An enjoyable Victorian-style melodrama, although the story is slowed by logistical details.


The Captain Takes a Wife


An ex–Civil War soldier–turned-preacher aids a young woman in danger by marrying her, but their troubles aren’t over.

Waiting for the train that will take him to his new job as preacher, Capt. Harry Richardson encounters a young woman in danger. Sarah Franklin, a teacher, begs for his help in escaping her pursuers, who want to force her into a marriage arranged by her scheming guardian. Snowballing circumstances—the innocent girl’s plight, Harry’s sense of responsibility, the villains’ relentlessness, suggestions of darker crimes afoot—make an impromptu wedding seem the best solution to protect Sarah. It helps that Harry and Sarah share an instant attraction, and after a few probing questions for one another, Harry asks, “Will you marry me today on this train?” Harry’s friends, who had accompanied him to the station, get in on the act, and together, they organize an onboard wedding while dodging gunmen from town to town until they can see Harry and his new bride safely home. Using many elements from Victorian melodrama, Durbin’s debut novel handles characterizations well, with both heroes and villains being more than just cardboard cutouts. The camaraderie between Harry and his friends is believable and helps define his character while making Sarah’s trust more understandable; he’s the kind of man friends would do anything for. Durbin also complicates the plot in interesting ways beyond the forced marriage. It’s a shame, though, that the story frequently bogs down in long to-do lists: e.g., “I can take this load to the railroad, send that other telegram, drop the basket at the hotel tomorrow, and then make the return trip with that bunch from Choestoe.” The dialogue doesn’t sound especially Victorian, and some other details are off, such as a wealthy man being noted for habitually wearing a three-piece suit—common attire in 1875.

An enjoyable Victorian-style melodrama, although the story is slowed by logistical details.

Pub Date: Nov. 4, 2013

ISBN: 978-1462732500

Page Count: 280

Publisher: CrossBooks Publishing

Review Posted Online: March 4, 2014

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Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...

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The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.

Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.

Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.

Pub Date: July 16, 2019

ISBN: 978-0-385-53707-0

Page Count: 224

Publisher: Doubleday

Review Posted Online: Jan. 21, 2019

Kirkus Reviews Issue: Feb. 1, 2019

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Darkly compelling, illuminated by the light of compassion and tenderness: Donoghue’s best novel since Room (2010).


A nurse in a Dublin hospital battles the ordinary hazards of childbirth and the extraordinary dangers of the 1918 flu.

Donoghue began writing this novel during the 1918 pandemic’s centennial year, before COVID-19 gave it the grim contemporary relevance echoing through her text: signs warning, “IF IN DOUBT, DONT STIR OUT,” an overwhelmed hospital bedding patients on the floor, stores running out of disinfectant. These details provide a thrumming background noise to the central drama of women’s lives brought into hard focus by pregnancy and birth. Julia Power works in Maternity/Fever, a supply room converted to handle pregnant women infected with the flu. The disease makes labor and delivery even more high risk than normal. On Oct. 31, 1918, Julia arrives to learn that one of her patients died in the night, and over the next two days we see her cope with three harrowing deliveries, only one of which ends well. Donoghue depicts these deliveries in unflinching detail, but the gruesome particulars serve to underscore Julia’s heroic commitment to saving women and their babies in a world that does little for either. Her budding friendship with able new assistant Bridie Sweeney, one of the ill-treated “boarders” at a nearby convent, gives Julia a glimpse of how unwanted and illegitimate children are abused in Catholic Ireland. As far as she’s concerned, the common saying “She doesn’t love him unless she gives him twelve,” referring to children, reveals total indifference to women’s health and their children’s prospects. Donoghue isn’t a showy writer, but her prose sings with blunt poetry, as in the exchange between Julia and Bridie that gives the novel its title. Influenza gets its name from an old Italian belief that it was the influence of the stars that made you sick, Julia explains; Bridie responds, “As if, when it’s your time, your star gives you a yank.” Their relationship forms the emotional core of a story rich in swift, assured sketches of achingly human characters coping as best they can in extreme circumstances.

Darkly compelling, illuminated by the light of compassion and tenderness: Donoghue’s best novel since Room (2010).

Pub Date: July 21, 2020

ISBN: 978-0-316-49901-9

Page Count: 304

Publisher: Little, Brown

Review Posted Online: May 18, 2020

Kirkus Reviews Issue: June 1, 2020

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