An exceptional novel about the transcendent possibilities of literature, friendship, and contemplation.
A newly uncovered 19th-century diary describes a brief but vivid friendship between the writer and a young Anton Chekhov.
The literary press that Katya Kendall runs with her husband is in danger of failing when they come across a project that could keep them afloat: a diary, written in Russian in the late 19th century, by a young woman named Zinaida Mikhailovna. Trained as a doctor, Zina, as her family calls her, has recently been blinded by an unnamed illness. She's dying, but she begins writing in the diary to keep herself occupied. (She uses a notched ruler to track her writing across the page, since she can’t see it.) But what makes this diary truly momentous is Zina’s friendship with a young man whose family rents the guesthouse connected to her family's rural estate. Like Zina, the young man, Anton Pavlovich, has been trained as a doctor, but he is also a writer. Katya and the translator she hires to work on the diary, Ana, immediately recognize this young man as Anton Chekhov. Anderson, herself a translator (of Muriel Barbery’s The Elegance of the Hedgehog, 2008, among other things) and author of two novels (Darwin's Wink, 2004, etc.), has written a gorgeous elegy to a great Russian writer. Her Chekhov is a witty and mercurial but gentle and kind man who spends long afternoons with Zina, discussing everything from his writing (which he insists he only engages in to put “bread on the table”) to Zina’s fear of dying. But Chekhov forms only one facet of this remarkable novel, which is also a moving account of three women separated by time, nationality, and geography and how each comes to terms with her own life. Like Zina, both Katya and Ana are, to greater or lesser degrees, isolated from others and, because of that isolation, thrown into a period of reflection. Like Zina, they ruminate upon the past, the various whims—of fate and of their own—that have steered them to where they are now. Anderson’s characterizations of Katya, Ana, Zina, and the young Chekhov are delightfully complex, and she treats them with patience, sensitivity, and sympathy. Her prose is the height of elegance. Here’s hoping that she follows this novel with more of her own.
An exceptional novel about the transcendent possibilities of literature, friendship, and contemplation.Pub Date: May 24, 2016
ISBN: 978-0-06-242336-8
Page Count: 400
Publisher: Harper/HarperCollins
Review Posted Online: March 2, 2016
Kirkus Reviews Issue: March 15, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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