Determined readers will appreciate Améry's valiant efforts to rehabilitate Charles Bovary and his conventional cohort in a...
A reimagined Charles Bovary musters a passionate defense of himself, his wife, Emma, and, seemingly, the entirety of the bourgeoisie in Améry’s slender but dense re-examination of Flaubert’s Madame Bovary.
Essayist Améry, a Holocaust survivor whose biography is called The Philosopher of Auschwitz, produced this, his second work of fiction, in 1978, the year of his death by suicide. This is the first English translation of the work, which follows in the tradition of Jean Rhys’ Wide Sargasso Sea and John Gardner’s Grendel, stand-alone novels—not prequels or sequels—approaching a prior tale from a point of view more sympathetic to a major character than that taken in the original. Employing the familiar cast of provincial characters from Madame Bovary, Améry constructs an argument by the oft-pitied and somewhat discounted Bovary that he was mistreated and misunderstood by readers and Gustave Flaubert alike. Améry’s Charles Bovary is aroused (in all senses of the word) by his defense of the precious Emma and seeks to set the record straight about her treatment of him and, more importantly, about Flaubert’s treatment of him and, by extension, of the bourgeois class so condescended to in the underlying work. Améry asks: "What should we take the reality of a figure from art to mean?" The ensuing discussion of the legitimacy of Flaubert’s vaunted attempt at realistic fiction takes the forms of imagined courtroom accusations and grief-stricken ruminations. Fantasies of revenge and sex, of a belated sort, mark Améry’s assertion of Bovary’s mistreatment, which breaks the fourth wall as well as other conventions of polite novelization.
Determined readers will appreciate Améry's valiant efforts to rehabilitate Charles Bovary and his conventional cohort in a work which is difficult to categorize and even harder to forget.Pub Date: Sept. 4, 2018
ISBN: 978-1-68137-250-1
Page Count: 168
Publisher: New York Review Books
Review Posted Online: July 1, 2018
Kirkus Reviews Issue: July 15, 2018
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
BOOK TO SCREEN
A tour de force.
In 1974, a troubled Vietnam vet inherits a house from a fallen comrade and moves his family to Alaska.
After years as a prisoner of war, Ernt Allbright returned home to his wife, Cora, and daughter, Leni, a violent, difficult, restless man. The family moved so frequently that 13-year-old Leni went to five schools in four years. But when they move to Alaska, still very wild and sparsely populated, Ernt finds a landscape as raw as he is. As Leni soon realizes, “Everyone up here had two stories: the life before and the life now. If you wanted to pray to a weirdo god or live in a school bus or marry a goose, no one in Alaska was going to say crap to you.” There are many great things about this book—one of them is its constant stream of memorably formulated insights about Alaska. Another key example is delivered by Large Marge, a former prosecutor in Washington, D.C., who now runs the general store for the community of around 30 brave souls who live in Kaneq year-round. As she cautions the Allbrights, “Alaska herself can be Sleeping Beauty one minute and a bitch with a sawed-off shotgun the next. There’s a saying: Up here you can make one mistake. The second one will kill you.” Hannah’s (The Nightingale, 2015, etc.) follow-up to her series of blockbuster bestsellers will thrill her fans with its combination of Greek tragedy, Romeo and Juliet–like coming-of-age story, and domestic potboiler. She re-creates in magical detail the lives of Alaska's homesteaders in both of the state's seasons (they really only have two) and is just as specific and authentic in her depiction of the spiritual wounds of post-Vietnam America.
A tour de force.Pub Date: Feb. 6, 2018
ISBN: 978-0-312-57723-0
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Oct. 30, 2017
Kirkus Reviews Issue: Nov. 15, 2017
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