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If We Were Villains: M.L. Rio Pocketbok – 30 Juni 2017

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A vivid and immersive story of obsession perfect for fans of dark academia and Donna Tartt's The Secret History

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Längd (tryckt bok)

400 sidor
Språk

Engelska
Utgivare

Titan Books
Publiceringsdatum

30 Juni 2017
ISBN-10

1785656473
ISBN-13

978-1785656477
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Produktinformation

Utgivare ‏ : ‎ Titan Books; 1:a utgåvan (30 Juni 2017)
Språk ‏ : ‎ Engelska
Pocketbok ‏ : ‎ 400 sidor
ISBN-10 ‏ : ‎ 1785656473
ISBN-13 ‏ : ‎ 978-1785656477

Rangordning för bästsäljare: #364 i Böcker (Visa Topp 100 i Böcker)
- #4 i Thrillers & spänning
- #8 i Mysterier
- #9 i Brottslighet

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3 437 betyg

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4,6 av 5

3 437 övergripande betyg

5 stjärnor		77%
4 stjärnor		14%
3 stjärnor		6%
2 stjärnor		2%
1 stjärna		1%

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Toppenrecension från Sverige

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David Dzabic-Buck

Fantastisk bok!

Recenserad i Sverige 🇸🇪 den 9 november 2022

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McManus

Okay, up to a point

Recenserad i Storbritannien den 20 augusti 2018

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Obviously influenced by Donna Tartt but nowhere near the same quality. Good first page, then goes too slowly, too laboured, then picks up the pace and the mystery, but descends into implausibility. The protagonist's actions just make no sense and the ending and explanation thereof are just plain unbelievable. Larded with Shakespeare quotes - and unfamiliar ones in the main - which is part of its theatrical-school setting, but some are too drawn out and annoying. Needed an editor. It's an okay, literary-novel read though massively over-hyped of course. She was lucky to get it into print.

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Lizzie

It's good but...

Recenserad i Storbritannien den 8 november 2022

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I enjoyed this book but if you're hoping for something to rival Donna Tartt 's The Secret History, this is not it. It is dark academia and it has it's merits but I chose it specifically because of the amount of times it has been compared to The Secret History in reviews. You might want to give it a go but it doesn't hold a candle to Donna Tartt 's masterpiece.

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David Harris

Lots of drama!

Recenserad i Storbritannien den 9 juli 2017

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I'm grateful to the publisher for sending me an advance copy of this book.

We are frequently told publishing is getting more and more safe and bland. I don't know whether or not that's actually true - It's big! There's lots of it! - but a book like this is certainly evidence of the opposite.

Taking an idea, and written in a style, that would surely be struck down if one were merely concerned about populist success, this is a thriller that glories - in both form and content - in Shakespeare and of the theatre.

Oliver is a young student at a prestigious US arts conservatory. Dellecher reads a little like a Hogwarts for thespians - complete with a Gothic style castle, a local bar (the 'Bore's Head' - a Shakespeare joke) and extensive grounds, including a lake.

The theatrical training is rigorous, and the acting students are the crème de la crème with the 4th years at the very top of the social scale: every year, students are weeded and the survivors expected to shine. A quirk of Delecher is that only Shakespeare is taught and played: there's something of a culty atmosphere with lines of his dialogue snapped back and forth (either in their original form or tweaked on the fly) between the students. At times I felt a bit inadequate for not knowing where they all (or, I'll admit it, most of them) came from. I'm sure it would add to one's appreciation of the story to know, but it was still perfectly accessible - and, as I said, this feature of the language helps establish just how inward looking the college is.

That's supported by the scant information we get about the students' backgrounds. We only learn a little about Oliver and in a couple of memorable scenes, see his family - his troubled elder sister who is clearly anorexic and his younger sister, desperate for his help and support. Oliver pretty much cold-shoulders them: he's a fascinating central character but does seem rather emotionally distant which becomes a key theme as the college year passes and a heady emotional brew begins to simmer.

Since this book is riffing off Shakespeare, a key ingredient of that brew is, of course, jealousy. Professional (well, studental) jealousy over parts, roles and prominence; personal jealousy over lovers and status. In a narrow, already cliquey setting the temperature rises quickly (fuelled perhaps by the students' prodigious appetite for substances, of various sorts - no, despite what I said, we're really not in Hogwarts now). With passion to be portrayed on stage, there are many opportunities for personal disputes to bleed over into what is acted out, creating an atmosphere of danger and possibility that is fairly crackling and sparking by the middle of the book.

I should add that the story is narrated by Oliver ten years later as he is released from prison. That isn't a spoiler as it's established in the first few lines of the book. Why he was there is what unfolds in the book - and there are many other twists involved that I won't describe because this is above all a high stakes, tense thriller.

What I will say is that it's here Rio really brings Shakespeare to her storytelling. The quoting of lines, the extracts from the plays that the students are performing, adds atmosphere but isn't the heart of the matter. What is key is the structuring, the giving of life to the themes of the plays and above all, the way that the students live dual - or do I mean triple? - lives, playing their own roles, their parts in the plays and, perhaps, somewhere underneath, being real people. And doing all this consciously. It all makes for a powerful, at times almost creepy, experience (in one scene there's a dramatic confrontation in a panelled, candlelit library) not least because we know from the plays some of the bad things that can happen in this invented world.

Done badly, this could quickly become very pretentious but Rio avoids that, in part by having her narrator Oliver apparently be one of the more ordinary and grounded of the students, his emotional apartness meaning he's only half in the same world as the others, a suitable interpreter for Detective Colborne who's hearing it - and also for us.

In a wider, and deeper, respect she's aided of course by the storytelling genius of Shakespeare himself and by his sheer ubiquity in our culture. Yes, it might be an advantage to have read or seen the plays but even if you haven't, you'll know enough of the themes, the characters, the situations that underlie this story.

I said above that this book is far from being safe or bland publishing. I wouldn't want to be taken as my meaning it's difficult or inaccessible - I don't. It is a very different book, one that takes a little getting into, but once you do that, it is just so rewarding.

A strong recommendation from me, then, and kudos to both ML Rio and to Titan for doing something new and fresh.

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Jennifer McDade

I think i got a mixed up copy

Recenserad i Storbritannien den 19 januari 2023

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I have been wanting to read 'If we were villiains' for some time now. I saw that this special edition had come out and grabbed a copy. When I started reading I noticed there is no act 1 and instead started from the last act, so I had read the ending before the beginning and then straight into act 2. After I finished the book I left like I had missed something important. When I spoke to a friend and they showed me their copy I released my copy had been printed with end last act instead of act 1. I have caught up with the first act now and I have come to like my strange copy of the book.

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Ashley Adams

“You can justify anything if you do it poetically enough.”

Recenserad i Storbritannien den 12 april 2021

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If We Were Villains was read full of twists and tension. For the last 100 pages, I felt as though I was constantly holding my breath. It was an absolute page-turner and a thrill to read.

This novel was full of shock upon shock. I didn't know what was going to happen the entire time, but I was completely there for the ride. Everything I expected to happen somehow took a darker turn, an I was fully immersed.

This has been my favourite read of the year so far. Which surprised me after I bought this book on a whim. This is not my usual genre.

What I loved:

The Characters - The characters in this book felt like real, fully formed humans. Oliver, my beautiful Oblivious Oliver, had sat across the room from me as he recounted the nights leading up to and post tragedy. I was connected to these characters like they were old friends. Though pretentious and definitely not my kind of people, they were incredible. I loved their dedication to each other; it reminded me of my own friendships in University.

The Writing Style - Rio’s style is really where this book shines. Mixing traditional style with that of script writing was absolutely perfect for this book. Reading this, I felt as though I was watching a mini series, with each act it’s own episode. It was brilliant.

The Pacing - Splitting this book over 4 acts allowed for the tension to build at the perfect pace. There were no parts where I was bored or skim reading.

The Ending - Wow. That ending was heartbreakingly tragic.

“But that is how a tragedy like ours or King Lear breaks your heart—by making you believe that the ending might still be happy, until the very last minute.”

What I didn’t love:

This is not the books fault, nor the Author. I wish that I had a greater knowledge of Shakespeare before reading this book. I knew some of the main plot beats from Macbeth, King Lear and Caesar, but I know that having more knowledge of Shakespeare’s plays would’ve positively impacted on my experience with this book.

That said, I was still able to figure out the foreshadowing and the ultimate ‘twist’/revelation in the end.

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