The Other Eden

I had a difficult time grading Sarah Bryant’s The Other Eden. While there were parts of the book that I didn’t like, there were others that were wonderful. In the end, I asked myself the question, “Would I recommend this book?” and the answer is... well, not really.

Eleanor Rose, a 21-year old piano prodigy still in mourning for her grandfather who raised her, moved to a family estate she’s never seen. Eden’s Meadow, as it’s called, holds many mysteries and secrets, but the greatest of these is that Eleanor’s mother, who died in her infancy, had a twin – a woman who has haunted Eleanor’s dreams for years, and who has essentially disappeared without a trace. Something strange is calling Eleanor, and the vividness of her dreams is mirrored in those of a man she just met—another musician, Alexander Trevozhov, who is staying in a house on the property of Eden’s Meadow.

Alexander and Eleanor, despite a twenty-year gap in their ages, feel instantly drawn to each other, connected in a spiritual way neither can explain. The mystery deepens when a man comes to Eden’s Meadow who is connected to the story of the twins. Eleanor immediately distrusts him. However, there are still secrets—secrets between Alexander and Eleanor, and secrets of the past that have yet to come to light.

I will be clear on one point first: this is not a romance novel. As such, readers shouldn’t expect it to follow the conventions of the genre and I as a reviewer wouldn’t judge it on the same standards that I would most romances. However, it’s still an intriguing story that captures life in 1920s Louisiana, and it’s rich with descriptions and detail. The novel is quite fast paced, though occasionally that is because the characters conveniently jump to (true) conclusions to push the story along. The mystery of the family connections is intricately woven, and sometimes difficult to keep track of. Some parts made me uncomfortable, but that isn’t necessarily a bad thing.

However, there were a number of plot holes that weren’t adequately filled. I also disliked the writing style; it was very narrative, in Eleanor’s voice. The author employs wonderful descriptions, but some of the symbolism felt obvious and overdone. For example, there’s a scene where she says that a vase of roses seemed “corrupt.” Yes, I understand why they are corrupt—but how on earth would Eleanor come up with that as an adjective? So much was based on her intuition and sixth sense of things, but I just didn’t find her to be a particularly reliable narrator. Though told in the first person, there was a sense of omniscience that didn’t fit with Eleanor's voice.

The story was certainly engaging; it drew me in very quickly, and the romance between Eleanor and Alexander, while imperfect, was strong. However, a multitude of little things kept pulling me out of the story, and thus it wasn’t as enjoyable as it could have been.

-- Jane Granville

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