Williams, Beatriz. The Golden Hour. New York: William Morrow, 2019. H
Hardcover | $26.99 USD | ISBN-13: 978-0062834751 | 468 pages | Historical Fiction
I find myself a bit conflicted about The Golden Hour, as I often do when it comes to Beatriz Williams books. I love that she writes books with complex, interwoven plots that can take a while to come together, but sometimes it works better than others. And this is a case where some of the more minute things worked, but I found that while there was some payoff, given the fact that it doesn’t really pick up until the last one hundred pages, I didn’t enjoy it as much as some of her prior books.
Conceptually, the book is great, highlighting a topic I knew nothing about: when the Duke of Windsor served as Governor of the Bahamas during World War II. I had heard about some of his and the Duchess’ more questionable connections during the World War II period and the years preceding it (which are alluded to, but not discussed heavily, in the book), but it was fascinating to find out that he was given another political appointment following his abdication. And the fact that there’s an unsolved murder that occurred during his tenure, which formed one of the more interesting elements of the book once it FINALLY kicked into high gear surely did not help his reputation in that regard.
Because of all this, I found the 1940s chapters compelling, even if there was an incredibly slow build up to the excitement discussed in the blurb, and, adding to my frustration, there were two narratives, a sort of “Before” and and “After” following that period’s heroine, Lulu, which aided in suggesting what would happen on her end, but did not help the pacing.
And while I did like the tie-in with the early 1900s/World War I heroine, Elfriede (who, in typical fashion, also serves as the connection to another of Williams’ books), the ending both confused me and let me down, as if it was meant to be two books. Her narrative prior to that was compelling in its own right, with her own love affair with some tragic undertones and questions revolving around the whereabouts of her beloved, who went off to war. But, aside from the initial familial connection between the two arcs, with Lulu falling in love with Elfriede’s son, I felt the ending which purports to bring it all together was a little too confusing.
This is still a great read, and there were things I really enjoyed, like the historical context and some elements of both story arcs, but perhaps I just picked it up at the wrong time for me when I wasn’t necessarily in the mood for a read like this one. But I would still recommend it, especially to readers who have more consistently enjoyed Williams’ past work, or those who are in the mood for a more complex, multi-layered historical fiction read.