A sequel that honors James and his singular heroine while showing Banville to be both an uncanny mimic and, as always, a...
A sequel to The Portrait of a Lady that may well delight fans of that Henry James masterpiece and leave other readers bemused by the contemporary work’s 19th-century sensibility.
When last seen in Portrait, Isabel Osmond, nee Archer, has left London to return—inexplicably or inevitably—to Rome and her psychologically abusive husband, Gilbert. In this sequel, Isabel delays that confrontation for almost two months as she seeks counsel from friends and ponders her shortcomings, dead marriage, and the sort of freedom she desires. There’s a comically appalling vegetarian dinner with a suffragette acquaintance, featuring “uncompromising greens,” a late-night talk-a-thon with her bluestocking friend, Henrietta Stackpole, and a soiree at the Paris home of an American heiress, where Isabel encounters nemesis Serena Merle, her husband’s partner in more crimes than James set forth. Isabel also withdraws “a very large sum” in cash from her London bank and carries it about in a leather satchel. She misplaces it and retrieves it, only to have Banville (The Blue Guitar, 2015, etc.) conceal its whereabouts for much of the book until it comes to serve the overarching theme of freedom. The disappearing cash is one of the subtler devices (cliffhangers end several chapters) he uses to bring some tension to this slowly unfolding drama, in which Isabel’s Grand Detour before the reckoning with Gilbert—London, Paris, Geneva, Milan, Florence, Rome—offers most of the action: boarding a train, ferry, or horse-drawn carriage. Fans of Henry will find the writing persuasively Jamesian in its voice and diction, its syntax less labyrinthine. Fans of John should deem it marvelously Banville-an in its observations, humor, and insight—though they may wonder at this literary diversion by a writer who already plies the pen name Benjamin Black.
A sequel that honors James and his singular heroine while showing Banville to be both an uncanny mimic and, as always, a captivating writer.Pub Date: Nov. 7, 2017
ISBN: 978-0-451-49342-2
Page Count: 384
Publisher: Knopf
Review Posted Online: Sept. 3, 2017
Kirkus Reviews Issue: Sept. 15, 2017
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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