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LINCOLN IN THE BARDO

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

Awards & Accolades

Our Verdict

  • Our Verdict
  • GET IT


  • Kirkus Reviews'
    Best Books Of 2017


  • New York Times Bestseller


  • The Man Booker Prize Winner

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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ACTRESS

Another triumph for Enright: a confluence of lyrical prose, immediacy, warmth, and emotional insight.

A daughter reveals the intertwined tales of her mother—a theatrical legend—and herself, a mature retrospective of sharing life with a towering but troubled figure.

Katherine O’Dell, star of stage and screen, blessed with beauty, red hair, and a gorgeous voice, “the most Irish actress in the world,” was not Irish at all. She was born in London, and the apostrophe in her name crept in by error via a review following one of her appearances on Broadway. However, the fact that Katherine is “a great fake” doesn’t cloud the love her daughter, Norah, has for her, a bond which exists alongside the unanswered question of Norah’s father’s identity, “the ghost in my blood.” The complexities of this mother/daughter relationship and its context in Ireland, the men it includes, and the turns both women’s lives take through the decades are the meat of this tender, possessive, searching new novel from Man Booker Prize–winning Irish novelist Enright (The Green Road, 2015, etc.). Saga-esque, it traces Katherine back to her parents, strolling players from another era who invited her on stage at age 10, scarcely imagining the luminous, internationally recognized figure this “useful girl” would become. But the novel is no fairy tale. Katherine’s life was marked with loneliness; disappointing, sometimes exploitative, and abusive men; the pressure of trying to remain successful; a desperate act of violence; and a breakdown. Norah narrates both her mother’s life and her own—she’s the author of five novels, a mother, a sexual being, and also the sole offspring of a parent she both adored and observed at a distance. Fame, sexuality, and the Irish influence suffuse the story, which ranges from glamour to tragedy, a portrait of “anguish, madness, and sorrow” haunted by a late, explanatory glimpse of horror which nevertheless concludes in a place of profound love and peace.

Another triumph for Enright: a confluence of lyrical prose, immediacy, warmth, and emotional insight.

Pub Date: March 3, 2020

ISBN: 978-1-324-00562-9

Page Count: 272

Publisher: Norton

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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A DUKE TOO FAR

An effervescent Regency romantic mystery brings a decrepit estate to life.

A hunt for treasure—and treasures of the heart.

Peter Rathbone, the Duke of Compton, isn’t ever expecting visitors—his estate is so impoverished that he keeps a tennis racquet at the dinner table to fend off attacks from bats. Suddenly, however, he becomes the host to two parties: the Earl of Macklin, whom he hasn’t seen in six months, and a group of young women (plus chaperone, naturally) who went to school with his late sister, Delia. Led by Miss Ada Grandison, Sarah and Charlotte and Harriet are all eager to help the duke uncover a secret that Delia told Ada about just before her accidental death. Though the house is in disrepair, they all settle in, with chaperone Aunt Julia taking the opportunity to teach them how to run a household. Ada keeps looking for chances to be alone with the duke, to discuss Delia’s secret, and their private encounters spark a mutual interest. But Peter, for his part, won’t act on his feelings, having nothing to offer her, and Ada grows frustrated. After they all discover that Delia’s secret is a potential treasure trove hidden on the estate, the girls race to solve the puzzle Delia left behind and find the fortune. Peter’s not sure anything will come of it—but the chemistry between Ada and him continues, treasure or not. In the fourth volume of her The Way to a Lord’s Heart series (How To Cross a Marquess, 2019), Ashford continues her explorations of a world outside, but not apart from, London society. With a light mystery and evocative detail, she sketches a gentler side of Regency life, away from the haut ton. Although the budding romance between Ada and Peter is sweet and compelling, it’s the friendship between Ada and her three girlfriends that really sets the book apart. All of the dialogue, but especially theirs, is fast-paced and charming, adding a welcome richness to the story. The appearance of Lord Macklin might seem odd to readers who are new to the series, but the book can be read on its own, and fans of the series are sure to enjoy the latest entry.

An effervescent Regency romantic mystery brings a decrepit estate to life.

Pub Date: April 28, 2020

ISBN: 978-1-4926-6344-7

Page Count: 352

Publisher: Sourcebooks Casablanca

Review Posted Online: Jan. 25, 2020

Kirkus Reviews Issue: Feb. 15, 2020

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