Thrills aplenty as readers await the next installment of this well-researched series.
In this follow-up to The Burning Chambers, (2019) Mosse’s characters endure the horrors of the St. Bartholomew’s Day massacre, in which the Huguenots—members of the French Protestant minority—were attacked by Catholics.
Minou Reydon, the Huguenot protagonist of Chambers, and her husband, Piet, are now, in 1572, the nobility in residence at Château de Puivert in Languedoc after having wrested it from a usurper. Minou’s entire extended family lives in the castle, including her brother, Aimeric, sister, Alis, and her Aunt Salvadora. Minou and Piet have two children, precocious 7-year-old Marta and toddler Jean-Jacques. The family’s idyll is about to be interrupted, though. Piet’s former friend Vidal, now a Catholic cardinal, is scheming to carry out grudges against both Minou and Piet, one long-standing and one very recent: Vidal has suspicions about Piet’s lineage that he is determined to both confirm and conceal. The Reydons’ troubles begin when they leave Puivert to attend a royal wedding in Paris. Marguerite, the Catholic daughter of Catherine de’ Medici, is to marry Henri, the Huguenot king of Navarre, who will one day accede to the throne of France. Many hope that the match will signal a truce in the religious strife that has rocked France for decades. However, certain renegade Catholics, led by the Duke of Guise and abetted by Vidal, plan a limited strike on key Huguenots in town for the wedding. But the violence spreads until a mob has murdered thousands. Minou, Piet, their son, and Salvadora manage to escape but, through a profoundly unlucky turn of events, leave Marta behind. This act will test Minou and Piet’s marital bond as, in exile from France, they establish a new life in Amsterdam. Mosse keeps a firm grip on the extremely complex Reformation history in which her characters are enmeshed. The role of Vidal in the plot is less successfully executed. The aging and ailing prelate appears too overtly crazy to fulfill his intended role as mastermind and nemesis. And there may be too many minutely described stabbings for some tastes.
Thrills aplenty as readers await the next installment of this well-researched series.Pub Date: Jan. 12, 2021
ISBN: 978-1-250-20218-5
Page Count: 560
Publisher: Minotaur
Review Posted Online: March 14, 2020
Kirkus Reviews Issue: April 1, 2020
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
A vivid, exciting page-turner from one of our most interesting authors of historical fiction.
When a man accused of rape turns up dead, an Early American town seeks justice amid rumors and controversy.
Lawhon’s fifth work of historical fiction is inspired by the true story and diaries of midwife Martha Ballard of Hallowell, Maine, a character she brings to life brilliantly here. As Martha tells her patient in an opening chapter set in 1789, “You need not fear….In all my years attending women in childbirth, I have never lost a mother.” This track record grows in numerous compelling scenes of labor and delivery, particularly one in which Martha has to clean up after the mistakes of a pompous doctor educated at Harvard, one of her nemeses in a town that roils with gossip and disrespect for women’s abilities. Supposedly, the only time a midwife can testify in court is regarding paternity when a woman gives birth out of wedlock—but Martha also takes the witness stand in the rape case against a dead man named Joshua Burgess and his living friend Col. Joseph North, whose role as judge in local court proceedings has made the victim, Rebecca Foster, reluctant to make her complaint public. Further complications are numerous: North has control over the Ballard family's lease on their property; Rebecca is carrying the child of one of her rapists; Martha’s son was seen fighting with Joshua Burgess on the day of his death. Lawhon weaves all this into a richly satisfying drama that moves suspensefully between childbed, courtroom, and the banks of the Kennebec River. The undimmed romance between 40-something Martha and her husband, Ephraim, adds a racy flair to the proceedings. Knowing how rare the quality of their relationship is sharpens the intensity of Martha’s gaze as she watches the romantic lives of her grown children unfold. As she did with Nancy Wake in Code Name Hélène (2020), Lawhon creates a stirring portrait of a real-life heroine and, as in all her books, includes an endnote with detailed background.
A vivid, exciting page-turner from one of our most interesting authors of historical fiction.Pub Date: Dec. 5, 2023
ISBN: 9780385546874
Page Count: 448
Publisher: Doubleday
Review Posted Online: Aug. 12, 2023
Kirkus Reviews Issue: Sept. 15, 2023
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