More atmospheric, pleasingly old-fashioned storytelling from Doig (The Eleventh Man, 2008, etc.), whose ear for the way...
Returning to Montana in 1919, ten years after he pinch-hit as a rural schoolteacher in The Whistling Season (2006), Morris Morgan finds the city of Butte roiled by labor unrest.
The Anaconda Copper Mining Company has just imposed a 22 percent pay cut that has union leader Jared Evans reluctantly planning a strike if the company won’t negotiate in good faith. Morrie is sympathetic, particularly since Jared is engaged to one of his former students, but he’s more interested in finding a job and getting better acquainted with Grace Faraday, the feisty widowed proprietress of his boardinghouse. After an unsatisfactory stint at a funeral home—the boozy wakes are too hard on his head—Morrie’s scholarly savoir faire gets him hired by Samuel Sandison, an eccentric former rancher who runs the Butte public library (mostly because the trustees covet his magnificent book collection). Unfortunately, Morrie gets noticed by two of Anaconda’s goons, who think that a guy arriving in Butte with a sketchy back story and without a trunk must be one of those radical outside agitators the company likes to string up from time to time. Since Morrie is still on the lam from Chicago gangsters who took a dim view of his winning money from them by betting on a fixed fight, he’s not eager to have anyone poking around in his past. So it’s maybe not the smartest move to agree to let the union hold clandestine meetings at the library, especially since Sandison has warned him against taking sides, but Morrie can’t help getting involved when his sympathies are roused. His debonair, mildly sardonic voice makes Morrie an engaging narrator/protagonist, though the novel’s most riveting character is Sandison, who atones for past misdeeds with an appropriately bookish contribution to the union’s struggle.
More atmospheric, pleasingly old-fashioned storytelling from Doig (The Eleventh Man, 2008, etc.), whose ear for the way people spoke and thought in times gone by is as faultless as ever.Pub Date: July 1, 2010
ISBN: 978-1-59448-762-0
Page Count: 288
Publisher: Riverhead
Review Posted Online: May 1, 2011
Kirkus Reviews Issue: April 15, 2010
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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