This is a beautiful, patient, and timeless book, one that builds upon centuries and shows how the smallest choices—like the...

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2016

  • New York Times Bestseller

READ REVIEW

THE LAST PAINTING OF SARA DE VOS

Smith’s latest novel (Bright and Distant Shores, 2011, etc.) is a rich and detailed story that connects a 17th-century Dutch painting to its 20th-century American owner and the lonely but fervent art student who makes the life-changing decision to forge it.

Marty de Groot, a Manhattan lawyer plagued by infertility and the stuffiness that comes from centuries of familial wealth, has one special thing to his name: a collection of 17th-century Dutch paintings, including rare pieces by female artists of the era. At the Edge of the Wood is the only work attributed to Sarah de Vos, and it’s hung above the marital bed in Marty’s Park Avenue triplex for generations. Until one fall day in 1957 it’s plucked off his wall and replaced by a meticulously executed forgery. Behind this deception is not a mastermind but an Australian graduate student named Ellie Shipley, who was approached by a secretive art dealer to replicate the painting. Ellie lives and thinks like a member of the Dutch golden age, boiling rabbit pelts in her claustrophobic Brooklyn apartment for glue, pulling apart antique canvases to understand their bones, and building them up again layer by layer. This is a woman who sees herself in de Vos and would do anything to merge their legacies together. In showing how this is a monumental occasion in Ellie's life, a truly intimate experience for her, Smith turns forgery into art, replication into longing, deceit into an act of love: Ellie works in “topography, the impasto, the furrows where sable hairs were dragged into tiny painted crests to catch the light. Or the stray line of charcoal or chalk, glimpsed beneath a glaze that’s three hundred years old.” The narrative stretches from a period of grief in de Vos’ life that compelled her to paint At the Edge of the Wood, to 1950s New York to the year 2000 at a museum in Sydney where original and forgery meet—in turn reconnecting Ellie with Marty. “Here comes Marty de Groot, the wrecking ball of the past”: just one example of the suspense Smith manages to carry throughout his narrative, suspense bound up in brilliant layers of paint and the people who dedicate their lives to appreciating its value.

This is a beautiful, patient, and timeless book, one that builds upon centuries and shows how the smallest choices—like the chosen mix for yellow paint—can be the definitive markings of an entire life.

Pub Date: April 5, 2016

ISBN: 978-0-374-10668-3

Page Count: 304

Publisher: Sarah Crichton/Farrar, Straus and Giroux

Review Posted Online: March 5, 2016

Kirkus Reviews Issue: March 15, 2016

Did you like this book?

No Comments Yet

A daring concept not so daringly developed.

THE BOOK OF LONGINGS

In Kidd’s (The Invention of Wings, 2014, etc.) feminist take on the New Testament, Jesus has a wife whose fondest longing is to write.

Ana is the daughter of Matthias, head scribe to Herod Antipas, tetrarch of Galilee. She demonstrates an exceptional aptitude for writing, and Matthias, for a time, indulges her with reed pens, papyri, and other 16 C.E. office supplies. Her mother disapproves, but her aunt, Yaltha, mentors Ana in the ways of the enlightened women of Alexandria, from whence Yaltha, suspected of murdering her brutal husband, was exiled years before. Yaltha was also forced to give up her daughter, Chaya, for adoption. As Ana reaches puberty, parental tolerance of her nonconformity wanes, outweighed by the imperative to marry her off. Her adopted brother, Judas—yes, that Judas—is soon disowned for his nonconformity—plotting against Antipas. On the very day Ana, age 14, meets her prospective betrothed, the repellent Nathanial, in the town market, she also encounters Jesus, a young tradesman, to whom she’s instantly drawn. Their connection deepens after she encounters Jesus in the cave where she is concealing her writings about oppressed women. When Nathanial dies after his betrothal to Ana but before their marriage, Ana is shunned for insufficiently mourning him—and after refusing to become Antipas’ concubine, she is about to be stoned until Jesus defuses the situation with that famous admonition. She marries Jesus and moves into his widowed mother’s humble compound in Nazareth, accompanied by Yaltha. There, poverty, not sexism, prohibits her from continuing her writing—office supplies are expensive. Kidd skirts the issue of miracles, portraying Jesus as a fully human and, for the period, accepting husband—after a stillbirth, he condones Ana’s practice of herbal birth control. A structural problem is posed when Jesus’ active ministry begins—what will Ana’s role be? Problem avoided when, notified by Judas that Antipas is seeking her arrest, she and Yaltha journey to Alexandria in search of Chaya. In addition to depriving her of the opportunity to write the first and only contemporaneous gospel, removing Ana from the main action destroys the novel’s momentum.

A daring concept not so daringly developed.

Pub Date: April 21, 2020

ISBN: 978-0-525-42976-0

Page Count: 432

Publisher: Viking

Review Posted Online: Jan. 27, 2020

Kirkus Reviews Issue: Feb. 15, 2020

Did you like this book?

Still, a respectful and absorbing page-turner.

THE NIGHTINGALE

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. 20, 2014

Kirkus Reviews Issue: Dec. 1, 2014

Did you like this book?

No Comments Yet
more