At first, Nissen’s narrator (Osprey Island, 2004, etc.) seems clever and voluble, so daring with her spanking-scene opener,...
Against the backdrop of the Bush-Kerry election, an Iowa Democrat has a midlife crisis that gives the tornadoes that rip through the state a run for their money.
The timing of Phillipa Maakestad’s decision to tell her husband about her passionate affair is unfortunate—the two theater professors are due to play parents of the bride at their daughter Ginny’s wedding to a wonderful Amish boy. The responsibility is torqued by the facts that his parents, who were close friends of Phillipa’s, were killed when an SUV hit their buggy and raising Ginny has been like a scene out of The Exorcist. Bulimic, addicted, promiscuous, filled with rage—Ginny has touched all the bases. After they get through the (literal) tornado that strikes the wedding, the Ginny problem is finally solved, though not for long. And by then, Phillipa herself has gone off the rails, living in a cheap motel, phoning in her classes, and freaking out about the election. If the author did not intend the Bush-era political ravings to be alienating, she overshot the mark. “Passing the monstrous W barn on 26, I wanted to drive up onto the grass, get out of my car, and hammer on the door, shouting ‘How do you live with yourselves? Why not put up an I’m a Greedy Bigot sign?'” Then, after a flash of self-awareness (I sound like Ginny! she thinks), she returns to form. “The miserable world into which I brought my own miserable child, now a miserable adult, fully aware and sickened to the marrow of her bones by the injustice of this godforsaken place, and as wholly incapable as her pathetic mother to do a goddamn thing about it. About anything. How does anyone with a conscience…do anything but cry, all day every day, navigating this godforsaken world.” This sort of thing, combined with random classist comments—on the baby of a woman she drives to the polls: “Travis: a name destined for the meth den”—seems designed to make the reader hate liberals. Throw in church-sign puns and musicals you can’t get out of your head and a whole mininovel about Nazis in France…whew.
At first, Nissen’s narrator (Osprey Island, 2004, etc.) seems clever and voluble, so daring with her spanking-scene opener, but eventually she wears a bit thin.Pub Date: Jan. 23, 2018
ISBN: 978-1-328-66207-1
Page Count: 368
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Oct. 15, 2017
Kirkus Reviews Issue: Nov. 1, 2017
BOOK REVIEW
BOOK REVIEW
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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