Initially, and fitfully engrossing, but the book turns into a harangue that just doesn’t know when to stop.

FOR A SACK OF BONES

The brutality and carnage that comprise the legacy of Francisco Franco’s “Republican” regime reshape and afflict several lives in Catalan playwright and screenwriter Baulenas’s accusatory novel.

The present actions occur in 1949, when protagonist and narrator Genís Aleu, a sergeant in the Spanish Foreign Legion, returns to Barcelona following an eight-year exile—resolved to fulfill a promise made to his father Joan, who died in a prisoner of war camp. The past that burdens Genís is revealed in juxtaposed chapters that depict his family’s wartime experiences: how Joan, a commercial sign painter, was drawn into the chaos of Spain’s Civil War; the sufferings of his wife and son (then called “Niso”), when the latter was sent to a Dickensian Charity Home; and the burden accepted by Niso when his father, released and sent home to die, charged the boy with finding and reburying the body of Joan’s comrade Bartomeu Camús, who had been executed for loudly protesting the Franco regime’s many crimes against humanity. Baulenas gets good suspenseful mileage out of gradual discoveries made by the adult Genís (and hence the reader). The novel is especially compelling in scenes set at the charity home, and it’s also good at depicting the ironic circumstances of Genís’s return: He is assigned to lecture and recruit future foreign legionnaires at the combat-training facility built on the site of the former POW camp. There are vivid characterizations of Niso’s unflappable friend and mentor at the home, “No-Sister-Salvador”; of compassionate Sister Paula, who arouses both Niso’s social conscience and his embryonic libido; and of Genís’s Barcelona contact, flinty Major Cedazo, who will play a crucial role in the novel’s bitter denouement. But Baulenas repeatedly overstates his case, exposing his plot’s essential thinness while indulging in hyperbolic (albeit just, and perfectly understandable) excoriations of Franco and his murderous minions.

Initially, and fitfully engrossing, but the book turns into a harangue that just doesn’t know when to stop.

Pub Date: July 1, 2008

ISBN: 978-0-15-101255-8

Page Count: 368

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 2008

Did you like this book?

No Comments Yet

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

SUMMER ISLAND

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Did you like this book?

No Comments Yet

Whitehead continues the African-American artists' inquiry into race mythology and history with rousing audacity and...

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2016

  • Kirkus Prize
  • Kirkus Prize
    finalist

  • New York Times Bestseller

  • Pulitzer Prize Winner

  • National Book Award Winner

THE UNDERGROUND RAILROAD

What if the metaphorical Underground Railroad had been an actual…underground railroad, complete with steam locomotive pulling a “dilapidated box car” along a subterranean nexus of steel tracks?

For roughly its first 60 pages, this novel behaves like a prelude to a slave narrative which is, at once, more jolting and sepulchral than the classic firsthand accounts of William Wells Brown and Solomon Northup. Its protagonist, Cora, is among several African-American men and women enslaved on a Georgia plantation and facing a spectrum of savage indignities to their bodies and souls. A way out materializes in the form of an educated slave named Caesar, who tells her about an underground railroad that can deliver her and others northward to freedom. So far, so familiar. But Whitehead, whose eclectic body of work encompasses novels (Zone One, 2011, etc.) playing fast and loose with “real life,” both past and present, fires his most daring change-up yet by giving the underground railroad physical form. This train conveys Cora, Caesar, and other escapees first to a South Carolina also historically unrecognizable with its skyscrapers and its seemingly, if microscopically, more liberal attitude toward black people. Compared with Georgia, though, the place seems so much easier that Cora and Caesar are tempted to remain, until more sinister plans for the ex-slaves’ destiny reveal themselves. So it’s back on the train and on to several more stops: in North Carolina, where they’ve not only abolished slavery, but are intent on abolishing black people, too; through a barren, more forbidding Tennessee; on to a (seemingly) more hospitable Indiana, and restlessly onward. With each stop, a slave catcher named Ridgeway, dispensing long-winded rationales for his wicked calling, doggedly pursues Cora and her diminishing company of refugees. And with every change of venue, Cora discovers anew that “freedom was a thing that shifted as you looked at it, the way a forest is dense with trees up close but from outside, the empty meadow, you see its true limits.” Imagine a runaway slave novel written with Joseph Heller’s deadpan voice leasing both Frederick Douglass’ grim realities and H.P. Lovecraft’s rococo fantasies…and that’s when you begin to understand how startlingly original this book is.

Whitehead continues the African-American artists' inquiry into race mythology and history with rousing audacity and razor-sharp ingenuity; he is now assuredly a writer of the first rank.

Pub Date: Sept. 13, 2016

ISBN: 978-0-385-53703-2

Page Count: 320

Publisher: Doubleday

Review Posted Online: April 13, 2016

Kirkus Reviews Issue: May 1, 2016

Did you like this book?

No Comments Yet
more