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RED MILK

The attraction of right-wing European nationalism in one man’s life receives superficial treatment in this dark story.

A young man slides into neo-Nazism in post–World War II Iceland.

The discovery of the protagonist’s body in an English railway car on Page 1 sends an unmistakable signal that this will be a grim book. But this slim novel—the account of a young man’s budding career in nationalist politics in late 1950s and early '60s Iceland, cut short when he dies of cancer at age 24—offers little insight into what brought Gunnar Pálsson Kampen to his ignoble end and even less drama in its telling. There’s nothing about Gunnar’s childhood in postwar Reykavík hinting that through his teens he’ll gradually be transformed into an activist spreading falsehoods about “global Zionism” and defending the “right of the Aryan to cultivate his heritage.” The novel’s epistolary middle section traces Gunnar’s growing attachment to far right ideology through the 1950s, as he connects with real-life characters who include George Lincoln Rockwell, longtime leader of the American Nazi Party, and Nazi sympathizer and spy Savitri Devi, both of whom spent time in Iceland during their lives, without revealing any clear reason for his growing obsession over the hold he claims the “Synagogue of Satan” has on the world or his motivation to create a political party he calls the Sovereign Power Movement in a country whose Jewish population would barely fill a small chapel. In an afterword, Sjón admits he put aside any attempt to “employ pathos or myth” and that what he was “looking for instead was what made my character normal, to the point of banality.” The flaw in that approach is that it turns Gunnar into a character who lacks sufficient depth or interest to engage the reader’s emotions, for good or ill.

The attraction of right-wing European nationalism in one man’s life receives superficial treatment in this dark story.

Pub Date: Sept. 21, 2021

ISBN: 978-0-374-60336-6

Page Count: 160

Publisher: MCD/Farrar, Straus and Giroux

Review Posted Online: July 13, 2021

Kirkus Reviews Issue: Aug. 1, 2021

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THE WOMEN

A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.

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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

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IT STARTS WITH US

Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.

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The sequel to It Ends With Us (2016) shows the aftermath of domestic violence through the eyes of a single mother.

Lily Bloom is still running a flower shop; her abusive ex-husband, Ryle Kincaid, is still a surgeon. But now they’re co-parenting a daughter, Emerson, who's almost a year old. Lily won’t send Emerson to her father’s house overnight until she’s old enough to talk—“So she can tell me if something happens”—but she doesn’t want to fight for full custody lest it become an expensive legal drama or, worse, a physical fight. When Lily runs into Atlas Corrigan, a childhood friend who also came from an abusive family, she hopes their friendship can blossom into love. (For new readers, their history unfolds in heartfelt diary entries that Lily addresses to Finding Nemo star Ellen DeGeneres as she considers how Atlas was a calming presence during her turbulent childhood.) Atlas, who is single and running a restaurant, feels the same way. But even though she’s divorced, Lily isn’t exactly free. Behind Ryle’s veneer of civility are his jealousy and resentment. Lily has to plan her dates carefully to avoid a confrontation. Meanwhile, Atlas’ mother returns with shocking news. In between, Lily and Atlas steal away for romantic moments that are even sweeter for their authenticity as Lily struggles with child care, breastfeeding, and running a business while trying to find time for herself.

Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.

Pub Date: Oct. 18, 2022

ISBN: 978-1-668-00122-6

Page Count: 352

Publisher: Atria

Review Posted Online: July 26, 2022

Kirkus Reviews Issue: Aug. 15, 2022

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