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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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ALIAS GRACE

A fascinating elaboration—and somewhat of a departure for Atwood (The Robber Bride, 1993, etc.)—of the life of Grace Marks, one of Canada's more infamous killers. As notorious as our own Lizzy Borden, Grace Marks was barely 16 when she and James McDermott were arrested in 1843 for the brutal murder of their employer Thomas Kinnear and his pregnant mistress/housekeeper Nancy Montgomery. The trial was a titillating sensation; McDermott was hanged, and Grace was given the dubious mercy of life imprisonment. Some felt her an innocent dupe, others thought her a cold-blooded murderer; the truth remains elusive. Atwood reimagines Grace's story, and with delicate skill all but replaces history with her chronicle of events. Anchoring the narrative is the arrival of Dr. Simon Jordan, who has come to investigate the sanity of Grace after some 16 years of incarceration. A convert to the new field of psychiatry, Jordan is hoping to help Grace recover her memory of the murders, which she claims no recollection of. He begins by asking for her life story. Grace tells him of her first commission as a laundry maid in a grand house, and of her dear friend Mary, dead at 16 from a botched abortion. On she goes until she calmly relates the events that led up to the murders, and her attempted escape with McDermott afterward. Hypnotism finally "restores" her memory (or is Grace misleading Jordan?), with results that are both shocking and ambiguous. Employing a variety of narratives—Grace's own, Dr. Jordan's, letters, newspaper accounts from the time, poems from the period, and the published confessions of the accused—a complex story is pieced together. The image of the patchwork quilt, used repeatedly in the novel, is a fitting metaphor for the multiplicity of truths that Grace exemplifies. Through characteristically elegant prose and a mix of narrative techniques, Atwood not only crafts an eerie, unsettling tale of murder and obsession, but also a stunning portrait of the lives of women in another time.

Pub Date: Dec. 1, 1996

ISBN: 0-385-47571-3

Page Count: 484

Publisher: Nan A. Talese

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 15, 1996

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THE WAR WIDOW

Neatly incorporates history, social commentary, and a satisfying mystery in one appealing package. More, please!

A fashionable Australian private eye finds herself embroiled in a difficult case just after World War II.

As a war correspondent, Billie Walker witnessed some terrible things in Germany and still carries many burdens, including the disappearance of her journalist husband. Back home in Sydney, however, she has returned to full-time work as owner and investigator of a private inquiry agency she inherited from her late father. She even has Sam, a brave and affable secretary-cum-assistant, himself a former soldier. When a woman asks Billie to find her missing teenage son, clues lead to The Dancers, an elite club, and Georges Boucher, owner of an expensive auction house. It seems that an old family photo of a particular necklace is at the heart of the case, but who has taken Adin Brown, and to what end? At the same time, Billie's secret informant Shyla reports on a man in the country who has been mistreating girls. Of course, both cases are related, and the truth behind Adin’s abduction, in a very Dashiell Hammett–like turn of events, involves Nazi war criminals, stolen treasures, and a prostitution ring. Billie is a smart, glamorous, kind, and well-turned-out woman, and her addition to the world of literary private detectives is welcome and deserved. She carries a bit of the hard-boiled tradition on her shoulders—the vulnerability, the brashness—while providing a completely feminine perspective on both the crimes and the approach to crime-solving. Moss clearly did a lot of research for the novel, including a great deal in fashion and sewing, so sometimes the details and descriptions can be lengthier than necessary, but gradually, as the pace picks up, these details serve to help us get to know the characters on multiple levels. The setting feels simultaneously familiar and exotic.

Neatly incorporates history, social commentary, and a satisfying mystery in one appealing package. More, please!

Pub Date: May 5, 2020

ISBN: 978-0-593-18265-9

Page Count: 352

Publisher: Dutton

Review Posted Online: March 1, 2020

Kirkus Reviews Issue: March 15, 2020

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