French writer Echenoz brings a revised edition of his 1999 novel to American readers with an introduction by Lily Tuck. The...
A mystery that doubles as a sly work of serious literature.
Felix Ferrer is a middle-aged art dealer who likes to follow routines until the day he leaves his wife with the words, “You can keep everything, but I’m gone.” It's January in Paris; Echenoz has set in motion a story that jumps back and forth in time and among Felix and several people close to him who will disappear in the course of revealing a mystery. Felix will travel above the Arctic Circle on an icebreaker and bring home a treasure trove of ancient artifacts to try to revitalize his business. When his hoard of carved mammoth tusks, musk-ox horn and caribou bone is stolen by a finely dressed, cold and calculating character named Baumgartner, Felix’s life begins a slide into financial fear and bypass surgery. Along the way, he will fall in and out of several trysts with women who may or may not be connected to the heist. Womanizing, like his heart problem, haunts his middle age. Echenoz writes beautiful descriptions and chooses satirical details that poke fun at institutions and poses in our daily lives, including literary convention. This is not your mother’s crime novel. All is set before us by a narrator who intrudes with personal comments and amusing asides: “[D]aily life is too boring,” or “I who am here to tell you that Hélène is highly desirable.” What transpires in the end is a circle of mystery, a romantic romp and, ultimately, a perfect ending for Felix—almost. The next January restarts the cycle as Felix says, “Just one drink and then I’m going.” Again.
French writer Echenoz brings a revised edition of his 1999 novel to American readers with an introduction by Lily Tuck. The translation by Polizzotti is elegant, emphasizing the book's wry humor with economical emphasis. This novel is a quick read and a true jewel.Pub Date: May 6, 2014
ISBN: 978-1-59558-999-6
Page Count: 224
Publisher: The New Press
Review Posted Online: March 15, 2014
Kirkus Reviews Issue: April 1, 2014
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.
Another sweltering month in Charlotte, another boatload of mysteries past and present for overworked, overstressed forensic anthropologist Temperance Brennan.
A week after the night she chases but fails to catch a mysterious trespasser outside her town house, some unknown party texts Tempe four images of a corpse that looks as if it’s been chewed by wild hogs, because it has been. Showboat Medical Examiner Margot Heavner makes it clear that, breaking with her department’s earlier practice (The Bone Collection, 2016, etc.), she has no intention of calling in Tempe as a consultant and promptly identifies the faceless body herself as that of a young Asian man. Nettled by several errors in Heavner’s analysis, and even more by her willingness to share the gory details at a press conference, Tempe launches her own investigation, which is not so much off the books as against the books. Heavner isn’t exactly mollified when Tempe, aided by retired police detective Skinny Slidell and a host of experts, puts a name to the dead man. But the hints of other crimes Tempe’s identification uncovers, particularly crimes against children, spur her on to redouble her efforts despite the new M.E.’s splenetic outbursts. Before he died, it seems, Felix Vodyanov was linked to a passenger ferry that sank in 1994, an even earlier U.S. government project to research biological agents that could control human behavior, the hinky spiritual retreat Sparkling Waters, the dark web site DeepUnder, and the disappearances of at least four schoolchildren, two of whom have also turned up dead. And why on earth was Vodyanov carrying Tempe’s own contact information? The mounting evidence of ever more and ever worse skulduggery will pull Tempe deeper and deeper down what even she sees as a rabbit hole before she confronts a ringleader implicated in “Drugs. Fraud. Breaking and entering. Arson. Kidnapping. How does attempted murder sound?”
Forget about solving all these crimes; the signal triumph here is (spoiler) the heroine’s survival.Pub Date: March 17, 2020
ISBN: 978-1-9821-3888-2
Page Count: 352
Publisher: Scribner
Review Posted Online: Dec. 22, 2019
Kirkus Reviews Issue: Jan. 15, 2020
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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