2008-10-04 Not so impressed

The Sloane Ranger died a death of many blows - sadly - including self-inflicted wounds from the family black sheep: "Hooray Henry." What a pity, therefore, that Rachel Johnson here brings "Hooray Henry/Henrietta" back to life (if with brains) in her cast of amoral, smug, super self-confident, brittle, insincere characters who are all strangers to true self-doubt (or any degree of niceness, despite the old solipsistic boo-hoo in the larder). Anything and everything louche - especially adultery - is of little import to them.

Furthermore, SHIRE HELL is peppered with construction faults that would surely have had the manuscript, if penned by an unknown name, consigned from Slush Pile to WPB faster than one can say: "Mayor of London/newspaper columnist." Is it not an absolute rule that all characters in commercial fiction must be cast with an individual voice? Here, Mimi and Rose are almost interchangeable. Equally, are not false scents only allowable if, ultimately, they have a contribution to make to the overall intrigue or forward movement of the plot? So why did the author note Jesse Marlon's preference for sex by the back door, rather than the front? What did that achieve or lead to? And the departure of the Au Pair to be replaced by an Australian hunk (sketched nigh invisibly)? What insight did that offer? Oh! thinking of insights - what was the relevance to the plot of the Hedge Fund Manager deciding to train in Psychotherapy? Was he anticipating the Credit Crunch, perhaps? Yes/No? Whatever; it came to naught.

Still, the seemingly endless references to Boden and Cath Kidson must have made their marketing people purr with pleasure. Not me.