Book Review for Black Cow by Magdalena Ball

Review by Aaron Paul Lazar

Author: Magdalena Ball
Publisher: BeWrite
Genre: Literary Fiction, 290 pages
Paperback ISBN: 978-1-927086-46-9
EPUB eBook ISBN: 978-1-927086-47-6
MOBI eBook ISBN: 978-1-927086-48-3
PDF eBook ISBN: 978-1-927086-49-0
Price: $14.01

Publisher website address:
Author’s personal website:

Black Cow
by Magdalena Ball
Book review by Aaron Paul Lazar

Reading a book by Magdalena Ball is a wonderfully peculiar experience. One moment, you’re sitting innocently in your chair with your Kindle, and the next minute you are whisked inside the brains and bodies of her characters, intimately connected with their soaring spirits or their angst.

I’ve read Ms. Ball’s books before, and have been enthralled by them. SLEEP BEFORE EVENING was the first novel I read, and I was absorbed by the well-told story. I’ve read her poetry, and been impressed with the way she weaves love and science and the wonder of the universe into her work without sounding pretentious or sappy.

BLACK COW, her new release, is a literary novel that breaks through to new levels, immersing her readers into the lives of an Australian family in very serious trouble. The problems don’t show on the outside, but they’re deeply ingrained in the fabric of the family, in their souls, and in their hearts. The metamorphosis of this very authentic family hurts, is hard-earned, and will make you beg for resolution.

It’s not an unpleasant experience—on the contrary—but it feels so real that the reader will absorb Ms. Ball’s characters’ pain like litmus paper soaks up water. I literally had to put the book down and stop for a while, because the stress James and Freya experienced in their intensely acquisitive world felt so uncomfortable that I thought my own blood pressure was spiking.

I ached for them to stop the madness, to look at each other and help each other, and to start thinking about what matters most in life.

Not only do husband and wife James and Freya, or their children Cameron and Dylan jump off the pages, but their inner thoughts and dialogue ring true. Written in third person POV, the reader moves effortlessly from mother to father, to anorexic daughter to the love-starved son. It feels natural and not forced, which is often a hard situation for 3rd person writers to avoid. See this segment from the daughter’s point of view just after her grandmother passed:

Cameron began to cry, so silently that it was almost not a cry at all, just falling rain on three generations of women through the memories of past, the unreliability of the present and the non-existent future. In the cooling entropy of now, she felt a deep connection with the woman who appeared on the page before her, and then jerked her head up, shocked by the snapping of the string. It was as if a helix had unwound inside her. Suddenly the room seemed intensely empty and looking at the picture, Cameron knew that her grandmother was dead.

What resonated most with me were the epic truths behind the story. I often lament today’s society where kids rarely play outdoors just for fun, where their lives are over-organized with everyone hurrying from one activity to another, where every room in the house has a television/DVD player and/or cable box, where each parent has a nice new car, where even children have iPods or iPhones or iPads, where families go on lavish vacations, where shopping is forever for new items (God forbid people are seen near a Salvation Army or Goodwill store, where so many good deals are to be had!), where meals are mostly takeout or quick-fix versions because both parents have to work to help pay for all the prior junk, and where there are few if any slow-cooked meals in anyone’s lives…

What happened to one parent being home, making real mashed potatoes, cooking banana bread, or simmering a stew all day long? What happened to the freedom of coming home from school, getting hugs from mom or dad, finishing up homework, and running outside to simply play? What happened to picking up a stick to sword fight, to digging in big piles of dirt, to jumping in mile-high mountains of leaves?

What happened was people wanting too much stuff, like Freya’s family in BLACK COW. What happened was the stuff growing and building to such an insane level that both parents “have” to work to sustain it.

This vicious cycle is intimately depicted in BLACK COW, and as much as I already fervently believed in living life naturally, simply, making family count first, and being one with nature, this book made me savor it more, made me examine my life even closer, and made me grateful for the decisions we’ve made as a family.

Being a father myself, and having spent 28 years in corporate America, I related to James’ pain. The stress involved in nonsensical, impossible corporate goal setting, the day-to-day grind through traffic and with people who aren’t even close to being friends, really drove home and made me grateful I had personally escaped that life and now work for a small company where the work that gets done actually makes sense! See this insightful passage from James’ viewpoint:

You keep moving like a shark through the ocean so you didn’t die by standing still. But that was a mistake. People didn’t die by standing still. Reflection wasn’t deadly. They wouldn’t die from taking time away from the grind, even if none of them turned on their phones, though there was Cameron texting, even as she was walking towards the plane. It was the motion that would kill them. What was deadly was the running and gathering and shoving to get in front. He leaned towards Cameron: “Turn off the phone.”

When the story pivots after several devastating problems rise to a head, and James can take it no more, the family moves to a breathtakingly gorgeous farm in Tasmania, a long-time dream that Freya has harbored and tried to promote. James quits his job, Freya leaves her real estate sales position, and the kids are uprooted from their private school with the hope that they can run this cow farm, raise their own vegetables, create their own electricity, capture their own rain water, and manage it all with little or no experience.

The process is not easy, there is no magical solution or healing of all ills, but little by little, they pull together. The move to Tasmania was my favorite segment of BLACK COW, and I savored each page. I lusted after the land with Freya, ached to run my fingers over the black cows’ furry necks with James, felt the family’s pains when they weeded carrots, and reveled in the fresh air and gorgeous scenery. Although we live on three acres in the country and grow big gardens, our days of tending livestock are over. But now I want that farm. Badly.

Magdalena Ball writes with insightful realism, but there is beauty and passion and hope woven into the words, as well. See this segment where Freya’s vision is starting to come clear:

The sweater was a vibrant heathery pink, white and green, with bands of snowflakes, crosses and circles. It was more than beautiful. Freya couldn’t stop touching the wool, which was both soft and tough. It was fibrous, textured,and yet still smooth. Jane and her partner were trying to make a living from their unique wool, and there was interest from the mainland. They only lived five kilometres in the opposite direction to Hobart. Though Freya’s own knitting was still a far cry from perfect, somehow the beautiful yarn, Jane’s tips, and those clicking needles were unknitting the muscles in her body and she felt herself relaxing into a kind of half-trance. She couldn’t quite hear Jane’s words as she smiled and kept on with her stitches. Something was becoming clear to her instead. Her life was like this sweater, and she could knit in whatever colours, textures, and emotions she wanted. No matter what, she was the creator of her life, and she could make it glorious or dull, beautiful or flat. It was hers to create. Her children and husband might be inspired or hindered by her, but they had their own lives to knit.

BLACK COW is an intelligent, deeply reflective story of a family who reaches its deepest lows, then transcends the expected norm to reconnect with the earth and each other in a joyful, satisfying adventure.

Highly recommended by Aaron Paul Lazar


Aaron Paul Lazar writes to soothe his soul. An award-winning, bestselling Kindle author of three addictive mystery series, Aaron enjoys the Genesee Valley countryside in upstate New York, where his characters embrace life, play with their dogs and grandkids, grow sumptuous gardens, and chase bad guys. Visit his website at and watch for his upcoming Twilight Times Books releases, FOR KEEPS (MAY 2012), DON’T LET THE WIND CATCH YOU (APRIL 2012), and the author’s preferred edition of UPSTAGED (JUNE 2012).

Repulsion Thrust by Magdalena Ball

Repulsion Thrust by Magdalena Ball
ISBN: 978-1-904492-96-2
Bewrite Books
Publication Date: 2 December, 2009
Paperback, also available in digital e-book version, 110 pp
Price: UK £8.99, USA $17.99, Ca $20.50. Eu €13.50

Available through Ingram, Bertram Books, Gardners, Baker & Taylor, Ingrams, Amazon, Barnes & Nobles and good bookstores everywhere (ask for it).Award-winning poet Magdalena Ball has released a new book of poetry that moves across a terrain not often the fodder of poetry. Following up on her award winning chapbook Quark Soup, Ball combines her pursuit for scientific meaning with the steely-eyed observations of a poet, seeking answers to the human condition through Quantum Physics, and measuring human aging against technological singularity, or the loss of love against ecological destruction. It’s an extraordinary and original collection that author, inventor and futurist visionary Ray Kurzweil calls “wonderful … singularity-aware art with a poetic sensibility”. 

Title poem:

Repulsion Thrust

take any web
worldwide or otherwise
poke holes
break boundaries
make it new
that kind of thing 

no silk is strong enough
for your anger
it isn’t yours really
its mine
my mother’s, your father’s
you get the idea
genetic instructions
writ in your
knit brows

use it
thrust through the repulsion
turn it to love

what else is there?


“In poetry the thin line that divides the hermetic from the obvious is dangerous ground and not all poets can tread there without destruction. Magdalena is comfortable here and not only treads but dances.” Bob Williams 

“Precise and exciting. Words sizzle on the page. Images steeped in the physical world work beautifully to illuminate complex emotions and states of mind. Magdalena Ball is an important poet.” Joan Schweighardt, author of Gudrun’s Tapestry, Virtual Silence and other novels. 

“This is a book of poetry for anyone who has been in love and knows what it is to live in the twenty-first century, but who is more than a little scared of what might happen if all the lights went out. Take these poems seriously. They may just have some of the answers you require.” Catherine Edmunds, author wormwood, earth and honey 

“Magdalena Ball creates a stunning impression with her first full-length collection, Repulsion Thrust. Her poems speak of experience, wisdom, and curiosity and welcome the reader to embrace a voyeuristic ride. Beautiful, haunting, and honest, Repulsion Thrust is a powerful collection with a refreshing voice and an open heart.” Lori A. May, author of Stains 

“Poems of clarity, epiphany and stark existential awareness. A bracing, imaginative collection of poetry that rewards repeated reading.” Sue Bond, The Wordy Gecko

Magdalena Ball was born in New York City and holds a BA from City College, an MA from Charles Sturt University, and has written a Masters thesis on James Joyce and Virginia Woolf. She now lives in Australia where she works in research and development for Orica, a large multinational corporation, a job that often provides inspiration for her work. She also runs the highly respected review site.  Her novel Sleep Before Evening, published in 2007, was a Next Generation Indie Book Awards Finalist. 

Neil Marr at BeWrite Books:
Magdalena Ball:

Will You Love Me Tomorrow by Danny Gillan

Some aspiring musicians wait a lifetime for that elusive record deal. Bryan Rivers waited a lifetime plus three days.  

As if dealing with the suicide of her clinically depressed husband wasn’t difficult enough, to Claire Rivers’ amazement one of the biggest record companies in the country suddenly wants to offer him a contract. When his ‘status’ is viewed as only a minor inconvenience, she begins to wonder if someone, somewhere, is playing a very distasteful joke on her. 

Will You Love Me Tomorrow by Danny Gillan is a comedy about death, depression, grief, loss, friendship, family, haircuts and the music business.

Find out more about the book on: Danny Gillan’s Blog

Buy from:

Review by Magdalena Ball, The Compulsive Reader, June 2009

Will You Love Me Tomorrow
by Danny Gillan
Discovered Authors
ISBN-13: 978-1905108633, Dec 2008, Paperback

How could you not love a book that opens in the midst of a first person narrated suicide and still manages to be funny? Bryan Rivers is a musician who is in the late stage of a suicide when we join him. It’s a hard opening to manage, but Gillan does it with ease, setting the black edged humour of the book perfectly. Though it would have been easy to turn the tortured, depressed musician into a cliché, the reader instead is treated to Bryan’s fumbling attempts to find a pen and piece of paper to write his wife, Claire, a farewell note. By this point in the story, Bryan is in the midst of overdose induced stomach cramps, and it isn’t an easy matter. But he wants to apologise to Claire. As he mentally recounts how he got to this point, it’s almost possible to follow him. In other words, though his almost accidental slide into suicide is a tragic waste, the reader immediately begins to like him and mourn his passing along with his wife Claire.

When, three days after his suicide, record producer Jason Clements offers him the contract he’s waited his whole life for, it’s beyond ironic. But despite Bryan’s death, life, and good music, go on. Danny Gillan’s Will You Love Me Tomorrow is about as black as humour gets, and yet it never becomes farcical or loses the poignant edge. Certainly there is humour and a cast of characters that are real enough to remind you of your favourite boss or in-law. Bryan’s overly pragmatic and usually angry brother Thomas plays a strong part, as does the greedy Fortuna executive Phillip Doland, who is the one caricature in this novel. Claire, Adam, Bryan’s best friend, and Jason are all quirky and deep enough – grappling as they are between guilt and self-actualisation – to believe in and provide a good balance to Doland’s antics.

The humour is sometimes strong enough to get you laughing outloud – from Adam’s crazy haircuts, Jason’s goofy attempts at impressing Claire,or even in the midst of Bryan’s suicide:

He couldn’t believe it. Please let it be a piss-take, please. But it wasn’t. He managed to keep listening as the rest of the travesty played out. His favourite song by his all-time favourite band had been raped! Desecrated! Mollocated! Violated! Buggered up! Ruined! No, not ruined obviously, there was still the original, but he knew he would never be able to listen to London Calling again without this tragic mockery springing immediately to mind.

But underneath the humour, there is transformation. Claire, Adam, and Jason all grow throughout the course of the novel, and Bryan’s very believable depression is handled with sensitivity, providing a thoughtful foil to the light heartedness of the interactions. The balance between the shallow and financially driven world of the recording industry, and the serious emotional toll of this loss on Bryan’s family is handled deftly, never giving in to sentimentality.

Each chapter begins with a quotation from one of Bryan’s songs, and although the poetry itself isn’t strong, it does help to keep Bryan at the centre of the reader’s focus. Though the book is never sad as such, the reader’s privy perspective from the novel’s start creates a poignancy that underlies the zany. Will You Love Me Tomorrow is an easy, fast paced read, full of funny twists and pithy insights. There’s a musical spring to Gillan’s style that belies the seriousness of his topics, covering a broad range of topics including the impact of depression and death on friendship, love, how we move on past tragedy, the music industry, art versus public relations, and family jealousy.

About the reviewer: Magdalena Ball runs The Compulsive Reader. She is the author of Sleep Before Evening, The Art of Assessment, Quark Soup, and, in collaboration with Carolyn Howard-Johnson, Cherished Pulse and She Wore Emerald Then. She runs a monthly radio program podcast The Compulsive Reader Talks.