A worthy subject treated with plodding artificiality.
Algerian writer Sansal makes his English-language debut with a novel about brothers who learn their father was a war criminal.
Malrich and Rachel Schiller were born in rural Algeria and raised by an uncle in an increasingly dangerous (and, lately, Islamic-fundamentalist) ghetto in Paris. Rachel, the elder, is the good boy, stable and industrious; Malrich is unmoored, alienated and angry. In 1994, their Algerian mother and German father are killed in a massacre in the village of Aín Deb. Troubled by the fact that his parents are listed under false names in the roster of the dead, Rachel investigates and discovers that his father was an SS officer who worked in Auschwitz and Buchenwald. Devastated by this revelation, he withdraws, loses his job and cuts his ties with loved ones. He devotes himself to an exhaustive study of his father’s sins and to meditation on guilt and penitence. After a visit to Auschwitz, he goes into seclusion, wastes away dressed in the striped trousers worn by camp inmates and eventually gasses himself to death in April 1996 (a culmination revealed in the novel’s opening sentence). The struggling Malrich is left to cope with both his father’s legacy and the havoc it wrought on his brother. Sansal daringly suggests an analogy between radical Islam and Nazism (which may be why the book was banned in his homeland), and his accounts of war-torn, ideologically riven Algeria and the grim ghettoes of Paris are powerful and heartfelt. Regrettably, the novel, told mainly through excerpts from the brothers’ diaries, doesn’t cohere. The musings on moral philosophy can be moving, but Rachel and Malrich ultimately seem less like people than containers for the abstract ideas Sansal wants to explore.
A worthy subject treated with plodding artificiality.Pub Date: Oct. 1, 2009
ISBN: 978-1-933372-92-1
Page Count: 240
Publisher: Europa Editions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2009
BOOK REVIEW
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
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
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