A cheerless but supremely well-crafted story that proves Franco to be among the best Latin American writers at work today.
A prodigal son returns to a spectral Colombia in a novel by a writer praised by Gabriel García Márquez.
“My father’s [death] obeys a natural law in Colombia—the law of the jungle.” So says Larry, returning to Medellín after a dozen years away, his father having been kidnapped and killed in the endless cartel wars. His father, Libardo, was a man accustomed to luxury, for, as Franco’s (Paradise Travel, 2006, etc.) novel unfolds, with the time and point of view constantly shifting, we learn of his powerful place within the crime syndicate ruled by Pablo Escobar. His boss gunned down, anguish eats at Libardo as he realizes that he’s now a target himself. He disappears, leaving his wife, “the former Miss Medellín 1973,” to drink, shop, and slowly disintegrate. In a scenario reminiscent of Bret Easton Ellis’ Less Than Zero, Larry and his friends drink, smoke pot, snort coke, and look for something to do, trading barbs that the translator renders in perfect young Americanese, “dudes” and “bullshit” and all. Those friends bear names like La Murciélaga (Batwoman, that is), Carlos Chiquito (Teeny Tiny Charles), and Pedro the Dictator. Collectively they slide, free fall, into addiction and the betrayals large and small that, Franco suggests, are inevitable in a society consumed by violence: “I’d often pass by the site of a recent explosion and shudder at the wreckage, the dried blood,” Larry recalls of Escobar’s car-bomb campaign. “Anything might be a piece of leg, an arm; a pile of something would look like a pile of guts, and there was always a lone shoe somewhere, loose sneakers, flip-flops, boots amid the rubble.” A dark moment comes when it slowly dawns on Larry that his mother and his best friend are up to no good, and vengeance follows with a flicker of magical realism courtesy of an appearance by Libardo’s ghost. For the most part the story is grimly realistic, however, even as it ends with a welcome suggestion of redemption
A cheerless but supremely well-crafted story that proves Franco to be among the best Latin American writers at work today.Pub Date: May 19, 2020
ISBN: 978-1-60945-589-7
Page Count: 352
Publisher: Europa Editions
Review Posted Online: Jan. 26, 2020
Kirkus Reviews Issue: Feb. 15, 2020
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
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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