A perceptive, humane inquiry into Iran's history and soul.
Iran's brutal and tragic years of upheaval are evoked through a one-time revolutionary's rueful reflections.
Hamid Mozaffarian has arrived in New York City at a cold and lonely phase of his life. Having served almost three decades interrogating those considered enemies of the Iranian government, he is now helping his country’s minister for foreign affairs deal with “a tiff” between their navy and the Americans in the Persian Gulf. Hamid’s diplomatic mission enables him to reestablish contact with his mother and brother, from whom he’d been estranged since they exiled themselves to America after the 1979 Islamic Revolution. He agrees to their request to carry, in a mint candy tin, the ashes of his father, who'd died two weeks earlier, so they can be scattered back in Iran. In the meantime, while in New York, Hamid struggles to come to grips with choices he's made that have also left him alienated from his wife and daughter back home. A sensitive, artistic boy fascinated by the vulnerability of glass objects, Hamid grew up bewildered by his scholarly father’s distant, sometimes severe behavior toward him. Young Hamid was likewise bemused by his father’s shift from opposing the shah to working for him. His father explained: “Slowly, slowly I became the system.” Ironically, the same became true for Hamid, as he reached his young manhood as an idealistic revolutionary seeking the shah’s overthrow. Soon he proved himself dedicated to the Ayatollah Khomeini’s republic by carrying out an appalling act of betrayal against his father, and over the succeeding decades he became deeply entrenched in his country’s draconian system of dispensing justice. One is often tempted while reading this novel to think of Hamid as little more than an introspective species of monster. But Sofer (The Septembers of Shiraz, 2007) brings compassion, insight, and acerbic humor to her depiction of a man at once too intelligent to altogether ignore the consequences of his behavior yet helpless to withstand the turbulent momentum of history.
A perceptive, humane inquiry into Iran's history and soul.Pub Date: April 14, 2020
ISBN: 978-0-374-11006-2
Page Count: 384
Publisher: Farrar, Straus and Giroux
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
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
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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