This retelling is too indebted to its own ideological arguments to come alive as a work of art.
Eve explains what happened in Eden—and afterward.
Boullosa’s latest novel is a retelling of the story of Eve—yes, that Eve. The novel begins with the Garden of Eden and ends with the Tower of Babel; in between, Eve explains what really happened and how that truth got all twisted and tangled. To start: She wasn’t made from Adam’s rib, and there wasn’t any serpent. Those are just lies that Adam spread: “Adam insisted upon his version of history, continuing to repeat his stupid lie,” Boullosa writes. “Adam stole the true story of our origins.” Boullosa’s goal here—a feminist reclamation of one of the world’s oldest stories—might be admirable, but the result frequently feels didactic and, at times, even trite. Boullosa clearly wanted to replace Eve’s shame with pleasure in sensual things, but her prose in these parts becomes flat and repetitive; she simply repeats the word pleasure. So, for example, Eve feels “unparalleled pleasure, pleasure greater than you’d think the senses could perceive.” As a whole, the book feels less like a novel than a thinly veiled manifesto. Then, too, because there is no plot, the book has a shapeless on-and-on quality that quickly becomes tedious. Eve simply goes on describing things. As a frame for the work, Boullosa has chosen to present Eve’s narration as if it were a lost manuscript. Sections are followed by miscellaneous “papers,” which hold additions to and alternative versions of Eve’s story—some “written” by Eve herself, some by other characters (like Adam and Cain, for example). This gimmick strains credulity to the breaking point.
This retelling is too indebted to its own ideological arguments to come alive as a work of art.Pub Date: March 21, 2023
ISBN: 9781646052240
Page Count: 252
Publisher: Deep Vellum
Review Posted Online: Jan. 24, 2023
Kirkus Reviews Issue: Feb. 15, 2023
A pleasant if not entirely convincing tribute to the power of art.
A French art historian’s English-language fiction debut combines the story of a loving relationship between a grandfather and granddaughter with an enlightening discussion of art.
One day, when 10-year-old Mona removes the necklace given to her by her now-dead grandmother, she experiences a frightening, hour-long bout of blindness. Her parents take her to the doctor, who gives her a variety of tests and also advises that she see a psychiatrist. Her grandfather Henry tells her parents that he will take care of that assignment, but instead, he takes Mona on weekly visits to either the Louvre, the Musée d’Orsay, or the Centre Pompidou, where each week they study a single work of art, gazing at it deeply and then discussing its impact and history and the biography of its maker. For the reader’s benefit, Schlesser also describes each of the works in scrupulous detail. As the year goes on, Mona faces the usual challenges of elementary school life and the experiences of being an only child, and slowly begins to understand the causes of her temporary blindness. Primarily an amble through a few dozen of Schlesser’s favorite works of art—some well known and others less so, from Botticelli and da Vinci through Basquiat and Bourgeois—the novel would probably benefit from being read at a leisurely pace. While the dialogue between Henry and the preternaturally patient and precocious Mona sometimes strains credulity, readers who don’t have easy access to the museums of Paris may enjoy this vicarious trip in the company of a guide who focuses equally on that which can be seen and the context that can’t be. Come for the novel, stay for the introductory art history course.
A pleasant if not entirely convincing tribute to the power of art.Pub Date: Aug. 26, 2025
ISBN: 9798889661115
Page Count: 432
Publisher: Europa Editions
Review Posted Online: June 7, 2025
Kirkus Reviews Issue: July 15, 2025
SEEN & HEARD
SEEN & HEARD
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
SEEN & HEARD
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