograph taken by Kimberly Eve of Victorian Musings
Charlotte Brontë's dress and pair of shoes 
The Morgan Library & Museum
A close-up photograph of Charlotte Bronte's dress taken by Kimberly Eve/Victorian Musings

Who would have ever thought you could fill the Bronte family into one room! No, not the Parsonage but a room on the second floor of The Morgan Library & Museum in New York City.   You see, this is an exhibition focused upon third born sibling Charlotte Bronte. However, father, Patrick Bronte, sisters Emily and Anne are present as well along with brother Branwell and maybe a husband, too!  Perhaps the greatest author of the nineteenth-century can be discovered, re-discovered, adored and revered right here in the city of my birth.

I am not sure if every little girl discovers Jane Eyre in their pre-teens as I did but I have carried that orphaned girl who became Mrs. Rochester with me all my life. I know her, she is real to me and always will be. I always thought I would have visited Haworth by now but alas it hasn't happened yet. I made it to the dales but that was all.  So, when news of this exhibit finally reached social media I was beyond thrilled to see it; for I thought it would be her manuscript of Jane Eyre, her letters, her drawings perhaps. This would have been enough for me until The Morgan released that photographic image of her blue dress...Absolutely impossible I thought to myself. In no way would Haworth release the Bronte family items; especially not across the pond!  I am so glad to have been wrong.  

The minute you step out of the glass elevator from the lobby to the second floor you make a sharp right turn and open the glass doors. There it is! Dead center encased in glass was the dress Charlotte Bronte 'supposedly' wore to that party when she met her literary idol, William Makepeace Thackeray.  Just cast your eyes to the left and you will see the smallest pair of flat shoes I have ever seen. Even at her 4'9 height (though I thought her height was 4'11) her shoes were indeed tiny, flattened thinned soles with laces on either side. I know because I bent down almost sitting on the floor to take the photographs in order to see both sides. They look to be fabric material on top small brown polka dots. The bottom of her shoes leather maybe or is it plastic imitation still thin with no support. How in the devil did she and her sisters walk forty miles across the moors through all sorts of rough terrain and weather?  Goodness, I get a charley-horse if I try to walk more than one mile! 

On the first wall of the exhibit was Charlotte Bronte's baptismal record. Next to it was the famous carte-des-viste of the father of the Bronte's himself. I gasped audibly not expecting to see it. Everyone recognizes this image I am sure. It is smaller than I thought but the white cropped framing makes it look larger than it is.  Interestingly, there was no drawing or image of their mother, Maria at all.  The focus remained on the Rev. Bronte as leader and guide of his daughters and son's lives most probably because he outlived them all and his letters survive. 

Carte-de-viste photograph of a woman, 
possibly Charlotte Bronte but more likely 
Ellen Nussey, ca. 1856 
The Morgan Library and Museum Catalog note
Photograph by Kimberly Eve/Victorian Musings

I was not prepared to see this photograph. I just never gave it much thought but I am so glad I have. It is one of the most curious photographs to survive within the Bronte family archive. If it is Ellen Nussey, can you believe what all the fuss is about? I hope you and Charlotte are having a good laugh over us all down here engaging in such silliness. Now when it comes to portraits there are two almost sacred ones and both of them can be found here in the exhibit. 

Branwell Bronte was about seventeen when he began this unfinished portrait, depicting his teenage sisters over a decade before they published the novels that made them famous. During the 1950s, infrared photography confirmed the presence of a fourth figure-presumably a self-portrait that Branwell had chosen to efface-beneath the central pillar. As the oil paint has faded over time, the ghostly image has become ever more apparent to the naked eye.

The painting's condition reflects its history. Arthur Bell Nicholls, Charlotte's widower, took the work from Haworth parsonage to his new home in Banagher, Ireland, after Patrick Bronte's death. In 1914, Nicholls second wife, Mary Ann, discovered the painting on top of a wardrobe in their farmhouse, where it had apparently lain folded for over fifty years. It was acquired by the National Portrait Gallery that year and placed on display, to the public's great fascination. A century later, it is on view here for the first time in North America. (The Morgan Library & Museum Charlotte Bronte: An Independent Will exhibition catalog note)
Look!  There it is!  Oh, it is iconic isn't it?   By now, everyone knows this painting and perhaps even the story painted by their brother Branwell.  I couldn't believe I was standing in the same room with all of these treasures that I have seen photographed in every Bronte biography printed since the dawn of time.  It is a large enough portrait in size and hard to describe the feeling of being able to freely walk up to it, for it is not roped off or behind glass. You can breath on it, touch it (they hate that) or just gaze at it imploringly as I did right before I heard in my mind a whisper, "Kimberly, hurry up"  What was that? The room is filled with people walking around this room. So, I did what any rational woman does when they hear an imaginary voice, "Alright, Charlotte I'm coming! You're almost as impatient as I am". 

On the other side of the wall of the family portrait was the independent willed one herself, Charlotte Bronte captured by George Richmond in his beautiful drawing from 1850. His signature can be seen in the left hand corner. Again, it was as if the noise in the room softened, crowded voices hushed; almost stilled and all I could focus on was the fact that I was actually able to walk up to this drawing and take my time studying every detail. Of course, the folks around me hated me because I took forever but I didn't care for I had waited a lifetime for this moment. No, I'm not breaking into song but if I ever make it to Yorkshire I just might!  (Watch out Nick) 

In 1850, publisher George Smith commissioned this portrait of his celebrated author as a gift for her father, Patrick. Sitting for a professional artist was traumatic for the self-conscious Bronte, but none of her discomfort is evident in George Richmond's graceful rendering. This is the only professional portrait for which she sat during her lifetime and the only surviving life portrait except for her brother Branwell's painting of his sisters, which is on view in the rear of the gallery.

The portrait hung in the dining room of Haworth parsonage during Patrick Bronte's lifetime and an engraving of the work served as the frontispiece to the first volume of Elizabeth Gaskell's 1857 Life of Charlotte Bronte. It has appeared in countless studies of the Brontes since then and is on view in North America for the first time. (The Morgan Library & Museum Charlotte Bronte: An Independent Will catalog note). 
Charlotte Bronte letter to Ellen Nussey dated Brussels, 6 March, 1843
Bronte Parsonage Museum 

I was so happy to find that The Morgan included Charlotte's friendship with Ellen Nussey as part of the exhibit. It is so important to include not only spouses but lifelong friends of the subject as it provides a much different and needed perspective on someone who has reached an iconic status in literature and the world. 

I wrote an article about Ellen Nussey and her friendship with Charlotte Bronte. If anyone would like to learn a bit about Charlotte's dear friend Ellen Nussey 

Charlotte Bronte's younger sister, Anne Bronte was also included in this exhibit. Her notebook, her poetry was displayed and Charlotte's portrait of Anne is here as well. 
Anne's Poetry Notebook rebound later by Riviere & Son, 1838-41
Anne Bronte made neat copies of nine compositions in this notebook but eventually selected only one for inclusion in the 1846 volume of poems she published with her sisters. Her narrative poem, "The Parting" shown here, bears no resemblance to Charlotte's sentimental poem of (almost) the same title. (The Morgan Library & Museum)

Charlotte Bronte's portrait of her sister, Anne Bronte
17 June 1834, Watercolor drawing,
Bronte Parsonage Museum

There were so many treasured personal items belonging to Charlotte and her siblings that I couldn't possibly share them all. These are just some of the special ones that touched my heart that I have been longing to cast my eyes upon. I am so grateful to Bronte Parsonage Museum for loaning their belongings to The Morgan for lucky ones such as I.  One day I will walk through the doors of the parsonage, hopefully accompanied by a friend (you know who you are) and I will see much more!!  

Discover Charlotte Bronte: An Independent Will for yourself,  The Morgan Library & Museum

Monday, September 5, 2016

Upcoming exhibition: Victorians Decoded: Art and Telegraphy-Guildhall Art Gallery, City of London, 20th September 2016 to 22nd January 2017

Word from the Missing by James Clarke Hook RA, (1819-1907), 1877

The 150th anniversary of the first communications cable laid across the Atlantic Ocean, connecting Europe with America will be celebrated in a new and free exhibition entitled ‘Victorians Decoded: Art and Telegraphy’.

This exciting collaboration between Guildhall Art Gallery, King’s College London, The Courtauld Institute of Art and the Institute of Making at University College London will explore how cable telegraphy transformed people’s understanding of time, space and speed of communication. Never-before-seen paintings from the City Corporation’s art gallery and work by prominent Victorian artists will be on display as well as rare artefacts such as code books, communication devices, samples of transatlantic telegraph cables and ‘The Great Grammatizor’, a specially-designed messaging machine that will enable the public to create a coded message of their own.

 Echoes of a far off storm by John Brett (1831-1902), 1890, Guildhall Art Gallery

Paintings by Edward John Poynter, Edwin Landseer, James Clarke Hook, William Logsdail, William Lionel Wyllie and James Tissot will be displayed, all of whom registered a changing world. Four themed rooms; Distance, Resistance, Transmission and Coding will tell the story of laying the heavy cables which weighed more than one imperial ton per kilometre across the Atlantic Ocean floor, from Valentia Island in Ireland to Newfoundland in Canada.

A new future
It took nine years, four attempts and the world's (then) largest ship, the Great Eastern, to complete. The cable enabled same-day messaging across the continents for the first time and sparked new opportunities as businesses were suddenly able to respond to world markets with breath-taking speed.  Governments and military forces were the first to use it. The first 'official' transatlantic telegraph was from Queen Victoria to President James Buchanan.

‘The Great Grammatizor’
Central to the exhibition will be an interactive messaging machine that will produce personal 'coded' poems for the public to enjoy. Three rotating buttons represent 'genre', 'feelings' and 'driving force' and when each is turned to one of seven options and a lever 'cranked' it will produce a one-of-a-kind text for visitors to decipher. Imagined by UCL PhD student Alexandra Bridarolli, it was inspired by 'The Great Automatic Grammatizator' a story by Roald Dahl from his collection Someone Like You (1953).

William Averst Ingram's 'Evening' (1898)

 William Lionel Wylie's 'Commerce and Sea Power' (1898)
The long-distance cable completely revolutionised communications; rather than weeks by ship, messages took minutes (approximately one minute for eight words) to transmit. The cables challenged ideas of space and time and completely transformed the way the Victorians did business and thought about communications. This room features samples of transatlantic cables, William Ayerst Ingram’s ‘Evening’ (1898) and William Lionel Wyllie's ‘Commerce and Sea Power’ (1898).
Edwin Landseer’s ‘Man Proposes, God Disposes’ (1864)
The resistance in the 2,754 km of copper cables was huge and engineers barely understood it, making the passing of signals very difficult. Damage from vessels and the elements also hindered transmission.  Edwin Landseer’s ‘Man Proposes, God Disposes’ (1864), will take pride of place and depicts a British shipwreck and scavenging polar bears. Two never-before-seen paintings will be on display, Thomas Hope McLachan’s ‘The Isles of the Sea’ (1894) and Peter Graham's ‘Ribbed and Paled by Rocks Unscalable and Roaring Waters’ (1885).
James Clarke Hook's 'Caught By the Tide' (1869) 

William Logsdail's 'The Ninth of November, 1888' (1890)
The telegraph companies desired speed but the line needed to clear between signals. To speed things up smaller signals were sent requiring ever more sensitive detectors. Paintings including James Clarke Hook’s ‘Caught By the Tide’ (1869) and William Logsdail ‘The Ninth of November, 1888’ (1890) explore old and new ways of transmitting messages.

To shorten messages and hide secret content from telegraph clerks people used code books and ciphers. Transatlantic code books will be on display alongside paintings that reflect the concept of coding through human interaction. These include James Tissot’s ‘The Last Evening’ (1873) and Solomon Joseph Solomon's ‘A Conversation Piece’ (1884).

'The Last Evening' by James Tissot (1873)

I know I shouldn't say this but James Tissot is one of the most masterful painters when it comes to depicting nineteenth-century, Victorian era cultural and societal norms.  Go to this exhibit if for no other reason than to stare at The Last Evening by Tissot. His works are true beauties to behold.  All the paintings included in Victorians Decoded: Art and Telegraphy are beauties in their own right whether you are looking at the true rough and rugged life of the sea faring captains and fishermen or the washer women and housewives caring for their babies.  I truly wish I could visit this exhibit. There are artefacts as well as paintings, so if this catches your eye then I truly hope you visit Guildhall Art Gallery and I would be most obliged if you would post me an email and let me know how it was!  

I am always happy to share the  news of upcoming UK exhibits.  

For exhibition information, Guildhall Art Gallery

Sunday, August 7, 2016

Review of The House Between Tides by Sarah Maine

Kate Morton meets Daphne du Maurier in this atmospheric debut novel about a woman who discovers the century-old remains of a murder victim on her family’s Scottish estate, plunging her into an investigation of its mysterious former occupants.

Following the death of her last living relative, Hetty Deveraux leaves London and her strained relationship behind for Muirlan, her ancestral home in Scotland’s Outer Hebrides. She intends to renovate the ruinous house into a hotel, but the shocking discovery of human remains brings her ambitious restoration plans to an abrupt halt before they even begin. Few physical clues are left to identify the body, but one thing is certain: this person did not die a natural death.

Hungry for answers, Hetty discovers that Muirlan was once the refuge of her distant relative Theo Blake, the acclaimed painter and naturalist who brought his new bride, Beatrice, there in 1910. Yet ancient gossip and a handful of leads reveal that their marriage was far from perfect; Beatrice eventually vanished from the island, never to return, and Theo withdrew from society, his paintings becoming increasingly dark and disturbing.

What happened between them has remained a mystery, but as Hetty listens to the locals and studies the masterful paintings produced by Theo during his short-lived marriage, she uncovers secrets that still reverberate through the small island community—and will lead her to the identity of the long-hidden body.

  • Atria Books | 
  • 400 pages | 
  • ISBN 9781501126918 | 
  • August 2016
She headed for the dunes to the west and climbed to the top, emerging through the grasses into a scene that was instantly recognisable-her painting, laid out in front of her. The sun was already beginning its slow descent towards a distant horizon, reflected in the pools and rivulets left by the tide, and even the rocks in the foreground were where she expected them to be. Blake must have set up his easel right there, in that sheltered spot in the angle of a ruined wall, and she went and sat where he might have sat, in a place of stillness and calm, and listened to the waves coming ashore.

What a strange sensation it was, feeling the painting coming alive around her. It seemed to envelop her, drawing her in and binding her close with a sense of connection, strange and powerful. And it was here, not at the grim little graveyard, with the flung cries of the seabirds above her, that she felt the spirit of the young painter, restless and driven, glorying in his talent, before his world fell apart. 

True elements of various storylines in du Maurier's, Rebecca along with shades of similarities from Kate Morton's Lake House can be read within the pages of, Sarah Maine's debut novel, The House Between Tides as the description states. I reiterate this point only to let the reader know that what we have here is a stunningly beautifully written Gothic, three generational family story centered upon intrigue, a love triangle, all set in the beautiful Outer Hebrides.  

When I first read the description of The House Between Tides, I prayed that it would not only be a good story but a well written one, as well. All my hopes were brought to fruition and then some!  Intelligently thought out plots with such captivating characters and settings that I could not put this book down. Truly, I never, ever, get tired or frustrated reading about abandoned manor houses trapped between parallel scopes of time, bitter wives trapped in loveless marriages with artistic men who are motivated ultimately by money and power.  Tragedy always seems to be at the bottom of these stories. The problem is most of these books are so poorly thought out, riddled with predictable clichés that the reader gives up a quarter of the way through. Well, not in this case.  

I am getting ahead of myself, I know but I really love this book. I am so happy to discover author, Sarah Maine. It is not always that I find a writer who can structurally create a sound storyline; and so beautifully executed. When this happens, I find myself reading the good bits out loud in a room all by myself so that I can hear not only the tone but the character's thoughts are much better conveyed.  It helps me as I piece together the family lineage. 

Here we have three generations of The Blake Family but I cannot go into specifics or any further details without completely giving away the twist and surprise the reader will discover at the final completion of The House Between Tides.  I only hope Gothic lovers and anyone who loves Scotland and The Highlands will give this book a try. 

Of course, I got completely wrapped up in both storylines i.e. Hetty Devereaux of 2010 researching painter and businessman, Theo Blake along with his wife, Beatrice Blake who hold many, many secrets while living in Muirlan House during 1910...

She left the museum in a daze. She had reached through the years and experienced a past emotional charge, a charge that Blake's photograph and, later, his painting had captured in ways that were poles apart, depicting the joyful beginning and the broken end. And Beatrice's sepia phantom had seared herself onto her mind's eye. She walked slowly back to the hotel, past the lochan fringed with yellow iris, thinking how, over these last weeks, through his paintings and letters, the jagged ill-fitting pieces of Theo Blake's life had begun to come together. And it had been a tragic life, almost operatic in its drama. 

Thank you to Atria Books for mailing my paperback arc edition of, The House Between Tides and available now for purchase,  Amazon

 To pre-order in the United Kingdom, The House Between Tides can be purchased, Amazon UK

NOTE:  It should be mentioned that The House Between Tides was previously published in the United Kingdom under the title, Bhalla Strand by Sarah Maine in 2014 by Freight Books in Glasgow, Scotland. 

Friday, August 5, 2016

Review of Cutting the Gordian Knot - The Final Solution by Kevin Marsh

Two months after their disastrous holiday, Orlagh and Jerry are at home in Ireland recovering from their terrifying ordeal. The Belgae Torc is at last on display at the National Museum and Orlagh is under increasing pressure to divide her time between her work at the museum and heading up an archaeological dig in County Meath. She is convinced that an ancient battle between Iron Age tribes took place here and is determined to prove her theory, but as archaeologists begin to unearth the truth, they are faced with some unexpected surprises. Meanwhile, on the other side of the Atlantic, Jack Harrington is making discoveries of his own and finds himself juggling personal and professional commitments. His organisation is still recovering from recent events in the Mediterranean and is loathed to be drawn into another deadly conflict, but like it or not, there are unresolved issues that cannot be avoided. The Phoenix Legion is about to implement the final phase of its master plan and this time Schiffer is convinced that nothing can stop him from realising his goal. With the past merging with the present, the elements of a deadly conclusion are finally coming together. Will history repeat itself or can another worldwide catastrophe be avoided?
  • Paperback: 318 pages
  • Publisher: Paragon Publishing (14 July 2016)
  • Language: English
  • ISBN-10: 178222470X
  • ISBN-13: 978-1782224709

Cutting the Gordian Knot is a well thought out end to the trilogy. Author, Kevin Marsh does a wonderful job with the varied storylines including chapters on World War II, Hitlerian events. I found that part of the book intriguing.  

My favorite couple are the characters Orlagh and Jerry. They are so good together and good for each other. I have always enjoyed the way Kevin brings them together and keeps their relationship interesting by creating tension and passion!  

There is plenty of history to do with The Celts, i.e. many terrific chapters centered around an ancient object called a, 'Torc' as well as actual Druids who appear out of the mists.  Well, you'll have to read it for yourself but Kevin does such a fine job not only giving the story a believable and interesting ending but the characters come full circle as well. It is not just tied up nicely with a big red bow, Cutting the Gordian Knot is a finely crafted, beautifully written, adventurous ending to a trilogy I thoroughly enjoyed.  

I appreciated a quirky, mysterious character named, 'Pixie Lee'.  She is a online friend of Jerry's that has maintained a friendship throughout the trilogy. She is very funny and very smart. A good person to have in your corner when you need some top secret information shared privately.  Kevin brings her out of her shell a bit more and as usual the dialogue scene's are very funny! 

Take heed and do not worry I believe you can read this as a stand alone novel. If you have not read the previous two books,  you should be able to enjoy it nonetheless.  

I look forward to more books from author, Kevin Marsh. I have always enjoyed his writing style and humor.

To purchase in the United States, Amazon  and to purchase in the United Kingdom, Amazon UK