The novel doesn’t live up to the overwhelming tension and high stakes of its protagonist’s life.
An undocumented Harvard student approaches a crossroads in 2010.
Catalina Ituralde was born in Ecuador. After her parents died in a car accident, she was raised first by her aunt and uncle in Ecuador and then by her grandparents in Queens, New York. Neither she nor her grandparents have papers to live in the United States. The story follows Catalina as she completes her final year at Harvard, a stressful time for even the most privileged young people but doubly so for a woman who must tend to her aging grandparents while trying to write her senior thesis and determine what she’s going to do after graduation considering she can’t work legally in the country that’s her home. Her life hangs in the balance at a time when the fate of the Dreamers is being used as a political football. This is the author’s first novel, following The Undocumented Americans (2020), a nonfiction book that combined personal narrative with sensitive reporting to capture the stories of undocumented immigrants. Cornejo Villavicencio is herself one of the first undocumented students to have graduated from Harvard. But this novel doesn’t quite live up to the character of Catalina; her name is a fitting title for the book as little else holds it together. Catalina sort of has friends; sort of starts a romantic relationship; sort of cares about her classes, her work-study appointment at a museum on campus, and her thesis; sort of tries to tackle the daunting challenges she and her grandparents face. All of this is understandable: Anyone’s mental health and capacity to manage day-to-day life would buckle under this tremendous existential strain. But while astute, Cornejo Villavicencio’s commentary on the hypocrisy of liberalism and academia aren’t enough to carry a story that relies on coincidence, meanders, and stalls.
The novel doesn’t live up to the overwhelming tension and high stakes of its protagonist’s life.Pub Date: July 23, 2024
ISBN: 9780593449097
Page Count: 224
Publisher: One World/Random House
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: June 15, 2024
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
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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