A diverse range of vivid characters brings human faces to a historical protest march.
A landmark 1915 protest for women’s suffrage is the setting for the dozen short stories in this rousing anthology.
This year marks the 100th anniversary of the 19th Amendment, which guaranteed women’s right to vote. These stories by writers known for historical fiction focus on an event five years before, a march in New York City by 25,000 supporters of suffrage, “a three-mile-long argument for women’s rights.” Several of them bring to life real people; among the strongest is Jamie Ford’s “Boundless, We Ride.” Its protagonist is Mabel Ping-Hua Lee, a Chinese-born suffragist who would become the first woman to earn a Ph.D. from Columbia. Ford makes her a fiercely determined figure with a surprising, and touching, inspiration. The only story not set in New York is “American Womanhood” by Dolen Perkins-Valdez; its first-person narrator is Ida B. Wells-Barnett, the Black suffragist and early civil rights leader. At home in Chicago, she recalls a humiliating event at a 1913 march, an example of racism that seems all too current a century later. Some historical characters recur, like the millionaire Mrs. Alva Vanderbilt Belmont. She’s an imposing but remote presence in Katherine J. Chen’s “Siobhán,” which focuses on one of her housemaids; in Fiona Davis’ “The Last Mile,” Alva is a conflicted and more human main character. Other stories are built around fictional characters, many of them immigrants. In Christina Baker Kline’s “The Runaway,” Kira, a homeless 12-year-old from Ireland, sees the march as a gateway to her future and freedom. But for Ani, the Armenian refugee in Chris Bohjalian’s “Just Politics,” the protest triggers her worst memories of the political massacre that took her entire family. One character, irrepressible 7-year-old Grace, appears in “A First Step” and then pops up in many other stories, wearing a “Miss Suffragette City” sash and recording the scene with a Brownie camera.
A diverse range of vivid characters brings human faces to a historical protest march.Pub Date: Oct. 27, 2020
ISBN: 978-1-250-24133-7
Page Count: 320
Publisher: Henry Holt
Review Posted Online: July 13, 2020
Kirkus Reviews Issue: Aug. 1, 2020
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.
A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.
When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.Pub Date: Feb. 6, 2024
ISBN: 9781250178633
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Nov. 4, 2023
Kirkus Reviews Issue: Dec. 1, 2023
PERSPECTIVES
BOOK TO SCREEN
SEEN & HEARD
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
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