Within this book is an excellent novel that would have been stronger with a less complicated treatment.
The real-life crash of a charter plane full of Atlanta's white elite is the inspiration for a fictional examination of race, class, love, and betrayal.
In the summer of 1962, more than 100 Atlanta art lovers were about to return from their junket to the great museums of Italy and France when their jet crashed during takeoff at Orly. The only member of the tour group who didn't perish was Raif Bentley, who took a slightly later plane because he and his wife, parents of three, had a policy of never flying together. In Pittard's (Listen to Me, 2016, etc.) re-imagination of the aftermath of this disaster, Raif returns home to an emotionally ravaged world. His good friends Robert and Lily Tucker, a couple expecting their first child, have lost both of Lily's parents, and Robert, an editor at the Atlanta Journal, has lost his young mistress, a writer from the paper whom he sent to cover the trip. So devastated is he that he walks out on pregnant Lucy that very day and goes into a messy, booze-soaked free fall. The Tuckers' separate perspectives on what happens after that are two of several angles among which the narration rotates. People who have no connection to the crash—Piedmont Dobbs, a 19-year-old African-American who's just left home, and Anastasia Rivers, an opportunistic white beauty who does exhibition diving at a hotel—enter the story as it becomes a study of the effect of privilege on relationships in Atlanta, circa 1962. Some of the angles are more gripping and believable than others; in particular, the engrossing and moving plotline involving Piedmont carries the book and makes some of the rest of it seem rather thin. By the time the novel climaxes at a Fourth of July party held in an over-the-top mansion built on the site of a lynching, one can't help but notice that the plane crash is actually pretty tangential to its main concerns.
Within this book is an excellent novel that would have been stronger with a less complicated treatment.Pub Date: June 5, 2018
ISBN: 978-0-544-74806-4
Page Count: 288
Publisher: Houghton Mifflin Harcourt
Review Posted Online: May 14, 2018
Kirkus Reviews Issue: June 1, 2018
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
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