Brilliantly researched, imaginative cross-genre historical fiction.
A part fantastical ghost story, part romance focuses on Modigliani’s lover.
Paris, 1920: Italian painter Modigliani dies of consumption. Two days later, Jeanne Hébuterne, artist, model, and common-law wife of Modi, throws herself out the window of her parents’ home. Jeanne dies, but her spirit survives. Tethered to her body by an ethereal umbilical cord, she is prepared for burial in the artist studio she shared with Modi. As a ghost, no one hears her while she rails that the studio has been ransacked and Modi’s paintings have vanished. Her brother, André, collects her work but doesn’t find the piece she had not yet finished, the painting she was going to give Modi had he recovered. Modi had started a picture of her and their baby daughter but abandoned it. Jeanne took up the painting and added Modi’s figure but did not complete it before they both died. After her burial, Jeanne is no longer tied to her body and must navigate the afterlife, searching for Modi. Lappin’s striking afterlife creates a compelling secondary realm to the superbly researched, fleshed-out historical world in and around Paris. What could easily have been a biographical novel—one that ended with Jeanne’s death—is instead a far more intricate tale. The time periods include Paris, 1920; Vichy France under Nazi rule, 1941; and then another layer: 1981, when an art historian uncovers Jeanne’s work and journals. In this blend of world events, art history, and ghost story, one of the author’s greatest strengths is her worldbuilding. Death, from the very first page, is fully realized. The umbilical cord that initially connects Jeanne to her corpse is as “clear and stretchy as a jellyfish tentacle, and a bit sticky, like old egg whites. It shimmered like mother of pearl.” There are rules and a detailed bureaucracy in the world of the dead. One must have money to catch a train; the train has compartments based on class; and Jeanne must inquire about Modi’s whereabouts with the bureau, which is divided according to one’s religion. The book’s inventive afterlife is as vividly drawn as the streets of Paris.
Brilliantly researched, imaginative cross-genre historical fiction.Pub Date: Dec. 15, 2020
ISBN: 978-1-947175-30-3
Page Count: 263
Publisher: Serving House Books
Review Posted Online: Feb. 4, 2021
Kirkus Reviews Issue: March 15, 2021
Review Program: Kirkus Indie
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 tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
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