Young’s intricately wrought family drama tarries over details of time, place, and emotion as it gradually reveals her...
A family home hides generations of secrets.
The estate Lucy Evans leaves to her great-niece, Justine, includes a lakeside house, a portfolio of $150,000, and a composition book in which Lucy recorded events from the summer of 1935. Lucy’s great-grandfather, who co-founded Williamsburg, Minnesota, with other escapees from the coal mines of Wales, built the summer house. By the time Lucy writes in her notebook, she’s been living there alone since the death of her older sister, Lilith—Justine's grandmother—three years earlier. Lucy wants Justine to know the truth about the disappearance of her and Lilith's 6-year-old sister, Emily, many years earlier. Their pious father, who revered innocence; their overly protective mother, who slept in Emily’s bed every night and didn’t want her out of her sight; and the rebellious, aptly named Lilith all find echoes in a parallel narrative about Justine's life. Deciding to do what she swore she’d never do, Justine uproots her two daughters from San Diego and the only home they’ve known to escape her manipulative, needy lover and claim her inheritance after Lucy’s death. Justine’s mother, who, as Lilith’s daughter, is just as free a spirit as her mother was, spent most of her life shaking the dust of a series of towns off her feet and dragged her daughter along with her for years. Now Justine’s chance to own a family home—even though she’s visited it just once—promises to provide the stability she never knew as a child. But she’s unprepared for life in a cold, musty house in a cold, isolated area with only two neighbors, an unsettling pair of elderly brothers who played their parts in a tragedy that threatens to repeat itself with Justine’s daughters.
Young’s intricately wrought family drama tarries over details of time, place, and emotion as it gradually reveals her debut’s tragic core.Pub Date: July 26, 2016
ISBN: 978-0-06-245660-1
Page Count: 352
Publisher: Morrow/HarperCollins
Review Posted Online: May 21, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK REVIEW
BOOK REVIEW
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
BOOK TO SCREEN
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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