by Friedrich Christian Delius & translated by Jamie Bulloch ‧ RELEASE DATE: Jan. 31, 2012
An intriguing blend of travelogue and love letter.
A German woman living in Rome during World War II falls under the spell of the Eternal City.
Over the course of one afternoon, the heavily pregnant young narrator of this stream-of-consciousness novella takes a long walk though the streets of Rome en route to a Bach concert at a protestant church. But while that is all that actually happens, her thoughts wander freely, touching often on her absent husband, Gert, a soldier stationed in North Africa. Suffering from a chronic but not life-threatening leg wound acquired in Russia, Gert had hoped to be stationed in Rome as a minister. But in 1943, with the Germans losing the war, he is redeployed to Tunis. His bride remains in Italy, sharing a room with another girl named Ilse in a mission run by German nuns. Pious and naïve, she counts herself blessed to be wintering in the Italian sun while so many are struggling, and fixates on the timeless (and un-German) beauty and sensuality of Rome. And while she finds the vestiges of its pagan culture mildly disturbing, she nonetheless looks forward to the days when she and her husband can enjoy “Roman delights.” The specific horrors of the war figure little in her thoughts, other than a vague recognition that the Führer who "places himself above God” should not be obeyed blindly. She’s a good girl, with her many opinions shaped by the men in her life. But apart from her personal fears, this notably healthy mother-to-be has an unshakeable faith in her and her baby’s future—come what may. Written as one long sentence broken up by indentations, this slender volume has a dreamlike quality and an unapologetically autobiographical theme. Delius (The Pears of Ribbeck, 1991) was born in Rome in 1943, the son of a German pastor.
An intriguing blend of travelogue and love letter.Pub Date: Jan. 31, 2012
ISBN: 978-0-374-53329-8
Page Count: 128
Publisher: Farrar, Straus and Giroux
Review Posted Online: Dec. 3, 2011
Kirkus Reviews Issue: Dec. 15, 2011
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by Kristin Hannah ‧ RELEASE DATE: Feb. 3, 2015
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
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BOOK TO SCREEN
SEEN & HEARD
BOOK TO SCREEN
by Margaret Atwood ‧ RELEASE DATE: Sept. 10, 2019
Suspenseful, full of incident, and not obviously necessary.
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Booker Prize Winner
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
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edited by Margaret Atwood & Douglas Preston
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