A stirring reminder that the most beautiful moments can be frustratingly evanescent and that everyone needs to learn the...
A middle-aged man makes peace with his life choices in this novel.
Ben Alto was still in his prime when he first met Anne-Marie, an arresting native who completely swept him off his feet, in France. In the present, his marriage to Lee, a New York–based artist, is not without its challenges, beset as it is by the daily plod of domesticity. Ben has carved a life back home in the United States, quashing his hopes of becoming an artist and resorting to teaching art history and writing about painting instead. As he and Lee desperately try to start a family, Ben is haunted by his trajectory: “I had begun to age, and to mellow; I had begun to lose confidence in any sort of important future—as a painter or a critic—and although I tried not to be bitter, my lack of prominence weighed on me.” Eventually, Ben and Lee adopt little Misha and cobble together a life of middle-class plentitude with its attendant joys and disappointments. When a life-altering event shakes the couple out of their complacency, they decide they will travel to Europe again, revisiting their favorite places, including St.-Rémy-de-Provence. Reaching out to Anne-Marie during their visit, Ben finds that life has not been kind to her: she is struggling with a rebellious teenager, Celestine, and her love, Zach Douglas, is slowly losing his battle to cancer. Middle-aged ennui and long-lost loves are tropes that have frequently been mined before, but Misurella (Arrangement in Black and White, 2014, etc.) tinges the story with enough pathos and color to craft a standout. There is plenty of nuance in a narrative that could easily have slipped into melodrama but doesn’t. The gorgeous Provencal countryside—with its rippling lavender fields, quaint markets, and striking abbeys and churches—is rendered vividly; one can almost imagine the page as an artist’s canvas here. Impressionist and postimpressionist paintings of Provence come to mind, including those by Ben’s favorite artist, van Gogh. What emerges is a moving account of the necessary compromises people make in their lives.
A stirring reminder that the most beautiful moments can be frustratingly evanescent and that everyone needs to learn the delicate art of letting go.Pub Date: N/A
ISBN: 978-1-5377-2111-8
Page Count: 309
Publisher: Blue Triangle
Review Posted Online: Jan. 23, 2017
Kirkus Reviews Issue: Feb. 15, 2017
Review Program: Kirkus Indie
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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