A storytelling tour de force that lives up to the promise of its name.
In the wake of the destructive Black Sunday dust storm in 1935, four outcasts dare to offer their dying town a radical vision of the future.
Antonina Rossi, an Italian immigrant and survivor of the Milford Home for Unwed Mothers, is the prairie witch of Uz, Nebraska. By falling into a trance, she relieves customers of memories they no longer want and deposits them in the vault of her subconscious. When the dust storm sweeps those memories clean away, Rossi recognizes her “bankruptcy” for what it really is: a mortal danger. Like most witches, Rossi is an outsider, and she throws her lot in with a band of fellow misfits. There’s Asphodel Oletsky, a teen basketball star and born hustler in love with her best friend; Harp Oletsky, Dell’s shy bachelor uncle, whose farm miraculously survives the roiling clouds of dust; and Cleo Allfrey, a Black government photographer sent to document the crisis with a camera that somehow captures the past—and the possibilities of the future. Russell has always expertly woven the strange into depictions of the everyday, and her long-awaited second novel is no exception. Though the language here is looser and more conversational than in her past work, she still has a knack for capturing images in a deft turn of phrase—the flowers of a potted begonia have “small, blushing faces,” for instance. But what’s really on display here is Russell’s reckoning with America’s past and her hopeful appeals for its future. She juxtaposes the immigration story of the Oletskys against the forced removal of Native Americans from the West and lets the catastrophe of the Dust Bowl resonate with the contemporary horrors of climate change. Characters struggle with their complicity in the American project of Native erasure and violence against vulnerable people, reinforced by the collective forgetting that prairie witches enable. While the full picture of the novel takes time to develop, the final portrait is as unforgettable as the images Cleo Allfrey hangs on her darkroom line: A singular, haunting vision that fearlessly excavates the past and challenges the reader to face the future head-on.
A storytelling tour de force that lives up to the promise of its name.Pub Date: March 11, 2025
ISBN: 9780593802250
Page Count: 432
Publisher: Knopf
Review Posted Online: Nov. 23, 2024
Kirkus Reviews Issue: Jan. 1, 2025
BOOK REVIEW
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
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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