Reasonably well-written and plausible, with excellent period photographs as a bonus. Still, there’s so much good Civil War...
What if the Civil War had ended in the summer of 1863?
Those who suspect that former Speaker of the House Gingrich’s politics hinge on getting even for Appomattox may be surprised to read in the pages of this tome, the third volume in his conscripted Civil War trilogy (Gettysburg, 2003; Grant Comes East, 2004), that the North’s superiority lay in the unified power of the federal government: “That is the paradox and the curse of their system even more than ours, states’ rights,” says Union politico Elihu Washburne, though that may just be co-author Forstchen talking. The premise is this: on the third day of Gettysburg, Lee realizes that it would be a waste to send Pickett’s men against the well-protected foe, orders a wheeling action, and carries the day. As this installment picks up, the rebels threaten to torch Carlisle Barracks in Pennsylvania. The Yankees, spurred by U.S. Grant, are gathering strength; Sickles’s boys beat up on Pickett’s division, poor lads, but Sickles falls; and Lee’s forces turn to the foot of Maryland’s Catoctin Mountains to face down McPherson’s opposing army. In the ensuing bloodbath, George Custer is felled by an exploding railcar (“Damn rotten place to die, he thought. Out in the open, after a damn good charge. That’s how I wanted it, Custer’s Last Charge”), lots of Billy Yanks and Johnny Rebs die, and the contending armies drain each other’s veins. And yet, and yet, the North has reserves and industry, the South now nothing, and in August 1863, there at Monocracy Junction, Lee realizes that he has nothing left to fight with. With Grant’s generous surrender terms in hand—among them a promise that, with Southerners back in office, the unified federal government will resume come January 1864—Lee makes his way back to Richmond, and the U.S. lives happily ever after.
Reasonably well-written and plausible, with excellent period photographs as a bonus. Still, there’s so much good Civil War history to read that this what-if exercise seems more than a touch unnecessary.Pub Date: June 6, 2005
ISBN: 0-312-34298-5
Page Count: 512
Publisher: Dunne/St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2005
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
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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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