Long in the telling, but a lively portrait of familial, cultural, and amorous entanglements.
An expansive, complex tale of three sisters and the swath they cut across the world.
Scene: a New Year’s Eve party in Stockholm, where Ina Mikkola meets a young man named Hector. Ina has two sisters there, Anastasia and Evelyn, but she doesn’t want to find them, lest Hector “fall in love with Anastasia, the fun sister, the crazy sister…[and then] he would catch sight of Evelyn and then he would quickly let go of Anastasia’s hand and become transfixed by Evelyn’s eyes.” And so it goes over the 650 pages of Swedish novelist Khemiri’s latest, an ambitious epic that spans half a century and crosses oceans to find—well, never exactly happiness, since the sisters believe they’re doomed by a curse never to find it. An interlocutor throughout is a young man named Jonas, who, like the Mikkola sisters, is half Swedish and half Tunisian: He reveals himself as a purveyor of rumors about them (“their mom worked late and on weekends and wore a lot of perfume and black leather boots and always had her designer handbag full of cash”), befitting of the later role that Jonas plays—not just an observer, but in time a perhaps unreliable narrator within the narration, organized, as Jonas says, just as Khemiri’s is, in seven parts, “and each part covers a shorter and shorter period of time, from a year down to a minute.” It’s a daring concept, but Khemiri pulls it off capably, with that last minute containing an especially moving episode. The longer pieces have their longueurs, with Anastasia, drug-addled and lost, taking much of the story’s oxygen, but each part offers a tantalizing bit of a secret that the reader must pursue to the end in order to understand just how Jonas’ story intertwines with the Mikkolas’, even as their lives have over decades.
Long in the telling, but a lively portrait of familial, cultural, and amorous entanglements.Pub Date: June 17, 2025
ISBN: 9780374618896
Page Count: 656
Publisher: Farrar, Straus and Giroux
Review Posted Online: April 19, 2025
Kirkus Reviews Issue: May 15, 2025
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
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
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