A beautifully rendered tale of personal redemption filled with friendship, loss, extravagant furs, and feathery headdresses.

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ALL THE BEAUTIFUL GIRLS

After a childhood punctuated by loss and trauma, Lily Decker reinvents herself as a Vegas showgirl, coming of age in Sin City during the late 1960s.

When Lily Decker is 8 years old, her parents and older sister are killed in a car crash. Young Lily is forced to move in with her mother’s childless, unemotional sister, Tate, and Tate’s leering husband, Miles. Suffering the uprooting of her childhood home, her aunt’s harsh attempts at discipline, and her uncle’s uninvited touching, Lily finds solace in dancing. Lily also locates Stirling Sloan, the man who caused the car accident that killed her family. She finds herself inexplicably drawn to him, and the two form a most unlikely friendship. As the years unfold, Lily’s uncle commences physically abusing her, raping her repeatedly for years. When Aunt Tate is made aware of the abuse, she chooses to side with her husband, showing Lily that the only person she can trust is, surprisingly, Stirling, her family’s murderer. As soon as Lily turns 18, she high-tails it out of Kansas, buying a bus ticket to Las Vegas, where she plans to join a dancing troupe. She changes her name to Ruby Wilde and leaves a forwarding address only with Stirling. When Lily reaches Las Vegas, the opportunities are not what she expected, and before long, she begins dancing as a showgirl. Once Lily, now Ruby, embraces her new life, Church (The Atomic Weight of Love, 2016), takes the reader on an exciting tour of Vegas nightlife, showcasing the glitz, the excess, the excitement, and the challenges of the Vegas strip. As Ruby explores her new world, she finds herself in exceedingly complicated circumstances, desperate as ever for hope, love, and understanding.

A beautifully rendered tale of personal redemption filled with friendship, loss, extravagant furs, and feathery headdresses.

Pub Date: March 6, 2018

ISBN: 978-0-399-18106-1

Page Count: 366

Publisher: Ballantine

Review Posted Online: Dec. 12, 2017

Kirkus Reviews Issue: Jan. 1, 2018

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

THE HANDMAID'S TALE

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

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