Smart, savvy, atmospheric work from a promising new talent.
A stage-struck Wisconsin farm girl discovers that musical theater is no refuge from real-world problems.
When Eleanor O'Hanlon hears that her favorite Broadway composer, Don Mannheim, is having an open-call audition to replace the star in his current hit, she cashes in the war bonds her parents have been saving for her wedding day to pay for a train ticket to New York. “I’m not some girl who wants to be on Broadway for the fame or glamour,” she tells Mannheim when someone else gets the part. “I understand this. I understand you….This is my life.” Intrigued, he hires her instead for the lead in his musical work in progress, A Tender Thing. An interracial love story is daring stuff for Broadway in 1958, and Eleanor is thrilled by the chance to work with her idol. Debut author Neuberger, who studied musical theater and writing at NYU, clearly knows the world she’s depicting; she brings to life with nice historical detail the rehearsal milieu, complete with a martinet director, unabashedly gay chorus boys, and a production taking shape with daily rewrites and new songs. Eleanor, who knows everything about musical theater and not much about real life, may be the only person in the company who doesn’t get why Don takes a special interest in her creatively and displays no interest in her increasingly open romantic overtures. She also doesn’t really think about what the public—let alone her parents—might think about Don’s deliberately button-pushing subject matter until scarily hostile protests erupt during Boston previews, although her savvy African American co-star, Charles Lawrence, has warned her. Charles is among the novel’s many sensitive characterizations, most notable of which is brilliant, conflicted Don: desperately lonely but coldly making use of others’ lives to feed his artistic needs. It’s Eleanor and Charles who show him the realistic finale his musical demands, and Eleanor’s happy ending is a highly qualified one suggesting that she, like Don, will find her deepest relationships in art.
Smart, savvy, atmospheric work from a promising new talent.Pub Date: April 7, 2020
ISBN: 978-0-593-08487-8
Page Count: 320
Publisher: Putnam
Review Posted Online: Jan. 26, 2020
Kirkus Reviews Issue: Feb. 15, 2020
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
BOOK TO SCREEN
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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