A suspenseful bridge to the final volume of a historical fiction series.
This second installment of a trilogy focuses on a musician in pre-World War II Germany.
Alejandra Stanford Morrison is a strong-willed woman with ambitions to become a symphony conductor, though it defies the gender expectations of the 1930s. When she learns of her acceptance into a prestigious conservatory in Berlin, her ecstasy is met with reluctance from her husband, Richard, who fears the extended separation between Alejandra and her family (which includes three children). But he eventually voices his support, leaving her in Germany with their Jewish friends Hannah and Ben Adelman. Part One chronicles their travels and musical training amid increasing political tensions in Germany and Austria. Meanwhile, Alejandra faces another kind of turmoil: finding a balance between her professional activities and her domestic life. But most of the drama centers on Alejandra thwarting the romantic advances of a new German friend named Anton Everhardt while trying to halt her own interest in him. After returning to her Minnesota home for a few peaceful years, she travels back to Europe upon learning of the disappearance of Ben and Hannah, and their son, Joseph. After enlisting the help of Anton to locate them, she soon finds her own life in peril as well as Anton’s and Richard’s. In the book’s first half, readers must wade through extensive musical and artistic commentary to follow a plot that overall lacks intensity. Fortunately, the momentum eventually accelerates with the emergence of more serious conflicts, finally leaving readers with a cliffhanger that should entice them to pick up the next volume. Calatayud-Stocks (A Song in My Heart, 2011) portrays her characters clearly, each with a unique voice and agenda, but they require more complexity to avoid becoming predictable and stagnant. In addition, the dialogue is sometimes stilted and too revealing (“I accept your generous gift, and I’m shocked, ecstatic, and bewildered”) and needs to be better supplemented with the characters’ actions and nonverbal cues. But even with these flaws, this novel raises stimulating questions regarding work/life balance and the entwinement of art and politics. And for culture enthusiasts, the author once again offers musical selections corresponding to each chapter.
A suspenseful bridge to the final volume of a historical fiction series.Pub Date: Aug. 5, 2018
ISBN: 978-0-9987319-3-3
Page Count: 428
Publisher: Calumet Editions
Review Posted Online: Aug. 7, 2018
Review Program: Kirkus Indie
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
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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