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BEYOND THE GATES OF ANI

A historically exceptional tale with some uneven dramatic elements.

A historical novel set in the 11th century chronicles the plight of Roman Catholic Armenians under siege by warring Turks. 

In 1064, Arman Chakalian’s home in Ani—located in Turkey, on the Armenian border—is overrun by Turkish soldiers. Arman is Armenian and his father is killed in the invasion. Because Arman’s mother died in childbirth, he is left all alone. He manages to escape Ani with his best friend, Tovmas Valenian, and they decide to travel to Cilicia to find Arman’s grandparents. Then they discover that both of them are dead. The duo resolves to join the Byzantine army as mercenaries in order to fight the Turks, though Tovmas longs to return home to see whether his parents are still alive. Tovmas is entrusted with an ancient religious relic, the Cross of Noah, and asked to secretly shuttle it to Constantinople, where it can be safeguarded until a new Armenian state is established. Both friends travel to Constantinople by sea, and Arman is asked to safely transport Erica, a beautiful young girl, back to her father. He saves her from a vicious attack by a lecherous sailor, and the two fall in love. But they are briefly captured and made slaves by pirates in Cairo. Later, Arman and Tovmas fight courageously against the Turks. Tovmas finally returns home to convince his parents to leave Ani—now under the oppressive thumb of a Turkish ruler—and move to Cilicia, where they can safely begin a new life. Arman marries Erica, but feels shiftless in her native town, Sredets, and the two separate painfully. He pledges to return to Constantinople and rejoin what increasingly seems like a lost cause, defending not only Armenian independence, but also the continued existence of Christianity.  Knott (Beyond the Bitter Sea, 2014) masterfully captures the historical period, and the perilous circumstances into which Armenian Christians were forced. His research is as painstaking as it is wide-ranging—he displays an expert grasp of the era’s political struggles and religious divisions as well as the ancient geography and economy. The principal selling point of the novel is its epochal authenticity—it is hard to imagine an academic treatise providing as full and vivid a picture of the time. In addition, Arman is drawn with fine, nuanced authorial strokes. The character expresses not only the rage Armenians must have felt in the face of their ruthless debasement, but also an ambivalence many had about the religious crusade birthed in response to it, capable of its own merciless savagery: “ ‘I question the morality of this war,’ said Arman. ‘Already it seems that the crusaders are only interested in plunder and killing innocent Jews and even other Christians who fall in their path.’ ” But the plot moves lethargically and has a tendency to meander without narrative discipline. In addition, the story’s dramatic facets aren’t always as persuasive as its historical ones. For example, Arman recovers far too quickly and fully from a personal tragedy to be emotionally believable.

A historically exceptional tale with some uneven dramatic elements.  

Pub Date: N/A

ISBN: N/A

Page Count: 349

Publisher: Dog Ear Publisher

Review Posted Online: May 25, 2019

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THE MOST FUN WE EVER HAD

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

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THEN SHE WAS GONE

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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