Shreve’s seventh novel (Pilot’s Wife, 1998, etc.) is a pleasantly atmospheric fin-de-siäcle tale of high-society adultery, in which love ultimately triumphs for a gorgeously written heroine who seems to belong in a different century. At a time when women don—t show their ankles in public, Olympia Biddeford embarks on a summer 1899 idyll on the New Hampshire shore. With grace and understatement, Shreve evokes 15-year-old Olympia’s emerging sexuality, her family cottage on Fortune’s Rocks, and the bright, sea-clean season. The perfect complement to the heroine’s enchanted world is Dr. John Haskell, a physician and writer who provides care to the poor of a nearby mill town. Despite his wife and children, Haskell and Olympia fall in love and are soon caught in flagrante. Disgraced, the Biddeford family leaves Fortune’s Rocks for Boston, where Olympia discovers she is pregnant. She gives birth, the child is taken to an orphanage, and Olympia is exiled to a western Massachusetts convent. Olympia eventually returns to the cottage at Fortune’s Rocks to rebuild her life. She seeks out and finds her lost son, and files a suit to recover him. The trial (a very ’90s concoction, with ethnic and class conflict at its heart) is stirring, and though Olympia wins—the adoptive parents are too grubby to raise the boy correctly’she refuses the victory when she sees their pain. Haskell returns from his exile in the West, where he has been treating immigrants and Native Americans, to find Olympia’s love for him still strong. They marry, and, sensing the distant strains of political correctness, convert the cottage into a birthing center for unmarried women. Olympia leaps out in sharp focus from the first page, but the conscientiously tangled plotting and the muddle it provokes in her show the strain of transplanting a millenial sensibility back a hundred years.($200,000 ad/promo; author tour)
Pub Date: Dec. 2, 1999
ISBN: 0-316-78101-0
Page Count: 320
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2000
Another triumph for Enright: a confluence of lyrical prose, immediacy, warmth, and emotional insight.
A daughter reveals the intertwined tales of her mother—a theatrical legend—and herself, a mature retrospective of sharing life with a towering but troubled figure.
Katherine O’Dell, star of stage and screen, blessed with beauty, red hair, and a gorgeous voice, “the most Irish actress in the world,” was not Irish at all. She was born in London, and the apostrophe in her name crept in by error via a review following one of her appearances on Broadway. However, the fact that Katherine is “a great fake” doesn’t cloud the love her daughter, Norah, has for her, a bond which exists alongside the unanswered question of Norah’s father’s identity, “the ghost in my blood.” The complexities of this mother/daughter relationship and its context in Ireland, the men it includes, and the turns both women’s lives take through the decades are the meat of this tender, possessive, searching new novel from Man Booker Prize–winning Irish novelist Enright (The Green Road, 2015, etc.). Saga-esque, it traces Katherine back to her parents, strolling players from another era who invited her on stage at age 10, scarcely imagining the luminous, internationally recognized figure this “useful girl” would become. But the novel is no fairy tale. Katherine’s life was marked with loneliness; disappointing, sometimes exploitative, and abusive men; the pressure of trying to remain successful; a desperate act of violence; and a breakdown. Norah narrates both her mother’s life and her own—she’s the author of five novels, a mother, a sexual being, and also the sole offspring of a parent she both adored and observed at a distance. Fame, sexuality, and the Irish influence suffuse the story, which ranges from glamour to tragedy, a portrait of “anguish, madness, and sorrow” haunted by a late, explanatory glimpse of horror which nevertheless concludes in a place of profound love and peace.
Another triumph for Enright: a confluence of lyrical prose, immediacy, warmth, and emotional insight.Pub Date: March 3, 2020
ISBN: 978-1-324-00562-9
Page Count: 272
Publisher: Norton
Review Posted Online: Dec. 8, 2019
Kirkus Reviews Issue: Jan. 1, 2020
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
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