With her second foray into alternative historical romance (The Virgin Queen’s Daughter, 2008), Chase explores another...

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THREE MAIDS FOR A CROWN

A NOVEL OF THE GREY SISTERS

Amid the turmoil of the final days of King Edward’s reign, who will succeed to the throne? His Catholic half sister Mary, his Protestant half sister Elizabeth or perhaps someone else with a little Tudor blood running through her veins?

With her second foray into alternative historical romance (The Virgin Queen’s Daughter, 2008), Chase explores another intriguing mystery: How did Lady Jane Grey and her two sisters react to the political machinations that imprisoned them? Chase sets the fates of Jane, Katherine and Mary Grey against a field of political and personal ambitions. The Duke and Duchess of Suffolk scheme to maneuver their daughters into politically advantageous positions in the hopes of drawing nearer to the throne. With conspirators Northumberland and Pembroke, they marry scholarly Jane to Guilford Dudley, Northumberland’s son, positioning her as a direct threat to Queen Mary. They marry beautiful Katherine to Henry Herbert, Pembroke’s son. They set Mary, with her twisted spine and unsightly face, as decoy, unwittingly reassuring Mary of the Suffolk family’s love despite their treachery. Edward soon dies, Jane is set up as queen for nine days, and Mary escapes the conspirators’ clutches to snare the throne for herself. Thus, the three wagered maids begin to tumble to ruin. The political machinations could easily overwhelm the novel, but Chase keeps the narrative reins firmly in the Grey sisters’ hands. She allows the Grey sisters to tell the story using a kind of snapshot technique, letting each woman tell different parts of it. Jane tells the harrowing details of being forced to wed a man she does not love, to wear a crown she does not want, and to accept beheading for the treason she did not intend. In turn, Kat tells the tale of betrayal, as she is married and set aside, and trust, as she secretly marries for love. Mary tells the tale of the forgotten sister who, too, finds love by putting aside social expectations. 

Pub Date: Aug. 2, 2011

ISBN: 978-0-307-58898-2

Page Count: 432

Publisher: Broadway

Review Posted Online: July 5, 2011

Kirkus Reviews Issue: July 15, 2011

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Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

CILKA'S JOURNEY

In this follow-up to the widely read The Tattooist of Auschwitz (2018), a young concentration camp survivor is sentenced to 15 years’ hard labor in a Russian gulag.

The novel begins with the liberation of Auschwitz by Soviet troops in 1945. In the camp, 16-year-old Cecilia "Cilka" Klein—one of the Jewish prisoners introduced in Tattooist—was forced to become the mistress of two Nazi commandants. The Russians accuse her of collaborating—they also think she might be a spy—and send her to the Vorkuta Gulag in Siberia. There, another nightmarish scenario unfolds: Cilka, now 18, and the other women in her hut are routinely raped at night by criminal-class prisoners with special “privileges”; by day, the near-starving women haul coal from the local mines in frigid weather. The narrative is intercut with Cilka’s grim memories of Auschwitz as well as her happier recollections of life with her parents and sister before the war. At Vorkuta, her lot improves when she starts work as a nurse trainee at the camp hospital under the supervision of a sympathetic woman doctor who tries to protect her. Cilka also begins to feel the stirrings of romantic love for Alexandr, a fellow prisoner. Though believing she is cursed, Cilka shows great courage and fortitude throughout: Indeed, her ability to endure trauma—as well her heroism in ministering to the sick and wounded—almost defies credulity. The novel is ostensibly based on a true story, but a central element in the book—Cilka’s sexual relationship with the SS officers—has been challenged by the Auschwitz Memorial Research Center and by the real Cilka’s stepson, who says it is false. As in Tattooist, the writing itself is workmanlike at best and often overwrought.

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-26570-8

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Oct. 28, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be...

LOVECRAFT COUNTRY

Some very nice, very smart African-Americans are plunged into netherworlds of malevolent sorcery in the waning days of Jim Crow—as if Jim Crow alone wasn’t enough of a curse to begin with.

In the northern U.S. of the mid-1950s, as depicted in this merrily macabre pastiche by Ruff (The Mirage, 2012, etc.), Driving While Black is an even more perilous proposition than it is now. Ask Atticus Turner, an African-American Korean War veteran and science-fiction buff, who is compelled to face an all-too-customary gauntlet of racist highway patrolmen and hostile white roadside hamlets en route from his South Side Chicago home to a remote Massachusetts village in search of his curmudgeonly father, Montrose, who was lured away by a young white “sharp dresser” driving a silver Cadillac with tinted windows. At least Atticus isn’t alone; his uncle George, who puts out annual editions of The Safe Negro Travel Guide, is splitting driving duties in his Packard station wagon “with inlaid birch trim and side paneling.” Also along for the ride is Atticus’ childhood friend Letitia Dandridge, another sci-fi fan, whose family lived in the same neighborhood as the Turners. It turns out this road trip is merely the beginning of a series of bizarre chimerical adventures ensnaring both the Turner and Dandridge clans in ancient rituals, arcane magical texts, alternate universes, and transmogrifying potions, all of which bears some resemblance to the supernatural visions of H.P. Lovecraft and other gothic dream makers of the past. Ruff’s ripping yarns often pile on contrivances and overextend the narratives in the grand manner of pulp storytelling, but the reinvented mythos here seems to have aroused in him a newfound empathy and engagement with his characters.

If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be doing triple axels in his grave at the way his imagination has been so impudently shaken and stirred.

Pub Date: Feb. 16, 2016

ISBN: 978-0-06-229206-3

Page Count: 432

Publisher: Harper/HarperCollins

Review Posted Online: Nov. 4, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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