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Reviews
AST RITES: FROM
HE TRACK TO THE
CRAPYARD
personal account of the last days of steam
uthor John Evans Publisher Amberley Price £12.99 Released Out now
s author John Evans states in his
introduction, there is nothing new about
writing about the last days of the steam
engine on the tracks of our railway, but the
approach he has taken is what sets it apart
m the rest. Evans has told his side of the story
ng photographs that he took when venturing
on that last day of engines and yards alike
t are now a part of history, and sadly mostly
troyed today.
The book itself, while offering personal
ounts of the different images that lie printed in
pages, is often more of a photo album packed
h nostalgia. It offers a vast range of images,
m the partially dismantled Morehampton
nge to the lost stations of old.
t can be a little confusing at times, with
ntinued references towards “a few months ago”
not long ago”, which will unfortunately date
publication quite quickly, as
clear how many months, and how long ago, these
references take place.
The personal touch that Evans gives to his
book is what makes it a more interesting read
– the paragraphs flow as if a novel rather than
a textbook. With able descriptions building a
wonderful atmosphere, and thoughtful tributes
to the lost engines, Last Rites is at its best when
Evans allows his personal attachment and
personality to shine through. Referring to the
engines as “old friends” throughout, Evans offers
enthusiasts the approach to their beloved pastime
that other texts are strongly without.
Though best suited to fans of the railways and
trainspotters, Last Rites could be a great starting
point for those wanting to become involved in
the community. Its easy-to-read approach makes
it suitable for most ages, and the love that has
been channelled into it will surely inspire many
THE UNSEEING
Historical crime fiction at its most fragile
Author Anna Mazzola Publisher Tinder Press Price £14.99 Released Out now
Fresh from the mind of criminal justice
solicitor Anna Mazzola, The Unseeing is
clearly a project that links closely to the
author’s heart. It is based around the trial
of central character Sarah Gale as she waits
for her fate at the hangman’s noose, accused of
the murder of Hannah Brown. More commonly
remembered as the Edgware Road Murder, a
woman was found over the period of a few
months, beheaded and dismantled, limb-fromlimb.
It sounds grotesque, and, really, it was.
The suspects, James Greenacre and Sarah
Gale – found from the writing on the sack that
the body was found in – were found guilty
of Brown’s murder, but even today opinion
is divided as to whether or not Gale was a
‘knowing accomplice’ or merely a ‘unwitting
dupe’ in Brown’s tragic demise.
The story itself is based around the hard facts
of the time, twisted to make the story more
evocative to a modern-day reader. There was no
record of which police officer was paid to look
into the case, which allows Mazzola the freedom
to create a story of her own. Enter Edmund
Fleetwood. It is in her afterword that Mazzola
details what was fact and what was fiction,
which in itself is an interesting read.
Adding to the novel, at the opening of each
chapter – of which there are 45 squeezed into
350 pages – are famous quotes from literature,
ranging from Shakespeare’s King Lear to Eliot’s
Middlemarch to the Morning Post and Mrs
Beeton’s Book Of Household Management. They
each add a touch of flavour to the novel, and
remind you of other great works of fiction and
non-fiction that would have aided and inspired
generations of authors.
Mazzola’s debut is worth the read; it is a great
version of events. Her strengths lie in building
the scenes within which the horrific events
would have taken place, and unfolding a mystery
that has fallen by the wayside.