Now that we’ve seen how Ivoe Williams came to be, we’d like to see much more of the great things she was able to do with her...
An impassioned historical novel chronicles the early-20th-century resurgence of African-American activism through the life of a poor Texas girl who channels a lifelong love of newsprint into a groundbreaking journalism career.
Barnett, who has edited such anthologies as Off the Record: Conversations with African American and Brazilian Women Musicians (2014), makes her fiction debut with this coming-of-age saga, set at the hinge of the 19th and 20th centuries, about Ivoe Williams, a bright, avid daughter of a Muslim cook and a metalworker struggling to make ends meet in post-Reconstruction central Texas. Despite her bleak segregated environment, Ivoe grows up infatuated with the written word, most especially with the immediacy and color of newspapers she finds and, at least once, steals from her mother’s white employer. Barnett excels here at what for most writers is a difficult task: evoking what it feels like to grow into one’s calling as a writer through psychological intimacy as much as immediate experiences. The book is equally attentive in conceiving those who are closest to Ivoe, including her parents and siblings and two women with whom she would become emotionally involved while attending college: Berdis, the mercurial, flamboyant piano prodigy, and Ona, the magnetic, empathetic instructor who falls in love with Ivoe and eventually helps establish their own newspaper in Kansas City. Barnett’s book is clearly inspired by the lives of crusading black journalists such as Ida B. Wells who inspired their communities to fight Jim Crow customs and legally sanctioned lynching. Yet most of those insurgent moments are crowded—jammed, if you will—toward the novel’s end. One is left wanting less of a young black woman’s rite of passage in a hostile environment, experiences amply represented in literature, and far more of Ivoe’s journalistic accomplishments, about which there has been relatively little in American fiction.
Now that we’ve seen how Ivoe Williams came to be, we’d like to see much more of the great things she was able to do with her craft. Maybe Barnett can oblige us. She’s got the talent to do so.Pub Date: Feb. 3, 2015
ISBN: 978-0-8021-2334-3
Page Count: 336
Publisher: Grove
Review Posted Online: Jan. 7, 2015
Kirkus Reviews Issue: Jan. 15, 2015
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
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
