Walls turns what could have been another sentimental girl-on-the-run-finds-home cliché into a fresh consideration of both...
Memoirist Walls, who has written about her own nomadic upbringing (The Glass Castle, 2006) and her remarkable grandmother (the novelized biography Half Broke Horses, 2009), turns to out-and-out fiction in this story about two young sisters who leave behind their life on the road for the small Virginia town their mother escaped years before.
By 1970, 12-year-old Bean and 15-year-old Liz are used to moving from town to town with their would-be actress/singer mother, Charlotte. When Charlotte takes off to find herself in San Diego, the Holladay sisters know how to fend for themselves, living on potpies and getting themselves to school for several weeks. But then the authorities start sniffing around. Scared they’ll be carted off to foster care, Liz decides they should head cross-country to Byler, Va., the hometown Charlotte left for good when Bean was still a baby. Clearly, Walls borrows from her own experience in describing the girls’ peripatetic life, but she doesn’t waste undue time on the road trip before getting the girls to Byler, where the real drama begins. The Holladays used to own the town’s cotton mill, but all that’s left is the decaying mansion where Charlotte’s widowed brother still lives. Less cutesy eccentric than he first seems, Tinsley gives the girls the security they have missed. Tinsley also reflects Byler itself, a conservative Southern town struggling to adjust to shifting realities of racial integration and the Vietnam War. Bean joins the newly integrated school’s pep squad and thrives by assimilating; creative, sensitive Liz chafes under pressure to conform. Then, Charlotte shows up wanting to take the girls to New York City. Walls throws in an unnecessary melodrama concerning an evil bully of a man who threatens Liz with violence and worse, but the novel’s strength lies in capturing the complexity of Bean’s and Liz’s shifting loyalties.
Walls turns what could have been another sentimental girl-on-the-run-finds-home cliché into a fresh consideration of both adolescence and the South on the cusp of major social change.Pub Date: June 11, 2013
ISBN: 978-1-4516-6150-7
Page Count: 288
Publisher: Scribner
Review Posted Online: March 10, 2013
Kirkus Reviews Issue: April 1, 2013
PROFILES
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
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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