An intriguing and ghostly but ultimately hazy tale of grief and memory.
In this literary novel, a woman alone on her family’s farm becomes trapped in a cycle of memories.
Mazie Mills has returned to the family farm—the vacation spot she loved as a child, where, she remembers, “there was no ‘supposed to’.…Just be.” Alone on the property, she is befriended by elderly neighbor Lula, who takes daily walks through the farm’s orchard. Lula begins to stop by every morning for a game of gin rummy, and Mazie starts to tell her stories about her family. She talks about a road trip to California, how she always had the worst seat at the table, and how she has never eaten an apple from the orchard that tasted any good. Lula, who rarely speaks about herself, listens kindly to Mazie’s memories and offers helpful analysis. But a number of things haunt Mazie, including her early, intense relationship with her high school boyfriend, Sean; a dream she has in which she died; her wedding, which took place on that very farm; and her husband, Eddie. Why is Mazie here alone? And why can’t she quite remember how she got here? Is it possible that she may be dead? Monier’s prose is lyrical and measured, deftly evoking the dreamlike qualities of the setting through Mazie’s eyes: “The short step down from the porch, my bare foot on the hot summer grass, I am hit by a wall of humidity. The full, fertile feel of the air that marks a Pennsylvania mountain summer. Thick, wet, ripe with a steaming, green life.” But the book is a bit too dreamy, both in its premise and its presentation. The first third, which mostly deals with Mazie’s relationship with Sean, is quite gripping, but as soon as the otherworldly element is introduced on Page 50, every scene has the ephemeral quality of a dream sequence. Readers will have trouble taking these scenes seriously, and the novel quickly treads into the clichéd Hollywood territory of false realities and gauzy interior worlds. Despite her clear talent, the author has not constructed enough of a story—one rooted in reality, with genuine stakes and authentic characters—to keep readers invested.
An intriguing and ghostly but ultimately hazy tale of grief and memory.Pub Date: May 12, 2020
ISBN: N/A
Page Count: 119
Publisher: Amika Press
Review Posted Online: April 27, 2020
Review Program: Kirkus Indie
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
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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