It’s a lively origin story in which all the world’s a stage, but especially Italy, and the suspense is high as the lovers...
Beatrice and Benedick begin their “merry war” in this impressive prequel to Shakespeare’s Much Ado About Nothing.
One year before the Bard’s comedy begins, Beatrice first meets Benedick at her uncle Leonato’s court in Sicily, where Benedick is delivering the young count Claudio to the boy’s father. When Beatrice calls Benedick a glorified “nursemaid,” Benedick resolves to prove her wrong. Thus begins a battle of the sexes, complete with Beatrice engaging Benedick in proper Italian combat while dressed as a man. Fiorato (The Venetian Bargain, 2014, etc.) re-creates Shakespeare’s Renaissance as if she's embellishing one of his scripts with copious stage directions and footnotes, from the setting to the props. Staring at his dinner plate one night, Benedick observes, “The Sicilians seemed fond of marrying foods together that should never even have met. I was served a cheese with a lime inside, pasta littered with raisins, and anchovies stirred with oranges.” Much of the conflict, though, is based on professor Martino Iuvara’s (Shakespeare era Italiano, 2002) theory that the mysterious English playwright was, in fact, Sicilian. Tragic moments from Romeo and Juliet and Othello juxtapose Beatrice and Benedick’s comedic mishaps, illuminating issues of racial tension and women’s rights and suggesting that “no one knows if they play in a comedy or a tragedy until the final curtain. The ending is the thing.” It’s worth revisiting the original plays to catch all the references, but the plot stands well on its own as Benedick meets disaster on the Spanish Armada and Beatrice, now stuck in Verona, resists an engagement to a familiar Shakespearean face.
It’s a lively origin story in which all the world’s a stage, but especially Italy, and the suspense is high as the lovers walk a tightrope between truth and trope.Pub Date: Dec. 8, 2015
ISBN: 978-1-250-07713-4
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Sept. 22, 2015
Kirkus Reviews Issue: Oct. 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...
Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.
At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.Pub Date: Aug. 2, 2016
ISBN: 978-1-5011-1036-8
Page Count: 320
Publisher: Atria
Review Posted Online: May 30, 2016
Kirkus Reviews Issue: June 15, 2016
SEEN & HEARD
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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