An entertaining and impressive debut.
A lightly historical novel about two friends and a quixotic theatrical project.
Lampo is 30, unemployed, living with his mom, hanging with his best friend, Gelon, and frequently torn between self-pity and self-indulgence. He’d work well in a buddy film, except that Lampo lives in the town of Syracuse on the island of Sicily some 400 years before the dawn of the Christian Era. For his debut, Dublin-born Lennon taps a few lines from The History of the Peloponnesian War, in which Thucydides writes of how defeated Athenian soldiers were imprisoned in Syracuse’s quarries. As Lampo narrates the tale, Gelon, who’s “mad for Euripides,” proposes to stage his Medea in one of the quarries, using the prisoners as actors. The obstacles aren’t small. The Athenians are purposely underfed and close to starvation. Lampo and Gelon are low on drachmae for costumes and backdrops, not to mention food and drink to keep their cast from that final exit. And attendance is doubtful since most Syracusans hate the invaders from Athens. Lennon initially dwells on the humor in these production struggles (Lampo’s squandering of food money on clothes, coiffure, and general showing off is a delightful episode). He traces Lampo’s growth in self-awareness while moving what seems at first to be a frivolous tale into ever darker waters. He’s economical with period detail and doesn’t shy from anachronisms, like “wreck the buzz.” His subplots bring pointed complications, including Lampo’s love for a barmaid and the usefulness of a wealthy trader. Exploring themes of friendship, loyalty, and the toll of war, Lennon evokes a time when it was common to relish and revere the art of Homer’s poetry and Euripides’ drama. Those with that appetite today are fortunate to have Madeline Miller, Emily Wilson, Pat Barker, and recently James Hynes’ Sparrow. And Lennon.
An entertaining and impressive debut.Pub Date: March 26, 2024
ISBN: 9781250893697
Page Count: 304
Publisher: Henry Holt
Review Posted Online: Jan. 5, 2024
Kirkus Reviews Issue: Feb. 1, 2024
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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