Beautiful prose, particularly the evocative descriptions of landscape, isn’t enough to redeem such a sour heroine.
Whitbread winner Fletcher chronicles the life of an older sister who feels very, very sorry for herself.
It’s somewhat unreasonable of narrator Moira, since it’s 16-year-old Amy who’s been in a coma for four years. But Moira’s nose has been out of joint ever since Amy was born when she was 11; the very news of her mother’s pregnancy, after three traumatic miscarriages, prompts the clever, angry girl to choose a scholarship at a far-off boarding school over offers from institutions closer to her just-scraping-by family’s home in an English seaside town. The other students at Locke Hall Residential School for Girls aren’t very nice to tall, skinny, bespectacled Moira, who excels in the classroom and endures all else, resenting the anxious, loving letters from her mother and utterly refusing to engage with baby Amy on her infrequent visits home. Readers might be more inclined to sympathize if Moira weren’t already overflowing with self-pity, convinced that no one cares about her despite considerable evidence to the contrary. Indeed, it’s difficult to understand why budding artist Ray would dump Heather, nastiest of the Locke Hall bullies, to write letters from his world tour to sullen, who-could-love-me Moira. She marries him instead of going to medical school, a move the author may see as a tribute to love but which comes across as another self-inflicted injury to add to Moira’s pile of grievances. She rewards her talented, adoring husband by taking up with his brother, and it’s darkly hinted that Amy’s catastrophic fall from a huge rock is somehow related to the fact that Moira used to swim to it. Moira’s monologues at Amy’s hospital bedside are meant to demonstrate her new maturity and compassion, her growing love for Amy and Ray, but after her litany of miseries that seem almost entirely her own doing, few will care much about her alleged redemption.
Beautiful prose, particularly the evocative descriptions of landscape, isn’t enough to redeem such a sour heroine.Pub Date: Aug. 20, 2007
ISBN: 978-0-393-06003-4
Page Count: 288
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2007
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
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
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