Evans frankly and unflinchingly depicts a romance overwhelmed by the ennui of everyday life.
A portrait of a relationship on the brink set in Great Recession–era London.
British author Evans (26a, 2005), winner of the Orange Award for New Writers, has centered her new novel on a love in crisis. Black Londoners Melissa and Michael are on “the far side of youth, at a moment in their lives when the gradual descent into age was beginning to appear,” and outwardly they seem to be a properly suited pair. Melissa’s best friend, Hazel, even refers to them as “Chocolate”—playing off their initials, M&M—and what could be more perfect than that? Nonetheless, as can be expected in a novel dedicated to the underside of a long-term relationship, all is not well at 13 Paradise Row, the home Melissa and Michael share with their two children. Balancing dry humor, wit, and empathy, Evans expertly delineates her main characters' frustrations: The expectations of both motherhood and romantic partnership leave Melissa on the precipice of exploding in anger or having a breakdown, while Michael laments, mostly while drinking red wine, that his desire for Melissa is unrequited, a view steeped in nostalgia for the honeymoon phase of their relationship and explained through the music of John Legend, whose second single gives the book its title. Most of the time Evans' writing is accurate as she moves from the small details of domestic life to larger ideas—feminism, urban life, black identity. Here she is describing the doldrums of monogamy: “Passion, at its truest and most fierce, does not liaise with toothpaste. It does not wait around for toning and exfoliation. It wants spontaneity. It wants recklessness. Passion is dirty, and they were too clean.” At other moments, Evans’ narrative choices seem perplexing, such as her use of the slang phrase “off the hizzle” as a refrain; it seems dated and less cool on the page than when emanating from the mouth of Snoop Dogg circa 2005. In fact, the biggest weakness of an otherwise astute novel is Evans' occasional overreliance on pop culture. For instance, the story is bookended by the first election of Barack Obama and the death of Michael Jackson, two culturally significant moments that are, at best, tangential to the story.
Evans frankly and unflinchingly depicts a romance overwhelmed by the ennui of everyday life.Pub Date: Sept. 11, 2018
ISBN: 978-1-63149-481-9
Page Count: 320
Publisher: Liveright/Norton
Review Posted Online: July 1, 2018
Kirkus Reviews Issue: July 15, 2018
BOOK REVIEW
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
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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