An ingeniously plotted fiction debut with well-drawn characters and plenty of historical depth.
In Mulvahill’s debut novel, a socialite/philanthropist hires an art historian/detective to retrieve paintings that Nazis pilfered from her family’s Paris art gallery during WWII.
Nicole (née Cassin), the protagonist of this labyrinthine tale, was an outspoken Parisian girl who hated the occupying Nazis with a passion. The Cassins were Jewish, so it was only a matter of time before the Nazis took away her father and her mother. Despite the Gestapo’s constant presence, Nicole continues to work at the family gallery, now “Aryanized” and run by a small-time opportunist. The German occupiers are initially polite, but soon the brutality surfaces, which prompts Nicole to join the French Resistance. Eventually, the novel turns into a tense nail-biting thriller: Can she keep her membership in the resistance a secret until the arrival of the Allied liberators? Meanwhile, in a postwar flash forward, decades later, art historian/sleuth Robert Ames, hired by Nicole, has managed to locate her former GI lover, Sam Popinski, in a Detroit retirement home. The interview does not go well, and Popinski dies that very night. But the real bomb drops when his son, seeing a snapshot of Popinski before his enlistment, says, “That’s not my father!” But there is an upside: At the retirement home Robert meets young staff psychologist Amy Wexford, and they soon become not just a team of sleuths but lovers. Do they recover the stolen paintings? Well, thanks to modern computer data bases, Robert’s expertise, and Amy’s pluck, the search is not as hopeless as it might seem.
Mulvahill has a visual art background, which she uses to good effect throughout. She is also an imaginative writer capable of turning an original phrase now and again (a village’s destruction had been “meaningless as a domino to be toppled on the way to a pyrrhic victory”). In some ways, the Popinski subplot is even more intriguing than the search for the paintings. When it first begins to seem that there must be a lifelong Popinski imposter somewhere in the bosom of his family, the reader might wonder: How in the world is Mulvahill going to pull this off? We do find out that Robert came by his calling honestly, because his beloved grandfather had not only been a museum curator but also one of the Monuments Men at the tail end of the war, resulting in some moving vignettes and reflections on the futility of war. Robert is also a credible (if secretive) artist, and Amy encourages him to come out of the closet, as it were. The philosophy of art looms large all throughout the novel: Should it be valued as product or process? What about the venality of art dealers and collectors? At one point Robert and Amy have a playful discussion about the value of a work of art versus a human life (to his credit, Robert says that no work of art is worth a human life). But later on, we find out that Robert and Amy’s silly parlor game prefigured a real and tragic choice that Nicole inadvertently had to make.
An ingeniously plotted fiction debut with well-drawn characters and plenty of historical depth.Pub Date: March 7, 2025
ISBN: 9781915023582
Page Count: 296
Publisher: EnvelopeBooks
Review Posted Online: Sept. 12, 2025
Kirkus Reviews Issue: Nov. 15, 2025
Review Program: Kirkus Indie
Fans of Stockett’s bestselling debut will love this engaging follow-up.
Stockett heads to Mississippi for another historical novel about feisty women.
This time, perhaps recalling criticisms of cultural appropriation in The Help (2009), she sticks to feisty white women, with one exception. The setting is Oxford in 1933. For two miserable years, 11-year-old Meg has lived in “the Orphan,” a county asylum for parentless girls. Chairlady Garnett—a villain so one-note she’d twirl a mustache if she had one—makes it her mission to ostracize the older girls she deems unadoptable, stigmatizing them as offspring of the “feebleminded” mothers who abandoned them. She particularly has it in for smart, sassy Meg, who refuses to believe her mother’s mysterious disappearance was deliberate. Elsewhere in Oxford, Birdie Calhoun comes to visit her sister Frances, who married a wealthy banker, to ask for money on behalf of their mother and grandmother back in Footely. Frances isn’t thrilled by this reminder of her impoverished small-town origins. But she’s trying to climb up in Oxford society by volunteering at the Orphan, the asylum’s books need to be done before the state inspector shows up in a few weeks, and Birdie is a bookkeeper. Having neatly arranged to keep Birdie in town and draw these two storylines together, Stockett goes on to spin a compulsively readable yarn with enough plot for a half-dozen novels. Birdie and Meg become friends, Meg is adopted despite Garnett’s best efforts, Meg’s mother turns up at the Orphan demanding to know where her child is—and that’s less than a quarter of the way through a long, winding narrative that keeps piling on more dramatic developments until all loose ends are neatly, if hastily, wrapped up in the final pages. Stockett might be making a point about Southern women facing facts and standing up for themselves, but mostly this is just a satisfyingly twisty tale that should make a great miniseries.
Fans of Stockett’s bestselling debut will love this engaging follow-up.Pub Date: May 5, 2026
ISBN: 9781954118812
Page Count: 656
Publisher: Spiegel & Grau
Review Posted Online: Feb. 2, 2026
Kirkus Reviews Issue: March 1, 2026
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
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