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LINCOLN IN THE BARDO

With this book, Saunders asserts a complex and disturbing vision in which society and cosmos blur.

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Short-story virtuoso Saunders' (Tenth of December, 2013, etc.) first novel is an exhilarating change of pace.

The bardo is a key concept of Tibetan Buddhism: a middle, or liminal, spiritual landscape where we are sent between physical lives. It's also a fitting master metaphor for Saunders’ first novel, which is about suspension: historical, personal, familial, and otherwise. The Lincoln of the title is our 16th president, sort of, although he is not yet dead. Rather, he is in a despair so deep it cannot be called mere mourning over his 11-year-old son, Willie, who died of typhoid in 1862. Saunders deftly interweaves historical accounts with his own fragmentary, multivoiced narration as young Willie is visited in the netherworld by his father, who somehow manages to bridge the gap between the living and the dead, at least temporarily. But the sneaky brilliance of the book is in the way Saunders uses these encounters—not so much to excavate an individual’s sense of loss as to connect it to a more national state of disarray. 1862, after all, was the height of the Civil War, when the outcome was far from assured. Lincoln was widely seen as being out of his depth, “a person of very inferior cast of character, wholly unequal to the crisis.” Among Saunders’ most essential insights is that, in his grief over Willie, Lincoln began to develop a hard-edged empathy, out of which he decided that “the swiftest halt to the [war] (therefore the greatest mercy) might be the bloodiest.” This is a hard truth, insisting that brutality now might save lives later, and it gives this novel a bitter moral edge. For those familiar with Saunders’ astonishing short fiction, such complexity is hardly unexpected, although this book is a departure for him stylistically and formally; longer, yes, but also more of a collage, a convocation of voices that overlap and argue, enlarging the scope of the narrative. It is also ruthless and relentless in its evocation not only of Lincoln and his quandary, but also of the tenuous existential state shared by all of us. Lincoln, after all, has become a shade now, like all the ghosts who populate this book. “Strange, isn’t it?” one character reflects. “To have dedicated one’s life to a certain venture, neglecting other aspects of one’s life, only to have that venture, in the end, amount to nothing at all, the products of one’s labors utterly forgotten?”

With this book, Saunders asserts a complex and disturbing vision in which society and cosmos blur.

Pub Date: Feb. 14, 2017

ISBN: 978-0-8129-9534-3

Page Count: 342

Publisher: Random House

Review Posted Online: May 2, 2016

Kirkus Reviews Issue: May 15, 2016

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A PLACE OF GREATER SAFETY

British novelist Mantel weighs in with her American debut: a massively impressive, painstakingly detailed saga of the French Revolution as its leaders lived it. Citizens Danton, Desmoulins, and Robespierre are the primary figures in this historical epic, as each moves from provincial beginnings to Paris and a larger-than-life status in the heady days of revolutionary fervor and terrible excess. Lawyers all, their inclinations and positions allow them to step into roles for which they are well-suited: Danton as the manly, vainglorious hero, as committed and bold as he is self-interested; Robespierre as the tireless conscience of the Revolution, reluctant to accept the power thrust upon him but with an ascetic temperament that brooks no compromises with lesser mortals when he does; and Desmoulins, the go-between, flamboyant and inflammatory, devoted to his friends and sexually ambivalent. Each man moves to his separate but equal destiny through a rich field of characters and images, with wives and family members, sans-culottes and royalty, friends and supporters all revealed in telling detail. The intricacies of political maneuvering in a time of social upheaval are handled with sensitivity and wonderful dexterity, with the final crack in the revolutionary facade that brought Robespierre to turn his allies over to the executioners—in effect destroying all they had struggled together to build—being evident long before it becomes visible. Re-creating the fullness of history with its wealth of human faces and failings, this is a lively, engrossing tale of power, glory, and despair.

Pub Date: March 2, 1993

ISBN: 0-689-12168-7

Page Count: 864

Publisher: Atheneum

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 1, 1993

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THE FLAMETHROWERS

Kushner writes well and plunges us deeply into the disparate worlds of the New York City art scene, European political...

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A novel of art and politics but also of bikes and speed—not Harleys and drugs, but fine (and fast) Italian motorbikes.

At 21, Reno (who goes by the name of the city she comes from) has graduated with a degree in art from the University of Nevada-Reno, and she does what any aspiring artist would like to—heads to New York City. She gets her kicks by riding a Moto Valera, a magnificent example of Italian engineering. In fact, for one brief shining moment in 1976, she sets a speed record of 308.506 mph on her bike at the Bonneville Salt Flats in Utah. This impressive achievement occurs the year after she’d headed to New York, where she’d taken up with—amazing coincidence—Sandro Valera, scion of the Italian manufacturer of the motorbikes she favors and, like Reno, an aspiring artist in New York. Other coincidences abound—for example, that Reno had had sex with a young man, and they’d agreed not to exchange names, but shortly afterward she finds out he’s a close friend of Sandro’s, and he goes on to play a major role in her life. Kushner spends a considerable amount of time flashing us back to the Valera who founded the firm in the early 20th century, and she updates the fate of the company when Reno and Sandro visit his family home in Italy. There they experience both a huge demonstration and eventually the kidnapping of Sandro’s father, a victim of the political turbulence of the 1970s.

Kushner writes well and plunges us deeply into the disparate worlds of the New York City art scene, European political radicalism and the exhilarating rush of motorcycles.

Pub Date: April 2, 2013

ISBN: 978-1-4391-4200-4

Page Count: 400

Publisher: Scribner

Review Posted Online: Jan. 2, 2013

Kirkus Reviews Issue: Jan. 15, 2013

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