Smart and suspenseful; top-notch popular fiction.
Ophelia finally gets some agency in this contemporary reboot of Hamlet—with a few characters from other Shakespearean works thrown in for good measure.
When she was engaged to Benjamin Dane (the novel’s Hamlet character), Lia was an alcoholic performance artist. Now, after their very bad, very final breakup, she creates flower arrangements for the Three Sisters Floral Boutique, managed by a trio of strange ladies who might well have wandered in from Macbeth and who seem to put those bouquets to magical use. Lia also finds herself appearing in Ben’s dreams as he anguishes over the recent death of his father, owner of the New World’s Stage Theatre, and the swift remarriage of his mother, Trudy, to brother-in-law Claude. To help him prove Dad wasn’t a suicide, Ben summons his grad school buddy Horatio, who’s still getting over the one-night stand with Ben that sent him scurrying back to London. The upending of gender stereotypes continues: Claude seems too much of a nonentity to be a murderer while it’s increasingly apparent that smooth-as-silk Trudy will stop at nothing to get what she wants. Benjamin’s philosophical ramblings, unfortunately, make it obvious that contemporary prose rarely has the savor of Shakespeare’s verse, but Bardolators will enjoy the clever changes Faye rings on his storylines and characters. (Robin Goodfellow is far more sinister than he was in Midsummer Night’s Dream.) Readers attracted to the book by Faye’s stellar track record with historical mysteries will find she’s got the same knack for wicked surprises that she demonstrated in her terrific trilogy about 19th-century NYC “copper star” Timothy Wilde (The Fatal Flame, 2015, etc.). She dishes out two fabulous plot twists: one very much in keeping with the original Hamlet, one that reveals Machiavellian hidden depths in a bloviating minor character. The ending is just as bloody as Shakespeare’s and nearly as poignant.
Smart and suspenseful; top-notch popular fiction.Pub Date: Aug. 10, 2021
ISBN: 978-0-525-53589-8
Page Count: 384
Publisher: Putnam
Review Posted Online: May 18, 2021
Kirkus Reviews Issue: June 1, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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
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