Whatever political freight Al Aswany intends, he remains a charming, earthy, resourceful storyteller—albeit with a weakness...
In post–World War II Cairo, one family offers a lens on royal corruption, the British occupation, and the economic struggles of urban Egyptians in this rich political fable.
As in his debut, The Yacoubian Building, the bestselling Egyptian novelist and commentator (Friendly Fire, 2009, etc.) intertwines many lives caught up in history, in this case the eve of his country’s 1952 revolution. The once-wealthy patriarch of the Gaafar family suddenly dies after being beaten while working a menial job at the exclusive Cairo club of the title, where Egyptians are servants and only Europeans and royalty are members. Two of his three sons then get jobs at the club to support their mother and sister but also pursue secret activities. The studious Kamel, who gives Arabic lessons to the rebellious daughter of the club’s British managing director, is drawn into a group of radicals seeking to end the occupation. The oafish Mahmud performs as a gigolo servicing wealthy elderly women. Their sister reluctantly abandons her university studies to marry a man who will help the third brother in his business pursuits. Two characters embody the corruption and abuses targeted by the 1952 uprising that overthrew the king and helped oust the British. James Wright, the club director, is almost a caricature of obtuse colonial snobbery. He connives with the king’s chamberlain, Alku, who rules over the servants of the club through humiliation and beatings. The king himself is an overweight, gambling womanizer whose hankerings put Wright in an ugly quandary close to home. Coming out so soon after the 2011 revolution, the novel at its simplest level may serve to remind Egyptians and others involved in the Arab Spring of some of the historical reasons so many pursued democracy and how elusive it remains.
Whatever political freight Al Aswany intends, he remains a charming, earthy, resourceful storyteller—albeit with a weakness for cliffhangers—who might seduce even readers closer to Times Square than to Tahrir Square.Pub Date: Aug. 18, 2015
ISBN: 978-0-307-95721-4
Page Count: 496
Publisher: Knopf
Review Posted Online: May 31, 2015
Kirkus Reviews Issue: June 15, 2015
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
BOOK TO SCREEN
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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