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DON’T MOVE

The pull of the darkly irrational: it’s a fascinating theme, but Mazzantini doesn’t do it justice.

Can you imagine a love affair beginning with a rape? That’s the challenge an Italian actress/second-novelist sets herself in her American debut.

Timoteo is the top surgeon at his hospital in an unidentified Italian city. His teenaged daughter Angela is brought in after a traffic accident. Her desperate condition frames his confession of an affair he had 16 years earlier. It begins as the 40-year-old surgeon is traveling to join his beautiful, elegant wife Elsa at their beach house. His car breaks down in a squalid working-class neighborhood. A woman lets him phone for help from her house. She’s the wrong side of 30, somewhere between trashy and ugly, yet Timoteo, suddenly inflamed, moves into her “like a raptor in a captured nest.” When he returns later to apologize, she doesn’t seem angry, and he takes her again. Italia, a hotel chambermaid, has no surviving family. Her father abused her sexually when she was 11. She is filled with self-loathing: “Weeds are hard to kill,” she says of herself. Italia becomes an unlikely love object for Timoteo, whose father has recently died, leaving him an “orphan.” He never liked his father, who was also attracted to solitary, unattractive women. Is Timoteo simply repeating the pattern? Or is it slumming that’s the thrill? Mazzantini leaves us guessing. Italia becomes pregnant and goes to the gypsies for an abortion. Then Elsa becomes pregnant with Angela. Split down the middle, Timoteo joyously attends the birth of his daughter but then returns to Italia, who’s hemorrhaging from the botched abortion. After her drawn-out death and funeral, Timoteo goes back to Elsa, although his feelings for her have always blown hot and cold. She doesn’t remark on his absence, which is strange, but after the rape nothing in this novel has seemed altogether believable.

The pull of the darkly irrational: it’s a fascinating theme, but Mazzantini doesn’t do it justice.

Pub Date: May 25, 2004

ISBN: 0-385-51074-8

Page Count: 352

Publisher: Nan A. Talese

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 1, 2004

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ALL THE LIGHT WE CANNOT SEE

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 5, 2014

Kirkus Reviews Issue: March 15, 2014

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FRIDAY BLACK

Corrosive dispatches from the divided heart of America.

Edgy humor and fierce imagery coexist in these stories with shrewd characterization and humane intelligence, inspired by volatile material sliced off the front pages.

The state of race relations in post-millennial America haunts most of the stories in this debut collection. Yet Adjei-Brenyah brings to what pundits label our “ongoing racial dialogue” a deadpan style, an acerbic perspective, and a wicked imagination that collectively upend readers’ expectations. “The Finkelstein 5,” the opener, deals with the furor surrounding the murder trial of a white man claiming self-defense in slaughtering five black children with a chainsaw. The story is as prickly in its view toward black citizens seeking their own justice as it is pitiless toward white bigots pressing for an acquittal. An even more caustic companion story, “Zimmer Land,” is told from the perspective of an African-American employee of a mythical theme park whose white patrons are encouraged to act out their fantasies of dispensing brutal justice to people of color they regard as threatening on sight, or “problem solving," as its mission statement calls it. Such dystopian motifs recur throughout the collection: “The Era,” for example, identifies oppressive class divisions in a post-apocalyptic school district where self-esteem seems obtainable only through regular injections of a controlled substance called “Good.” The title story, meanwhile, riotously reimagines holiday shopping as the blood-spattered zombie movie you sometimes fear it could be in real life. As alternately gaudy and bleak as such visions are, there’s more in Adjei-Brenyah’s quiver besides tough-minded satire, as exhibited in “The Lion & the Spider,” a tender coming-of-age story cleverly framed in the context of an African fable.

Corrosive dispatches from the divided heart of America.

Pub Date: Oct. 23, 2018

ISBN: 978-1-328-91124-7

Page Count: 208

Publisher: Mariner/Houghton Mifflin Harcourt

Review Posted Online: July 16, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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