A strong entry for a college course on feminism and literature, this is too contrived and didactic to do well outside the...
This love triangle presents a distinctive heroine but more archaic melodrama than those outside academia are likely to enjoy.
A major 19th-century (1843-1920) Spanish writer, Galdós (Misericordia, 2014, etc.) is often ranked second only to Cervantes. This 1892 novel may be familiar from the 1970 Luis Buñuel film of the same name. Set in Madrid, the story begins shortly after the title character is taken in as a teen orphan by an aging Don Lope as he is winding down from years of heedless seduction. She succumbs to his practiced charms and becomes his last great conquest but by age 21 recognizes the limitations of life as a mistress. A chance encounter leads her into a passionate and rather gawky affair with a young painter named Horacio. She refuses, though, to accept another set of fetters. She casts about for a way to keep her lover while becoming independent and productive, mulling at different times painting, music and acting. Galdós’ liberal leanings shape a female iconoclast in the land of machismo. He lays it on thick by making Don Lope an unlikely Lothario of taste, intelligence and Old World gallantry, if not chivalry—there is much of Don Quixote in him without the delusions and innocence. Horacio plays the perfect shallow romantic hero: a handsome artist with money, a house on the coast, a great tan and a bottomless patience for Tristana’s restless ambition. When the young lovers must endure a period of separation, the reader must endure many pages of letters filled with pet names, cute puns and painless torments. Galdós is most interesting and least predictable in the psychological shifts and byplay between Don Lope and Tristana, but the book would need a lot more of that to mute the emotional megaphone of the rest.
A strong entry for a college course on feminism and literature, this is too contrived and didactic to do well outside the world of required reading.Pub Date: Oct. 14, 2014
ISBN: 978-1-59017-765-5
Page Count: 288
Publisher: New York Review Books
Review Posted Online: Aug. 13, 2014
Kirkus Reviews Issue: Sept. 1, 2014
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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