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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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ALICE ISN'T DEAD

A terrifying new storytelling experience that affirms, even in our darkest moments, that love conquers all.

A female big-rig driver crisscrosses America searching for signs of the wife everyone else thinks is dead.

This spooky third novel by Welcome to Night Vale creator Fink (It Devours!, 2017, etc.) is similarly based on an original podcast and offers a more threatening but equally personal take on the horror genre. Switching from the podcast’s intimate first-person narration, delivered with powerful emotion by actress Jasika Nicole, allows Fink to stretch out into the more remote corners of his mythos while delivering the same scary beats. The main character is Keisha Taylor, whose wife, Alice, disappeared while working for the mysterious Bay and Creek trucking company: “No cause of death. No body. No certainty. There was a disappearance, and after a long and increasingly hopeless search, the presumption of death.” Now Keisha has taken a job with the company as a long-haul driver, which thrusts her firmly into the eerie mythology at work here. Keisha is a fascinating character partially because one of her defining characteristics is chronic anxiety, and it’s a potent imperfection for a character who battles literal monsters on a regular basis. Along the way, Fink unveils the strange universe that swallowed Alice whole, revealing an underground war between two secret societies, time-bending oracles, and other Lovecraft-ian horrors. He also gives Keisha a charismatic ally in Sylvia Parker, a teen on the run who becomes her “anxiety bro,” and a bloodcurdling enemy in the macabre, twisted police officer who stalks her across the span of the country. But the book also tempers its terrors with everyday humanity, portraying the mundane joys of love, the rich fabric of the American countryside, and surreal “Why did the chicken cross the road?” jokes that are a hallmark of the podcast. By the time Keisha learns Alice's fate, readers will realize that this marvelous character is more than the sum of her faceless anxiety or her very real fears.

A terrifying new storytelling experience that affirms, even in our darkest moments, that love conquers all.

Pub Date: Oct. 30, 2018

ISBN: 978-0-06-284413-2

Page Count: 320

Publisher: Harper Perennial/HarperCollins

Review Posted Online: July 30, 2018

Kirkus Reviews Issue: Aug. 15, 2018

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A LONG PETAL OF THE SEA

A trifle facile, but this decades-spanning drama is readable and engrossing throughout.

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Two refugees from the Spanish Civil War cross the Atlantic Ocean to Chile and a half-century of political and personal upheavals.

We meet Victor Dalmau and Roser Bruguera in 1938 as it is becoming increasingly clear that the Republican cause they support is doomed. When they reunite in France as penniless refugees, Roser has survived a harrowing flight across the Pyrenees while heavily pregnant and given birth to the son of Victor’s brother Guillem, killed at the Battle of the Ebro. Victor, evacuated with the wounded he was tending in a makeshift hospital, learns of a ship outfitted by poet Pablo Neruda to take exiles to a new life in Chile, but he and Roser must marry in order to gain a berth. Allende (In the Midst of Winter, 2017, etc.) expertly sets up this forced intimacy between two very different people: Resolute, realistic Roser never looks back and doggedly pursues a musical career in Chile while Victor, despite being fast-tracked into medical school by socialist politician Salvador Allende (a relative of the author's), remains melancholy and nostalgic for his homeland. Their platonic affection deepens into physical love and lasting commitment in an episodic narrative that reaches a catastrophic climax with the 1973 coup overthrowing Chile’s democratically elected government. For Victor and Roser, this is a painful reminder of their losses in Spain and the start of new suffering. The wealthy, conservative del Solar family provides a counterpoint to the idealistic Dalmaus; snobbish, right-wing patriarch Isidro and his hysterically religious wife, Laura, verge on caricature, but Allende paints more nuanced portraits of eldest son Felipe, who smooths the refugees’ early days in Chile, and daughter Ofelia, whose brief affair with Victor has lasting consequences. Allende tends to describe emotions and events rather than delve into them, and she paints the historical backdrop in very broad strokes, but she is an engaging storyteller. A touching close in 1994 brings one more surprise and unexpected hope for the future to 80-year-old Victor.

A trifle facile, but this decades-spanning drama is readable and engrossing throughout.

Pub Date: Jan. 21, 2020

ISBN: 978-1-9848-2015-0

Page Count: 336

Publisher: Ballantine

Review Posted Online: Sept. 1, 2019

Kirkus Reviews Issue: Sept. 15, 2019

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