Her most ferocious novel since the Pulitzer Prize–winning A Thousand Acres (1991) and every bit as good.
Smiley roars back from the disappointing Ten Days in the Hills (2007) with a scarifying tale of stifling marriage and traumatizing losses.
Bookish, shrewdly observant Margaret Mayfield discomfits most men in turn-of-the-20th-century Missouri, but she needs to get married. Her father committed suicide when she was eight, shortly after one of her brothers was killed in a freak accident and the other died from measles. Widowed Lavinia Mayfield makes it clear to her three daughters that decent marriages are their only hope for economic security, and the best bookish Margaret can do is Andrew Early, whose checkered intellectual career is about to take him to a naval observatory in California. He’s graceless and self-absorbed, but perhaps it’s enough that he and Margaret share a fascination with “the strange effervescence of the impending twentieth century.” It isn’t. During the years 1905 to 1942, we see Margaret increasingly infuriated by the subordination of her life to Andrew’s all-consuming quest to find order in a universe that she knows all too well “makes no sense.” Their disparate responses to the death of Andrew’s mother in the 1906 San Francisco earthquake and of their infant son in 1909 (the latter among the saddest pages Smiley has ever written) begin Margaret’s alienation. It’s compounded over decades by seeing in her sister-in-law Dora’s journalism career an example of the independent, fulfilled existence Margaret might have achieved if she’d had the courage—and, not at all incidentally, the money. A shady Russian refugee gives Margaret a few moments of happiness, but nothing to make up for Andrew’s final betrayal during World War II—denouncing a Japanese-American family she’s fond of as spies. The novel closes with Margaret at last asserting herself, but that hardly makes up for a lifetime of emotions suppressed and chances missed. Rage and bitterness may not be the most comfortable human emotions, but depicting them takes Smiley’s formidable artistry to its highest pitch.
Her most ferocious novel since the Pulitzer Prize–winning A Thousand Acres (1991) and every bit as good.Pub Date: May 1, 2010
ISBN: 978-1-4000-4060-5
Page Count: 320
Publisher: Knopf
Review Posted Online: Dec. 22, 2010
Kirkus Reviews Issue: Jan. 15, 2010
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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