A bracing look at a twilight year in the life of an old man who, when confronted daily by perfectly good reasons for giving...
Eight years after his barren but settled life was harrowed by a series of once-in-a-lifetime crises (Italian Shoes, 2009), ignominiously retired surgeon Fredrik Welin is beset by an even more traumatic event in this final novel by the creator of beloved police detective Kurt Wallander.
Awakening one night to find his house on fire, Welin has just enough time to don two boots before fleeing the inferno. The home built by his grandparents is a dead loss, along with everything inside it; even the pair of boots he grabbed wasn’t really a pair. Thinking of Louise, the daughter whose existence he never suspected until she was an adult, he reflects: “Did I want to rebuild the house or should I let Louise inherit the site of a fire?” That pivotal question is complicated by several other developments. Louise is a thief and perhaps a prostitute; she won’t tell Welin who fathered her baby; she’s arrested on a trip to Paris; and in the meantime, the local police have shown considerable interest in Welin as the leading suspect in what looks more and more like a case of arson. Even the new boots he orders turn out to be the wrong size. Only his growing friendship with journalist Lisa Modin seems to hold out any hope of renewal for Welin’s frozen life. Yet here too the path is strewn with difficulties: Lisa is a generation younger than Welin, she has baggage of her own, and it’s not at all obvious that she returns his romantic interest. No wonder Welin concludes, “There was no god in my caravan.” Yet amid all his ruminations and flashbacks and flirtations with despair, Mankell shows his unlikely hero’s indomitable will to survive and, if possible, to make the next chapter of his life an improvement on what’s gone before.
A bracing look at a twilight year in the life of an old man who, when confronted daily by perfectly good reasons for giving up altogether, doesn’t so much rise above as plow stoically through them.Pub Date: Oct. 31, 2017
ISBN: 978-0-525-43508-2
Page Count: 416
Publisher: Vintage
Review Posted Online: Aug. 5, 2017
Kirkus Reviews Issue: Aug. 15, 2017
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
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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