The cheerful complexity of Conaway's novel rivals the richest, most nose-worthy, palate-pleasing Cabernet.
Conaway (Vanishing America, 2008, etc.) pens a lighthearted novel centering on oenophiles cavorting in a lush, grape-growing California valley.
Conaway’s catalyst for his wine-country appreciation is an unlabeled bottle of Cabernet. The bottle ends up on the sampling table of Clyde Craven-Jones, known to wine lovers as CJ, head of the mega-influential Craven-Jones on Wine. CJ is a British expat and something of a corpulent, self-absorbed snob. His wife is the younger, winsome Claire Craven-Jones, who escaped Arkansas trailer-living by marrying the wine expert. It’s Claire to whom Clyde has assigned the task of determining the origin of the unlabeled bottle—“Big nose, briary, just enough forward fruit. Fine tannins”—the first California Cab he believes worthy of 20 points, a rating never before awarded by Craven-Jones on Wine. To trace the bottle's origins, Claire hires Les, farm boy turned reporter, out of work and unable to settle his bar tab, and so he’s pretending to be an investigator, thanks to recommendations from ponytailed Ben, owner of the Glass Act, a decrepit bar stocked with expensive, exotic wines. There’s Sara Hutt Beale, daughter of Jerome, a less-than-scrupulous developer now deep in debt after turning a valley vineyard into Hutt Family Estates, a modern high-end wine factory. Sara’s own land adjoins that of melancholy Cotton Harrell, a river ecologist turned philosopher turned vintner, mourning the death of his lover. Like blending Merlot-Malbec grapes for the perfect Bordeaux, Conaway uses this cast, and an assortment of quirky supporting players, to weave multiple narratives into a cozy, no-murder and not-quite mystery, all set in motion after CJ accidentally dies when he becomes stuck in a giant metal tank of wine. Les helps the conservative Claire reenergize Craven-Jones on Wine—and her love life—while simultaneously using an anonymous blog to decant murky wine-country secrets, the most damaging of which is Jerome’s machinations to turn part of the Hutt Family Estates vineyard into a forest of McMansions.
The cheerful complexity of Conaway's novel rivals the richest, most nose-worthy, palate-pleasing Cabernet.Pub Date: March 12, 2013
ISBN: 978-1-250-00684-4
Page Count: 336
Publisher: Dunne/St. Martin's
Review Posted Online: Oct. 31, 2012
Kirkus Reviews Issue: Nov. 15, 2012
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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