Axie’s profane Irish brogue is vividly recreated with virtually no anachronistic slips, and though a certain degree of...
A rollicking romp through 19th-century American contraception inspired by the true story of a Manhattan midwife.
In 1860, Axie, nee Annie, is “rescued” from a New York slum along with her siblings and sent West on an orphan train. In the Illinois prairie, Axie’s younger sister Dutchie and brother Joe find homes, but the irascible 12-year old is sent back to New York along with Charlie, another street-wise urchin. Axie reunites with her mother, but her joy is short-lived: After “Mam” delivers an infant who dies shortly after birth, Mam herself expires of childbed fever at the home of Mrs. Evans, a midwife and, some say, abortionist. Truly orphaned this time, Axie is apprenticed to Mrs. Evans and by the age of 16, is an accomplished midwife’s assistant who has picked up many helpful hints about all aspects of pregnancy, including avoiding it and ending it. After her mentor’s death, Axie, who is now married to Charlie, a would-be journalist, concocts and peddles a female medication that, often enough, has a side effect of inducing miscarriage. Aided by Charlie’s marketing smarts, Axie is soon running a thriving and lucrative business, dispensing pills, sex education, birth control advice and, when necessary to help her clients avert certain death or ruin, the occasional first trimester abortion. Her clients range from tenement dwellers to Manhattan’s upper crust, and while amassing tremendous wealth, Axie, operating as Madame DeBeausacq, sees her main mission as freeing women from the consequences of men’s unbridled lust and profligacy. However, when Manhattan’s penny tabloids, egged on by two disgruntled doctors, foment a scandal accusing “Madame X” of child murder and infant trafficking, Axie is consigned to Manhattan’s notorious Tombs jail. The ensuing events highlight controversies regarding “reproductive health” that are still raging today.
Axie’s profane Irish brogue is vividly recreated with virtually no anachronistic slips, and though a certain degree of polemical crusading is unavoidable given Axie’s proclivities, her voice never fails to entertain.Pub Date: Sept. 10, 2013
ISBN: 978-1-4516-9806-0
Page Count: 448
Publisher: Scribner
Review Posted Online: July 19, 2013
Kirkus Reviews Issue: Aug. 1, 2013
BOOK REVIEW
BOOK REVIEW
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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