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Holy Fools: A Novel (Harris, Joanne)
Joanne Harris

William Morrow, 2004 - 368 pages

average customer review:based on 31 reviews
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   highly recommended  highly recommended





Sparks fly when fire meets fire!

When a book refuses to be put down, I know that reading it is time well spent. The story did not lag at any point and every thing made sense in the end. It's a story of love, betrayal, and reconciliation. After devilish LeMerle betrays the fiery Juliette, she was sure that she never wanted to see him again. Pregnant and alone, she joins a convent and for 5 years lived in peace until LeMerle shows up, posing a priest and confessor to the abbey's new abbess. I love the way Ms. Harris can keep me wondering about what secret LeMerle is keeping. I was on pins and needles as Juliette tried to figure out what he was up to. LeMerle is the bad boy that every woman loves and as a priest, he got the nuns at the abbey at his beck and call. Except for Juliette. But he devises a plan to force her compliance with his plans to humiliate the Bishop of Evreux, the abbey's sponsor. Juliette is determined to thwart his plans and all hell breaks loose. Who would think that so much excitement can go on in a abbey?


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Disappointing

My biggest issue with this book is the fact that the main character seems so thoroughly one-dimensional. Her daughter, rather than being her driving reason for being (compare to the firece motherhood themes in Chocolat) serves only as a plot device - the main character is forced to remain witness to terrible events because her daughter is held captive. But this captivity is false and unreasonable. The villain holding the girl from her mother is seduced by the mother, not - as you might imagine - to gain vital information on the daughter's whereabout in order that they may flee, but rather because the mother is still haunted by some strange fascination for this man, despite his numerous sins against her.

Honestly, this is not written from a mother's perspective and I think it would have been better to employ another literary method to force the main character's presence. Vianne (Chocolat) would have fought hell and high water to rescue her little girl; the presented idea here of bidding time quietly rather than escaping with my girl in the dead of night is jarring and unrealistic to me.



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Disappointment

Holy Fools / 0-552-77001-9

What happened here? I loved Chocolat, and I adored Five Quarters of the Orange. Holy Fools, however, seems like it came from a completely different author. The book is acceptable, but not up to Harris' standards.

To start, the standard Mother-Daughter theme that Harris employs so well is deeply underdeveloped here as more of a plot device than anything else. There was a lot of potential here - a nun with a beloved daughter, raising her in the nunnery, safe from the outside world, and yet perhaps a little too sheltered. The daughter could be a little wild, a little free, a little rebellious, wanting to know the curiosities of the outside world. Or the daughter could be content, yet the mother conflicted that her safe daughter might be missing so much. Vianne would do that. Not so here - the only real point of the daughter seems to be to get herself kidnapped and squirreled away so that our heroine cannot flee the chaos, interfere effectively, or do much else besides narrate the descent into madness she is forced to witness.

I could accept the "daughter as hostage" plot device, were the main character not so otherwise one-dimensional. Though the villain has cruelly treated her numerous times, including (and most recently) kidnapping her daughter and taking over her sanctuary for his own nefarious purposes (including seducing the nuns late at night), she seems less intent on bearing a grudge and more intent on mooning her way back into his bed. I was more than a little enraged at a late-at-night scene in his house - if you had a moment alone with the man who kidnapped your daughter, would you sleep with him and cheerily leave the next morning, or would you wait until he was asleep, tie him up, and then 'persuade' him to tell you where he stashed your child? I don't even have children, yet I know what I would do. The fact that rough persuasion does not seem to ever occur to our heroine is completely maddening, especially given that Harris has gone out of her way to emphasize that the lady has wonderful survival skills and could manage easily outside the nunnery, even with her child. How can someone so resourceful be so helpless for 90% of the narrative?

Harris' crisp insight into females isn't just lost on our heroine. All the women in this novel are worthless, emotional idiots. The nuns quickly and easily descend into madness, under the manipulation of the villain. This isn't presented as religious hysteria a la Salem - instead, the women seem either intensely stupid or completely eager to join the villain for their own reasons (lust, hatred, attention-seeking). The subtlety necessary for religious hysteria seems completely absent here, which is astonishing, because I believe that if anyone could have pulled it off, Harris could have. Again, what happened here?

This isn't a bad novel. It's got enough cliches to shake a stick at, and it's incredibly frustrating at bits, but so are many decent novels. But this is a bad novel for Harris. You may enjoy this, if you check it out at a library, or find it at a half-price store, but don't expect Harris quality. In the end, I didn't hate it, but I was deeply disappointed.


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reviews: page 1, 2, 3, 4, 5, 6, 7



With her internationally bestselling novels Chocolat, Blackberry Wine, Five Quarters of the Orange, and Coastliners, Joanne Harris has woven intoxicating spells that celebrate the sensuous while exposing the passion, secrets, and folly beneath the surface of rustic village life. In Holy Fools, her most ambitious and accomplished novel to date, she transports us back to a time of intrigue and turmoil, of deception and masquerade.

In the year 1605, a young widow, pregnant and alone, seeks sanctuary at the small Abbey of Sainte Marie-de-la-mer on the island of Noirs Moustiers off the Brittany coast. After the birth of her daughter, she takes up the veil, and a new name, Soeur Auguste. But the peace she has found in re-mote isolation is shattered five years later by the events that follow the death of her kind benefactress, the Reverend Mother.

When a new abbess -- the daughter of a corrupt noble family elevated by the murder of King Henri IV -- arrives at Sainte Marie-de-la-mer, she does not arrive alone. With her is her personal confessor and spiritual guide, Père Colombin, a man Soeur Auguste knows all too well. For the newcomer is Guy LeMerle, a charlatan and seducer now masquerading as a priest, and the one man she fears more than any other.

Soeur Auguste has a secret. Once she was l'Ailée, "The Winged One," star performer of a troupe led by LeMerle, before betrayal forced her to change her identity. But now the past has found her. Before long, thanks to LeMerle, suspicion and debauchery are breeding like a plague within the convent's walls -- fueled by dark rumors of witchcraft, part of the false priest's brilliantly orchestrated scheme of revenge. To protect herself and her beloved child, l'Ailée will have to perform one last act of dazzling daring more audacious than any she has previously attempted.




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