An unsentimental, richly detailed study of loss and its legacy.
The devastation wrought by the Holocaust haunts a chef and his second family.
Blum’s (The Stormchasers, 2010, etc.) third novel is all about the occasionally dire consequences of seemingly innocuous choices. It has three sections, told successively from the third-person vantage point of New York chef Peter, his supermodel wife, June, and their teenage daughter, Elsbeth. Peter, a German-Jewish émigré and a survivor of Auschwitz, deeply regrets not having heeded warnings to get his parents, wife, and twin daughters out of Germany before it was too late. In the United States, he throws himself into running his restaurant, Masha’s, named after his wife, who disappeared, along with their daughters, during a Nazi roundup. Although Masha’s gains a modicum of acclaim (kudos from Craig Claiborne and regular patronage by Walter Cronkite), it ultimately falls victim to a clash between Peter and his wealthy cousin, Sol, his primary investor and only living relative. June, 19 years Peter’s junior, marries him on impulse and gives up her career, although her fame was approaching that of Twiggy. She grows frustrated trying to pierce Peter’s adamantine reserve and rebels with “women’s lib” consciousness-raising sessions and an affair with a Vietnam vet. She’s on the verge of leaving the marriage when Peter suffers a heart attack and must give up work. Elsbeth deals with weight issues, bulimia, her constant comparison of her looks with her mother’s, her father’s sudden decline, and her infatuation with a roué photographer in the Mapplethorpe mold. One of the principal pleasures here is the accurate period window dressing of mid-1960s New York City, '70s New Jersey, and the '80s Manhattan punk world. The writing, evocative yet unassuming, conveys the interiority of the characters, even the minor ones, elevating them beyond the stereotypical. The emphasis here is not on Nazi atrocities, which are only hinted at, but on surviving the banality of domineering relatives, bad marital choices, suburban mores, and body-image woes.
An unsentimental, richly detailed study of loss and its legacy.Pub Date: June 5, 2018
ISBN: 978-0-06-274216-2
Page Count: 432
Publisher: Harper/HarperCollins
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 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
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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