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Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : J : Jenkins, Amy
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In Honey's world of romance there are two choices. One is sweet, romantic Ed, a gorgeous gardener, who buys red roses, carpets a bedroom in delicate flower petals and says "I love You" without being a) ironic or b) prompted. The other is Alex, handsome, moody and nearly mute, who is something big in Hollywood films, sends you self obsessed e-mails, is a commitment phobe but will hold your hand for hours and a) explain how you are soul mates whilst b) flirting with a water ski instructor. Like, there is a choice? Why not marry one and elope with the other? Yep, that age-old dilemma is at the heart of Amy "This Life" Jenkins' debut novel "Honeymoon".Honey wants romance, but she wants it realistic. There are rich kid helicopter rides, jokey white stretch limos, a feng shui-obsessed sister and American girls called Cherelle who declare: "Hello I also work my butt off at the agency and I'm hot." There's a soundtrack of dance records, casual drug references and cool, inspirational friends. In this modern world the characters are all young, flirty and angst-ridden as befits a time when being "romantic without irony is practically against the law." According to Honey, postmodern romance is like postmodern buildings: spacious, hygienic and soulless. Perhaps the book is a little like that too. It's sly and funny but a little hollow at its heart. The emotional dramas get worked out, but if it still feels like a disappointment it may be because this is more a case of okay for the time being than happy ever after. --Eithne Farry
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In Honey's world of romance there are two choices. One is sweet, romantic Ed, a gorgeous gardener, who buys red roses, carpets a bedroom in delicate flower petals and says "I love You" without being a) ironic or b) prompted. The other is Alex, handsome, moody and nearly mute, who is something big in Hollywood films, sends you self obsessed e-mails, is a commitment phobe but will hold your hand for hours and a) explain how you are soul mates whilst b) flirting with a water ski instructor. Like, there is a choice? Why not marry one and elope with the other? Yep, that age-old dilemma is at the heart of Amy "This Life" Jenkins' debut novel "Honeymoon".Honey wants romance, but she wants it realistic. There are rich kid helicopter rides, jokey white stretch limos, a feng shui-obsessed sister and American girls called Cherelle who declare: "Hello I also work my butt off at the agency and I'm hot." There's a soundtrack of dance records, casual drug references and cool, inspirational friends. In this modern world the characters are all young, flirty and angst-ridden as befits a time when being "romantic without irony is practically against the law." According to Honey, postmodern romance is like postmodern buildings: spacious, hygienic and soulless. Perhaps the book is a little like that too. It's sly and funny but a little hollow at its heart. The emotional dramas get worked out, but if it still feels like a disappointment it may be because this is more a case of okay for the time being than happy ever after. --Eithne Farry
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In Honey's world of romance there are two choices. One is sweet, romantic Ed, a gorgeous gardener, who buys red roses, carpets a bedroom in delicate flower petals and says "I love You" without being a) ironic or b) prompted. The other is Alex, handsome, moody and nearly mute, who is something big in Hollywood films, sends you self obsessed e-mails, is a commitment phobe but will hold your hand for hours and a) explain how you are soul mates whilst b) flirting with a water ski instructor. Like, there is a choice? Why not marry one and elope with the other? Yep, that age-old dilemma is at the heart of Amy "This Life" Jenkins' debut novel "Honeymoon".Honey wants romance, but she wants it realistic. There are rich kid helicopter rides, jokey white stretch limos, a feng shui-obsessed sister and American girls called Cherelle who declare: "Hello I also work my butt off at the agency and I'm hot." There's a soundtrack of dance records, casual drug references and cool, inspirational friends. In this modern world the characters are all young, flirty and angst-ridden as befits a time when being "romantic without irony is practically against the law." According to Honey, postmodern romance is like postmodern buildings: spacious, hygienic and soulless. Perhaps the book is a little like that too. It's sly and funny but a little hollow at its heart. The emotional dramas get worked out, but if it still feels like a disappointment it may be because this is more a case of okay for the time being than happy ever after. --Eithne Farry
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