Always arresting, never sentimental; gut-wrenching, though not without hope.
Told she has six months to live, an Iranian refugee living in Sweden rages against her inevitable decline—and wrestles with the choices of her past—in Hashemzadeh Bonde’s spare and devastating novel, her first to be published in the U.S.
At 50, Nahid is unceremoniously diagnosed with terminal cancer. She knows death: A former Marxist revolutionary who fled Iran for Sweden, she has seen it. Now that it is upon her, she ought to be prepared. “I’ve always carried my death with me,” she announces. “Our time was always borrowed. We weren’t supposed to be alive. We should have died in the revolution.” But the reality of the diagnosis terrifies her. “What do you do when they tell you you’re dying?” she wonders, caustically. What follows is less a plot than a reckoning: As her health declines, she recalls her childhood in Iran, the early excitement of the revolution followed by the brutality of the violence. She reflects back on her marriage and her early years in Sweden, poisoned by the pain she and her husband shared. And in the present, she considers her daughter, Aram, raised in so-called freedom, now an adult with a doting Swedish boyfriend. She loves Aram more than anyone, but her anger makes her cruel. “You have no mother,” she tells Aram, shortly after diagnosis. “You have nobody. You’re an orphan.” Nahid is capable of betrayal; she learned that during the revolution. Now that she is dying, she debates the value of her choices: “I wonder now what’s worth more,” she says. “Freedom and democracy. Or people who love you. People who will take care of your children when you die.” Translated—gorgeously and simply—by Wessel, Nahid's sentences are short and thrillingly brutal, and the result is exhilarating. Hashemzadeh Bonde, unafraid of ugliness and seemingly unconcerned with likability, has produced a startling meditation on death, national identity, and motherhood.
Always arresting, never sentimental; gut-wrenching, though not without hope.Pub Date: Oct. 16, 2018
ISBN: 978-1-328-99508-7
Page Count: 208
Publisher: Houghton Mifflin Harcourt
Review Posted Online: July 30, 2018
Kirkus Reviews Issue: Aug. 15, 2018
PROFILES
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
BOOK TO SCREEN
SEEN & HEARD
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
