Only at the end does Urrea fully evoke Teresita’s incandescent spiritual power—in a second novel (after In Search of Snow,...
The making of a young medicine woman in 19th-century Mexico. Urrea, a Mexican-American best known for his prizewinning nonfiction (The Devil’s Highway, 2004, etc.), has based his leisurely account on the life of an ancestor.
Cayetana Chavez is 14 when she gives birth to Teresita, the future healer. Cayetana herself is known as the hummingbird, God’s messenger, and even more auspicious is the red triangle on her child’s forehead. Teresita’s birth takes place on one of the four ranches belonging to Tomás Urrea (the author hasn’t changed the family name), who is one of the Yori, or white masters; his Indian cowboys and fieldhands are the People, or, in the author’s compelling image, nails destined for the hammer. Teresita is one of Tomás’s many love children, and he will eventually acknowledge her, for he has always been fond of the People and is a decent man, despite his philandering. His story is interwoven with that of Teresita, who is abandoned by her mother and abused by an evil aunt until the old medicine woman Huila offers her protection. In 1880, Tomás decides to move everybody north to another ranch that will provide greater safety from the long-time dictator Porfirio Díaz (the political context is sketchy). Teresita, now 15, comes into her own as midwife and healer—until she is raped and apparently killed by a miner. After she comes back to life during her own wake, the pilgrims start arriving by the thousands, though Teresita denies she is a saint and the nonbeliever Tomás deplores the invasion of his ranch. Eventually, the dictator Díaz, getting reports of an insurrection, orders the capture of Teresita and her father. The 19-year-old healer’s death sentence is commuted to exile, and she makes a spectacular exit from the country.
Only at the end does Urrea fully evoke Teresita’s incandescent spiritual power—in a second novel (after In Search of Snow, 1994) that, otherwise, is a mildly engaging look at life on a prerevolutionary Mexican ranch, with amusingly irreverent touches.Pub Date: May 17, 2005
ISBN: 0-316-74546-4
Page Count: 512
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2005
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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