Despite occasionally heavy-handed symbolism and anachronistic language, a riotous panorama of a society in chaos.
Scott (Cassandra, Lost, 2004, etc.) traces the intersecting paths of a runaway slave, an ex-belle and a Southern cracker in Civil War North Carolina.
The daughter of a former slave-owner whose failing fortunes have taken them to a mining town, Eugenia Spotswood still pines for her old life in Wilmington. Instead of receiving gentleman callers and revering the memory of a dead mother whose grievances against her husband were expressed in too-vigorous combing of her daughter’s “unnaturally” curly hair, Eugenia is condemned to slatternly drudgery, keeping house and treading long hours on “rockers” harvesting gold dust. Her only respite is Tom, sold to the mines after running away from a plantation near Chapel Hill. Purchased by Spotswood, Tom endears himself to Eugenia, and soon even abolitionist tongues are wagging. When impending war bankrupts the mine, Eugenia helps him flee and absconds herself in another direction with Spotswood’s gold so she won’t have to follow Papa on yet another doomed odyssey. Tom finds work and friendship as a turpentiner and later as a Union scout. Meanwhile, Clyde, the dirt-farmer’s son who caught Tom back in Chapel Hill, flees North after his draft-dodging and slap-happy Pa is killed. Clyde likes the Union soldier’s life until he’s waylaid in a barbaric POW camp (Scott excels at descriptions of gore and putrescence) and winds up, naked and frostbitten, at the house of abolitionist Aunt Baker. And who should Clyde meet there but Eugenia, who was robbed of her ill-gotten gold and became a passionate nurse to the wounded runaways and deserters Aunt Baker harbors in her cellar? When gangrene returns despite an amputation, Clyde insists on seeing his mother before undergoing more surgery. Hoping for news of Tom, Eugenia escorts Clyde home. As the war ends, Tom is also headed for Chapel Hill, bereft of everything except a dead friend’s infant daughter.
Despite occasionally heavy-handed symbolism and anachronistic language, a riotous panorama of a society in chaos.Pub Date: Nov. 7, 2006
ISBN: 0-425-21252-1
Page Count: 352
Publisher: Berkley
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2006
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
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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