Another treat from the great Anshaw: sharply observed, unsentimentally compassionate, always cognizant of life’s...
In her early 40s, Cate is tired of low-paying theater gigs, handouts from her parents, and a furtive affair with Dana, who will never leave her live-in girlfriend.
It’s also annoying that she can’t dislodge ex-husband Graham, just dumped by wife No. 3 from her spare bedroom and from his obsession with government surveillance—paranoia entirely justified, in his view, by Donald Trump’s recent election. Still, Cate seems on her way to better things; she’s dating well-heeled Maureen and lands a job designing an off-Broadway show for a high-powered writer-director team that could ratchet up her career. However, menacing interspersed sections voiced by Nathan, a sociopath living with drug addicted Irene, suggest danger ahead. It’s quickly evident that their crash pad is somewhere near Cate’s best friend Neale’s house, and as Nathan’s monologues grow increasingly creepier, we wait for a collision. Meanwhile, Anshaw (Carry the One, 2012, etc.) crafts an engaging narrative with her customary precision and tart humor: A blowsy, “recently pretty” character “appears to do most of her shopping at Renaissance fairs,” and parking enforcement in Chicago, “once a lazy, city-run revenue effort, has been sold off to a ruthless corporation based somewhere in the Middle East…meter readers in Day-Glo vests troll relentlessly, ubiquitously.” In a cast of richly drawn characters, Cate is foremost: oddly maladroit socially for a theater worker, madly in love with Graham’s dog, Sailor, prone to imagining people’s backstories (including the décor of their homes) in judgmental terms, but essentially kind. She’s totally unprepared for the brutal confrontation that occurs halfway through the novel, but she forges ahead with her big opportunity in New York, just the way people do in real life. Anshaw never amps up her fiction with melodrama or neat conclusions, and she leaves her characters changed but by no means finished in an indeterminate yet satisfying finale.
Another treat from the great Anshaw: sharply observed, unsentimentally compassionate, always cognizant of life’s complexities.Pub Date: Oct. 1, 2019
ISBN: 978-1-4767-4779-8
Page Count: 272
Publisher: Atria
Review Posted Online: May 26, 2019
Kirkus Reviews Issue: June 15, 2019
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
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.
Tremendous in scope—tremendous in depth of penetration—and as different a Steinbeck as the Steinbeck of Burning Bright was from the Steinbeck of The Grapes of Wrath.
Here is no saga of the underprivileged—no drama of social significance. Tenderness, which some felt was inherent in everything Steinbeck wrote, is muted almost to the vanishing point in this story of conflict within character, impact of character on character, of circumstances on personalities, of the difficult acceptance of individual choice as against the dominance of inherited traits. The philosophy is intimately interwoven with the pace of story, as he follows-from New England to California over some fifty odd years-the two families which hold stage center. There are the Trasks, brothers in two generations, strangely linked, strangely at war the one with the other; there are the Hamiltons (John Steinbeck's own forebears), a unique Irish born couple, the man an odd lovable sort of genius who never capitalizes on his ideas for himself, the tiny wife, tart, cold-and revealing now and again unexpected gentleness of spirit, the burgeoning family, as varied a tribe as could be found. And- on the periphery but integral to the deepening philosophy which motivates the story, there is the wise Chinese servant scholar and gentleman, who submerges his own goals to identify himself wholly with the needs of the desolate Adam Trask, crushed by his soulless wife's desertion, and the twin boys, Cal, violent, moody, basically strong enough to be himself—and Aron, gentle, unwilling to face disagreeable facts, beloved by all who met him. In counterpoint, the story follows too the murky career of Adam's wife, Cathy—who came to him from a mysteriously clouded past, and returned to a role for which she was suited—as a costly whore, and later as Madame in Salinas most corrupt "house," where the perversions of sex ridden males were catered to—and cruelty capitalized upon.Shock techniques applied with rapier and not bludgeon will rule the book out for the tender-skinned.
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.Pub Date: Sept. 19, 1952
ISBN: 0142004235
Page Count: 616
Publisher: Viking
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Sept. 1, 1952
BOOK TO SCREEN
BOOK TO SCREEN
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