A cheerless but supremely well-crafted story that proves Franco to be among the best Latin American writers at work today.
A prodigal son returns to a spectral Colombia in a novel by a writer praised by Gabriel García Márquez.
“My father’s [death] obeys a natural law in Colombia—the law of the jungle.” So says Larry, returning to Medellín after a dozen years away, his father having been kidnapped and killed in the endless cartel wars. His father, Libardo, was a man accustomed to luxury, for, as Franco’s (Paradise Travel, 2006, etc.) novel unfolds, with the time and point of view constantly shifting, we learn of his powerful place within the crime syndicate ruled by Pablo Escobar. His boss gunned down, anguish eats at Libardo as he realizes that he’s now a target himself. He disappears, leaving his wife, “the former Miss Medellín 1973,” to drink, shop, and slowly disintegrate. In a scenario reminiscent of Bret Easton Ellis’ Less Than Zero, Larry and his friends drink, smoke pot, snort coke, and look for something to do, trading barbs that the translator renders in perfect young Americanese, “dudes” and “bullshit” and all. Those friends bear names like La Murciélaga (Batwoman, that is), Carlos Chiquito (Teeny Tiny Charles), and Pedro the Dictator. Collectively they slide, free fall, into addiction and the betrayals large and small that, Franco suggests, are inevitable in a society consumed by violence: “I’d often pass by the site of a recent explosion and shudder at the wreckage, the dried blood,” Larry recalls of Escobar’s car-bomb campaign. “Anything might be a piece of leg, an arm; a pile of something would look like a pile of guts, and there was always a lone shoe somewhere, loose sneakers, flip-flops, boots amid the rubble.” A dark moment comes when it slowly dawns on Larry that his mother and his best friend are up to no good, and vengeance follows with a flicker of magical realism courtesy of an appearance by Libardo’s ghost. For the most part the story is grimly realistic, however, even as it ends with a welcome suggestion of redemption
A cheerless but supremely well-crafted story that proves Franco to be among the best Latin American writers at work today.Pub Date: May 19, 2020
ISBN: 978-1-60945-589-7
Page Count: 352
Publisher: Europa Editions
Review Posted Online: Jan. 26, 2020
Kirkus Reviews Issue: Feb. 15, 2020
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
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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