A stunning book which paints the portrait of a broken life with honesty and compassion.
A young Swedish woman who has been brutally murdered spends her afterlife looking down on the Earth she has left behind.
Kristina is only 24 when she dies. She leaves behind her estranged parents, Raksha and Ivan, her dying husband, Shane, and her two children, Valle and Solveig, the elder taken by the state when he was 3 and the younger given up at birth to an adoptive family. Kristina also leaves behind the heroin addiction that gave her days immediate purpose and her murderer, an unnamed man who remembers her with more specific passion than anyone else in her abbreviated life. From her formless position in the afterlife, Kristina looks in on the people she left behind, both as their lives continue and as they existed in the significant moments she revisits as she drifts through a suddenly nonlinear experience of time. Yet, as cruel as the facts of Kristina’s life were—suffused with abandonment, abuse, sorrow, and death—the way she sees the world as it progresses without her is articulated with a kind of pragmatic hope. Nothing will change the facts of death or the bleakness that often precedes it, but what Kristina sees in Raksha as she struggles to live on as the mother of a murdered child; in Valle as he fights his own demons, so similar to his mother’s; in Solveig as she grows into the adult Kristina never had the chance to become are as real as the wasteland that spreads inside the mind of the murderer who chose Kristina to kill precisely because she seemed unafraid to die. In fragmented sections that echo with longing, loss, unutterable sorrow, and yet also a species of joy and light, Stridsberg explores the mind of a woman who gave up her life long before it was taken from her. There is a familiar tradition of dead-girl media in which “the only person of interest…is the murderer, and [the victim] is just a brief glimpse, a blur of green body, and then she is gone, out of the picture, disappearing into the depths of nothingness whence she came.” This book is the antidote to that kind of brutal anonymizing—a novel in which both the wicked and the sublime are scrutinized with the same care by the watchful eyes of the dead.
A stunning book which paints the portrait of a broken life with honesty and compassion.Pub Date: Jan. 18, 2022
ISBN: 978-0-374-27269-2
Page Count: 272
Publisher: Farrar, Straus and Giroux
Review Posted Online: Sept. 28, 2021
Kirkus Reviews Issue: Oct. 15, 2021
BOOK REVIEW
BOOK REVIEW
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
A vibrant tale of a remarkable woman.
Who was Shakespeare?
Move over, Earl of Oxford and Francis Bacon: There’s another contender for the true author of plays attributed to the bard of Stratford—Emilia Bassano, a clever, outspoken, educated woman who takes center stage in Picoult’s spirited novel. Of Italian heritage, from a family of court musicians, Emilia was a hidden Jew and the courtesan of a much older nobleman who vetted plays to be performed for Queen Elizabeth. She was well traveled—unlike Shakespeare, she visited Italy and Denmark, where, Picoult imagines, she may have met Rosencrantz and Guildenstern—and was familiar with court intrigue and English law. “Every gap in Shakespeare’s life or knowledge that has had to be explained away by scholars, she somehow fills,” Picoult writes. Encouraged by her lover, Emilia wrote plays and poetry, but 16th-century England was not ready for a female writer. Picoult interweaves Emilia’s story with that of her descendant Melina Green, an aspiring playwright, who encounters the same sexist barriers to making herself heard that Emilia faced. In alternating chapters, Picoult follows Melina’s frustrated efforts to get a play produced—a play about Emilia, who Melina is certain sold her work to Shakespeare. Melina’s play, By Any Other Name, “wasn’t meant to be a fiction; it was meant to be the resurrection of an erasure.” Picoult creates a richly detailed portrait of daily life in Elizabethan England, from sumptuous castles to seedy hovels. Melina’s story is less vivid: Where Emilia found support from the witty Christopher Marlowe, Melina has a fashion-loving gay roommate; where Emilia faces the ravages of repeated outbreaks of plague, for Melina, Covid-19 occurs largely offstage; where Emilia has a passionate affair with the adoring Earl of Southampton, Melina’s lover is an awkward New York Times theater critic. It’s Emilia’s story, and Picoult lovingly brings her to life.
A vibrant tale of a remarkable woman.Pub Date: Aug. 20, 2024
ISBN: 9780593497210
Page Count: 544
Publisher: Ballantine
Review Posted Online: June 15, 2024
Kirkus Reviews Issue: July 15, 2024
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
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