Split between two different narrative modes, Aboulela’s latest is both engaging and perplexing.
Three members of a British Muslim women’s group travel north to the Scottish Highlands, where their individual preoccupations turn increasingly surreal, leading them to redefine their attitudes and their futures.
Talking birds, phantom children, and physical metamorphoses are just a few of the surprises in this latest novel from an Egyptian-born writer who has previously used a more realistic style to explore the dilemmas of Muslim women often stranded between cultures. Aboulela (Elsewhere, Home, 2019, etc.) does begin her new work in recognizable territory, depicting a trio of friends who share a religion and immigrant background, but gradually proceedings shift into a more fantastical place. Salma, married to Muslim-convert David and mother to four British children, has enjoyed the most freedom, yet she fantasizes about the life she might have had in Egypt and is enjoying a risky phone dialogue with Amir, the man she didn’t marry. Moni is neglecting and endangering her marriage by devoting herself exclusively to the care of her son, Adam, who has cerebral palsy. Iman, youngest and prettiest of the three, yearns for a child but has just been rejected by her third husband and is now homeless. During a week together in a remote loch-side cottage, the women pursue private paths: Iman wears peculiar costumes and communes with a fable-sprouting Hoopoe, a sacred bird; Moni befriends a silent child who suddenly begins to grow alarmingly, like Alice in Wonderland; and Salma chases Amir through the woods. All three suffer painful physical alterations and journey through testing landscapes, but their friendship, previously fraying, helps sustain them until the Hoopoe leads them back. Aboulela’s exploration of the women’s problems of choice, faith, and commitment are as immersive as ever, but her dreamscapes, while imaginative and disconcerting, seem to sit oddly, at one didactic remove from the story.
Split between two different narrative modes, Aboulela’s latest is both engaging and perplexing.Pub Date: Feb. 11, 2020
ISBN: 978-0-8021-4915-2
Page Count: 304
Publisher: Black Cat/Grove
Review Posted Online: Nov. 10, 2019
Kirkus Reviews Issue: Dec. 1, 2019
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
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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