Please note: This review may not be reproduced or quoted, in whole or in part, without explicit consent from the author.

I think writing fictionalised biography is super hard. Simply because fiction is satisfying and ordered in a way that real life rarely is—you know, it offers thematic resonance, emotional trajectories, structure, coherence, catharsis. To be honest, this is probably why I enjoy WWE over, y’know, actual sport. I mention this because, for me, Diva probably does the best it can with the material, given the material in question, is the complicated, messy life of a real person (to the extent it takes a fair few liberties, especially with timelines, and joins a lot of emotional dots that can only be speculative) but runs up against the limitation of art imitating life, and vice versa, less than is emotionally satisfying.

All of which is to say, I liked Diva, I appreciated many of the choices it made in terms of foreground Callas’s personhood, not just her emotional life but her agency, especially as regards her art, but I didn’t—in the end—love it. I know. I know. It’s a book inspired by the life of Maria Callas. Take away my queer card.

Rather than attempting to encompass the whole sweep of Callas’s life, Diva focuses on the approximately ten-year segment that covers her love affair with Greek billionaire, Aristotle Onassis, and his eventual betrayal. Through well-chosen of flashbacks/memories, the book also touches on aspects of Callas’s childhood, including her traumatic relationship with her mother, and her toxic marriage to her first husband, Giovanni Meneghini. I felt the book did a good of job of allowing Callas to be a fully dimensioned character. It doesn’t shy from her flaws, her arrogance, her mercurial temperament, her volatility, but it also highlights her passion and commitment to her art, her extraordinary will and her human vulnerability.

One of the complicated things about the way we tend to deal with the lives of exceptionally talented women in general—and Callas is no exception to this—is an icky cultural need to turn those lives into tragedies. To focus on these women as victims. And, obviously, there are aspects of tragedy to Callas. She died too young. She was losing her voice. She was, indeed, the victim of several abusive relationships, Onassis being only the latest of them. And while the book doesn’t diminish these aspects of Callas’s life, it offers a narrative far more nuanced than one of mere victimhood, helpless exploitation, and inevitable tragedy. If nothing else, it presents a Maria Callas who made choices. Choices that, irrespective of how we judge her for them, were her own. And I personally feel that’s super important, and I admired the way the book carried it off.

Where things came unstuck for me was that Diva fell into a hole between biography and fiction when it came to the prose style. It ends up combining the direct, matter-of-fact narration more typical of biography with the emotional intimacy of fiction, along with more typically fictionalised elements like dialogue. And, unfortunately, that ended up just feeling awkward and unwieldly to me, like too tonally flat to be fully engaging as fiction, and too specific in its perspective to offer the informational scope of biography. In general, I just found everything very … described. It’s very “this is what Maria is doing, this is what she thinks about it, this how she feels” which made the book as a whole feel static, distanced and probably more artless than is really fair. For example:

"She could smell the doughnuts, and her mouth started to water. They were so delicious; one bite wouldn’t hurt surely? But then she made herself remember how large she had been in Venice ten years ago, how the tops of her thighs would chafe against each other in summer, and how awkward it had been to move onstage. She did not want to be that Maria again, the one who dwarfed nearly every tenor she sang with, the one compared by one critic to a praying mantis who mated and then gobbled up her spouse. Her voice was a gift from God, but her figure was the fruit of her own self-denial."

I think I ended up feeling like I was being explained to, or worse, explained at, when I always prefer a text to trust me with some interpretative or intuitive capacity. Or, at the very least, the ability to Google shit I don’t understand. Like, the book goes out of its way to clumsily gloss words (“Maria felt a warmth creep over her. Her mother had never called her agapi mou (my love) before.” or“‘No, absolutely not like that, you, cazzo!’ said Maria, her nostrils flaring with anger, as using the Italian word for prick.”) and that’s the sort of thing that tends to really throw me out of a story.

Diva also has a slightly complicated POV, in the sense that it’s mostly from Callas’s, but it will occasionally swoop into the heads of other character’s pretty much at random:

Tita [Maria’s first husband] stood up and gripped her shoulders. They were so bony now. He remembered the soft flesh that had enveloped the Maria he had married in Verona nine years earlier. Sometimes he wished that she was still that large, badly dressed girl who could always be soothed with pasta and ice cream. He had loved to watch her eat, gobbling her food as if someone were going to take it away from her. She had been a simpler creature then, her Italian strangely emphatic and full of antiquated emotional declarations that she had learned from operas. That girl had known twenty different words for love but didn’t know how to ask for the bathroom.

And, honestly, this is fine. I didn’t have an issue with it. The only reason I mention it is because I slightly struggled with the Diva’s portrayal of Elsa Maxwell. I mean, it’s pretty clear Elsa isn’t a great person, rapacious gossip that she is, nor necessarily a particularly good friend to a more-vulnerable-than-she-lets-on Callas. But Elsa Maxwell was kind of a fascinating person, who did some really cool stuff (including inventing the scavenger hunt), and, you know, gay AF (despite her public condemnation of homosexuality, which was, to be fair, a lot less cool). Except kind of the only thing the book has to say about her is that’s fat, and occasionally mean. Like, there isn’t a single scene in which Elsa Maxwell is present in which there isn’t some gratuitous reference to her size

- She was dressed in swathes of gold brocade that contained her bulk, but only just.
- She […] put her pudgy hand to her heart.
- her ample frame
- her many chins

Beds groan in protest if Elsa Maxwell sit down on them. Decks of boats shake when she walks across. And I cannot for the life of me understand the intended point of this repeated emphasis on body of Elsa Maxwell. Fair enough, yes, in later life she was, indeed, and I say descriptively rather than pejoratively, fat. But if it’s somehow important that the reader knows this, that’s a matter for an introductory paragraph. We don’t have to be reminded over and over and over and over and over again. And the reason I mentioned POV above is because if the book was embedded solely in Callas’s POV then, given her own struggles with her weight and her insecurities about her body, I could, in fact see, why she might choose to dwell on what perceives as the physical flaws of another woman, especially one with whom she has a complex-to-negative relationship. But that isn’t the case. As discussed above, Diva changes perspective fairly freely. Which left this weird obsession with Elsa Maxwell’s size feeling less like it was an insight into Callas’s relationship with her friend, than distaste the book itself was, intentionally or otherwise, communicating.

It's extra weird in context, as well, because Callas’s body, especially after her weight loss, became such a topic of public scrutiny, as the bodies of famous women (and, increasingly, famous men) are wont to be, even though it shouldn’t be anyone’s damn business. And the book is really clear about how gross and damaging this is. So I don’t understand how Diva could be so sensitive to and sympathetic towards Callas’s lifelong struggle with physical self-acceptance and, at the same time, so committed to body shaming a fat lesbian. (And I will add, I know Elsa Maxwell was fairly direct about her own appearance – I think she once said “I have to send out a search party to find my necklace in all my chins” – but the way people talk about themselves and the way we talk about them are different fucking things). To me, as well, the book’s take on Elsa Maxwell becomes extra messy when Franco Zeffirelli—a known abuser—is in here and presented as a fabulous gay bestie for Callas. I mean, maybe they genuinely did have a really warm and supportive relationship (although I will note he was emotionally abusive to women, as well as sexually abusive to men) but it still ended up making me faintly uncomfortable.

Although, having just been fairly critical, there’s a scene near the end where Callas meets Marilyn Monroe at JFK’s birthday (about two weeks before Marilyn’s death I think) which I found fascinating and moving and intriguingly imagined, capturing the spirit of both women, and the strange correspondences between two people who—on the surface—could not be less alike.

So, yeah. Basically, I wish I’d liked this more. I think, in general, I don’t do super well with biographical fiction, which is on me, not on the book. I think, however, – in spite of what ended up being missteps for me personally – Diva does really capture something about Callas. It feels true to her. And that alone is worth celebrating.

They were the two most famous Greeks in the world. Maria Callas was the leading opera singer. Aristotle Onassis was one of the richest men in the world. When they met, they were both married to other people but the passion they felt for each other could not be denied. They spent the next decade together but it was not an easy relationship.

While Onassis loved Callas, he continued to have relationships with other women and then eventually married the former First Lady, Jackie Kennedy after having an affair with her sister, Lee Radziwill. Maria had married a man who also was her manager for her early career but ended her marriage once she met Onassis. In her divorce, he ended up with much of her money.

In this novel, Daisy Goodwin tells Maria's story, her recognition that a singer has a purse of golden coins which is the number of performances before the voice starts to change and go. Maria lived for her music for much of her career but once she met Aristotle, she changed and started living for love. The relationship broadened her emotional repertoire as she experience the emotions of love and jealousy that many of her opera roles portrayed.

Daisy Goodwin has made a career of writing the stories of famous women. Most are set in Victorian times and she also wrote the screenplay for the television series Victoria. In this book, she has moved into more recent times and explored the life and loves of a woman who is not a ruler. Callas was the reigning singer of her time but she never managed to marry the love of her life or have a good family relationship with her mother or sister. Does greatness require pain? This book is recommended for readers of women's fiction.

This book gives you a glimpse into a life of opera, socialites of the time and Maria Callas.
It’s a fast and easy read that often reads more like a gossip magazine than a book but it’s peppered with facts making it enjoyable and fascinating read, especially if you are not too familiar with the characters.

Diva by Daisy Goodwin has gone beyond the media-frenzied relationship between opera star Maria Callas and Greek billionaire, Aristotle Onassis. The dialogues feel real and true, and even though of course much of it is fiction, Goodwin makes it believable.

I've tried multiple times to get into this book, but it's not for me. I tried the audiobook, and it didn't work either. Then I went back to the ebook a couple of times more. The book blurb sounds so good and exactly what I would like, but I can't seem to interest myself past the first few chapters, and I just set it down.

Historical fiction fans will love this one. It’s the story of opera star, Maria Callas, with lots of dirt on Aristotle Onassis. Drama to the max but also luscious, beautiful settings.

Thank you Netgalley, St. Martin's Press | and Daisy Goodwin for free e-ARC of The Diva in return of my honest review.

"Diva" by Daisy Goodwin offers a captivating glimpse into the life of one of opera's most iconic figures, Maria Callas, known as "la divina." The novel paints a vivid portrait of Callas's rise to fame amidst the glittering yet cutthroat world of opera, revealing the complexities of her character and the challenges she faced both on and off stage.

Goodwin skillfully weaves together the threads of Callas's tumultuous early life, marked by a demanding mother and the harsh realities of growing up in Nazi-occupied Greece. This background sets the stage for Callas's relentless pursuit of success and her desire to be seen as more than just a voice. The author effectively captures the duality of Callas's existence: the dazzling public persona and the vulnerable woman yearning for love and validation.

The relationship between Maria and Aristotle Onassis is portrayed with depth and nuance. Goodwin explores the intoxicating highs of their romance, filled with luxury and glamour, alongside the inevitable heartbreak when Onassis chooses to marry Jacqueline Kennedy. This pivotal moment in Callas's life is depicted with emotional resonance, highlighting her struggle to find her true self after the loss of the man she loved.

The writing is lush and evocative, bringing to life the opulence of the opera world and the glamorous circles in which Callas moved. The supporting characters, including famous celebrities of the time, add richness to the narrative, providing a backdrop that enhances the story without overshadowing the protagonist.

While "Diva" offers a compelling narrative, it occasionally feels like it skims the surface of deeper themes related to identity, sacrifice, and the cost of fame. However, the emotional journey of Maria Callas is engaging enough to keep readers invested in her story.

Overall, "Diva" is a good read that effectively captures the essence of Maria Callas as both a legendary artist and a complex woman. Fans of historical fiction and biographies will appreciate the insight into her life and the dramatic events that shaped her legacy. It’s a well-crafted novel that resonates with themes of love, ambition, and resilience, making it a worthwhile addition to any reading list.

Thank you @netgalley and @stmartinspress for sending me this book for review consideration. All opinions are my own.
I really wanted to like this one because I love historical fiction, especially when it involves learning about real people. Unfortunately, I read 45% and decided I just couldn’t get into it, and I wouldn’t be finishing it. It kind of felt like I was dropped into Maria Calla’s story without much context. I knew that she crossed paths with Jackie Kennedy because they both were in love with the same man – Aristotle Onassis, who Jackie Kennedy ended up marrying. But at 45% in, this had barely been introduced. I felt like not a lot happened in the almost half of the book that I read. I know a lot of people that enjoyed it, but for me it was dragging a lot and I kept picking up other books to read while I was reading this.
Because I have to give a star rating, I'm giving this a one star here, because I didn't finish it. I will not post this review anywhere else.

I was intrigued by the premise of Diva, and at the beginning I was really into it. But unfortunately main character Maria became rather insufferable to me and I had a hard time staying interested in her story. I'm also not a fan of opera so I was bored in the many parts of the story that explain and or discuss it. So people who have an interest in opera will probably enjoy this one more than I did.

Thank you to St. Martin's Press for providing me a digital reviewer copy in exchange for my honest thoughts.

** Thank you to Netgalley for this free e-ARC**

This was my first time reading a novel from Daisy Goodwin and I wish I started sooner. This novel was very well written and loved the characters also the plot as well. I really do enjoy reading historical fictions with Hollywood/ fame setting, so I really did enjoyed reading this book and hopefully I'll read the rest of Daisy Goodwin's novels in the future.

Following the life of Maria Callas, Diva dives into this celebrated opera singers life. I admit I did not know much about Maria, or what this book was about, going into it. Historically it was interesting to see a different aspect of the effects of WWII. However, I struggled getting into this one. I found the back and forth between characters to get somewhat boring and there were scenes that I did not think fit with this story at all. I had a hard time becoming invested in this one, sadly.

I absolutely love the history in this book. You hear about Aristotle Onassis and Jackie Kennedy, but you never hear about the first romance with Maria Callas. This deserves a movie. Maria Callas is a fascinating historical figure with little attention, but Daisy Goodwin makes her unforgettable. This book does an excellent job depicting the hidden insecurities of famous women of this time period. Their struggles and those who fail to see it or want to see it.

Thank you to netgalley.com for this ARC.

I was very interested in reading this book about Maria Callas. I had heard of her and her fame, but really didn't know much about her life. It was definitely interesting to hear about her difficult upbringing and relationships with men. I found the portrayal of her a bit flat and one sided....I'm not sure if she was as vain and self-centered in real life as she was portrayed in the book. I found it a little off putting at times.

But overall, an interesting fictional take an a real life person.

Man, this book was intense. If you read "And We Called It Camelot" by Stephanie Marie Thornton, this is the "other woman's" point of view. If you like affairs and historical fiction, give this one a try! 3.5 stars rounded down.

Diva by Daisy Goodwin offers a fascinating look into the life of the iconic opera singer, Maria Callas. The novel does a thorough job of capturing the glamour and drama of her life, from her rise to fame to her relationshinp with Aristotle Onassis. Goodwin’s writing is engaging, and her portrayal of Callas is both vivid and empathetic. This character didn't completely entrance me compared to Goodwin's other novels, but it still made for a good story.
Overall, Diva is an enjoyable read for those interested in the personal life of Maria Callas, but it might not satisfy readers looking for a more comprehensive biography. Thanks to NetGalley for an advanced copy of this book.

I tried to get into this book but struggled. I ended up only getting a few chapters in before DNF. I cant give feedback.

I did not finish this book so therefore cannot provide feedback. I will not post any information on social media.

Maria Callas, a towering figure in the opera world, is depicted not just through her legendary voice but also through her personal and historical challenges. The novel captures the essence of her rise from obscurity during Nazi-occupied Greece to becoming the opera world's most revered diva. This historical backdrop is crucial, painting a vivid picture of her early struggles and relentless pursuit of excellence in a field as demanding as it is glamorous.

Her relationship with Aristotle Onassis adds a layer of complexity, illustrating the intersection of personal desires with historical prestige. Onassis’s influence and their tumultuous relationship are portrayed against the backdrop of a glittering mid-20th-century social scene. The novel emphasizes how Callas's private life and the societal expectations of the time shaped her public persona.

Ultimately, the story reveals how Callas's heartbreak and resilience during a transformative era in her life contributed to her lasting legacy. Her journey through personal and historical upheavals is a testament to her unyielding spirit and artistic brilliance.

Maria Callas – la divina – is, arguably, one of the most talented opera singer of all time. While I don’t know much about opera, or had ever heard of Maria before, I found myself completely immersed in her story and jumping down a rabbit hole of Google searches and Wikipedia links. These types of books are some of my favorite, learning more about the history of a fascinating person.

Raised in Nazi-occupied Greece by her mother who exploited her voice, Maria struggled to find true, genuine love in her life. When she met Greek shipping magnate Aristotle Onassis, she thought he was the one. She was lavished with jewels and shown a life of luxury, and then, in an instant, it was over. Onassis was set to marry Jacqueline Kennedy, leaving Maria in shambles.

I really enjoyed the author’s style of writing and found myself feeling Maria’s emotions and struggles. She was a complex woman with a complicated life, and it was very well-portrayed in this book. I look forward to seeing who/what Goodwin decides to tackle next.

Thank you to Daisy Goodwin, St. Martin’s Press and NetGalley for an advance electronic copy for an honest review.

n the historical fiction novel, “Diva”, Daisy Goodwin creates a tragic heroine in the world renowned opera singer Maria Callas. Although a grand performer, she did not find true happiness off stage because of an estranged relationship with family and a loveless marriage. Callas had great pressures placed on her to perform, which affected her health and ultimately encouraged her to find fulfillment with one of the wealthiest men, Aristotle Onassis. Yes, the famous billionaire who married Jacqueline Kennedy. Maria Callas is drawn to him as he spoils her with jewels and indulges her wishes, but she sacrifices her performances. Her greatest fear is to lose her voice, her golden coins, as Goodwin describes. Throughout the novel, several celebrities the 1950s and 1969s Hollywood make cameos including Princess Grace Kelly (a real flirt) and Marilyn Monroe. In many ways Maria Callas is reminiscent of Marilyn Monroe as both women try to figure out how to navigate fame, beauty, and talent.

Admittedly, I know nothing about opera but I was still fascinated with Maria Callas and the life-choices she needed to make. I also think that Godwin’s portrayals of Princess Grace, Jackie Kennedy, and Jackie Kennedy’s sister were brave as they were not presented as one-dimensional lovely people. This is a good read for anyone that loves the glamour of 1950s and 1960s Hollywood or lives of the elite.

I would like to thank Daisy Goodwin, St. Martin’s Press, and NetGalley for the ARC.