Markert’s weakness for murderous melodrama trivializes a dark time in medical history.
A tuberculosis epidemic, as seen through the eyes of a sanatorium doctor driven by his love of God and music.
According to the author of this first novel, Waverly Hills Tuberculosis Sanatorium was a real place on a hilltop outside Louisville, Ky. The locals were fearful of the white wind blowing down on them. In the winter of 1929, two doctors handle 500 patients. Some will leave symptom-free, but more will die. Dr. Wolfgang Pike finds playing his harmonica or violin soothes his patients. The 31-year-old doctor inherited his love of music from his Protestant father; where Wolfgang differed was in his embrace of Catholicism. His pursuit of the priesthood faltered when he met the lovely Rose outside a cathedral. The two young Catholics ministered to soldiers during the great flu epidemic of 1918. They married; five years later, Wolfgang lost Rose in a traffic accident. By then, the seminarian was a doctor, still hoping to become a priest one day. At Waverly, his hectic life is further burdened by Ku Klux Klan members harassing him. They burn a cross outside the nearby “colored” hospital. Their mischief is counterbalanced by the arrival of a new patient, McVain, an ornery guy but a talented pianist. Soon, the novel settles into the familiar groove of an inspirational work. McVain overcomes his bigotry to play with a black flutist and a Jewish violinist. Wolfgang organizes the healthier patients into a choir; there will be a concert. Naturally, there are setbacks; the senior doctor is opposed, and there’s even a horrific lynching, but the concert is a triumph for conductor Wolfgang and pianist McVain, even though they are the last notes he will ever play. The action is not quite over. Wolfgang succumbs to carnal temptation for the second time and marries a nurse, Susannah. This one will be a brief marriage, as her tuberculosis proves fatal.
Markert’s weakness for murderous melodrama trivializes a dark time in medical history.Pub Date: March 1, 2013
ISBN: 978-1-4022-7837-2
Page Count: 400
Publisher: Sourcebooks Landmark
Review Posted Online: Dec. 15, 2012
Kirkus Reviews Issue: Jan. 1, 2013
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
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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