A Manchurian Hot Zone this is not.
In 1910 Manchuria, a doctor is baffled by a deadly epidemic.
Shields (The Crimson Portrait, 2006, etc.) may be the first novelist to tackle the mysterious plague that overtook Manchuria early in the last century. In Kharbin, a railroad hub under the joint control of Czarist Russia and the Chinese empire, Russian physician Baron von Budberg, the city’s chief medical examiner,, is frustrated when two corpses found near the railway station are spirited away before he can ascertain the cause of death. Soon, such deaths and disappearances are mounting exponentially, both in the hovels of the Chinese laborers and the mansions of the privileged Russian sector. As frigid winter descends, it becomes clear to the Baron and his hospital colleagues that a highly infectious plague has gripped Kharbin. The malady presents initially with mild symptoms, racing pulse and elevated temperature, followed within hours by wracking cough, hemorrhage, and death. The chief difficulty here is that Shields has trouble meshing the disease-thriller aspect of this novel with her almost worshipful character study of the Baron, a humanist equally at home with his Chinese wife, Li Ju, calligraphy lessons, and tea ceremonies as he is with vodka and caviar. Many colorful—or so they are clearly intended—characters cross the Baron’s path, including his venal boss, Gen. Khorvat, and his confidants Andreev, a fixer and smuggler, and the dwarf Chang, a tea master. Although his loyalty to less raffish friends as well as his meditative calligraphy practice may lend gravitas to the Baron’s persona, he remains a cipher. The depiction of the epidemic hews closely to the known facts: the discarded, frozen bodies, the brutal quarantine methods, and the initially scattershot official response. Unfortunately, though, the narrative is nearly devoid of forward momentum. Rather than do battle, the Baron seems content to ruefully observe the plague’s inevitable advance. Potential conflicts, like the Baron’s incipient rivalry with a Dr. Wu, whom he views as a young upstart, are never developed.
A Manchurian Hot Zone this is not.Pub Date: Jan. 30, 2018
ISBN: 978-0-316-38534-3
Page Count: 352
Publisher: Little, Brown
Review Posted Online: Oct. 30, 2017
Kirkus Reviews Issue: Nov. 15, 2017
BOOK REVIEW
BOOK REVIEW
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
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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