Late solaces—the escape, the abbey’s founding, one partnership between women—can’t outweigh the toll of misogynistic torture...
A man harnesses a spiritual power and uses it to destroy women.
This prequel about the founding of the all-female abbey of Maresi (2017) begins across the sea. Kabira’s 19; Iskan, the vizier’s son, visits her family regularly, but is he courting Kabira or her sister? In this wealthy, formal, Asian-esque fantasy culture, there’s no way to know. Kabira shows Iskan—who’s an irredeemably vile antagonist at the level of King Leck in Kristin Cashore’s Graceling Realm—a spring called Anji that holds “the primordial life force.” Iskan drinks Anji’s water and never looks back. He kills Kabira’s family, marries her, rapes her continually, aborts her daughters, and steals her sons. As decades pass, Iskan acquires new women (buying them as slaves, stealing them from other cultures; their religions and gifts vary). Each narrates in first person. He rapes and batters them, drinking more and more of Anji’s water; he lays waste to masses of people. The prose flows, elegant and smooth, with colorful settings. Turtschaninoff writes mothering-related trauma searingly but underemphasizes rape trauma despite the constancy of the act; inexplicably, the word “rape” never even appears. The women’s skin colors and cultures vary, though the darkest-skinned woman is exoticized.
Late solaces—the escape, the abbey’s founding, one partnership between women—can’t outweigh the toll of misogynistic torture in this heavy piece. (maps, character list) (Fantasy. 15-adult)Pub Date: Jan. 9, 2018
ISBN: 978-1-4197-2555-5
Page Count: 384
Publisher: Amulet/Abrams
Review Posted Online: Oct. 29, 2017
Kirkus Reviews Issue: Nov. 15, 2017
BOOK REVIEW
A sparse, beautifully drawn story about a teen discovering her heritage.
In this YA graphic novel, an alienated Métis girl learns about her people’s Canadian history.
Métis teenager Echo Desjardins finds herself living in a home away from her mother, attending a new school, and feeling completely lonely as a result. She daydreams in class and wanders the halls listening to a playlist of her mother’s old CDs. At home, she shuts herself up in her room. But when her history teacher begins to lecture about the Pemmican Wars of early 1800s Saskatchewan, Echo finds herself swept back to that time. She sees the Métis people following the bison with their mobile hunting camp, turning the animals’ meat into pemmican, which they sell to the Northwest Company in order to buy supplies for the winter. Echo meets a young girl named Marie, who introduces Echo to the rhythms of Métis life. She finally understands what her Métis heritage actually means. But the joys are short-lived, as conflicts between the Métis and their rivals in the Hudson Bay Company come to a bloody head. The tragic history of her people will help explain the difficulties of the Métis in Echo’s own time, including those of her mother and the teen herself. Accompanied by dazzling art by Henderson (A Blanket of Butterflies, 2017, etc.) and colorist Yaciuk (Fire Starters, 2016, etc.), this tale is a brilliant bit of time travel. Readers are swept back to 19th-century Saskatchewan as fully as Echo herself. Vermette’s (The Break, 2017, etc.) dialogue is sparse, offering a mostly visual, deeply contemplative juxtaposition of the present and the past. Echo’s eventual encounter with her mother (whose fate has been kept from readers up to that point) offers a powerful moment of connection that is both unexpected and affecting. “Are you…proud to be Métis?” Echo asks her, forcing her mother to admit, sheepishly: “I don’t really know much about it.” With this series opener, the author provides a bit more insight into what that means.
A sparse, beautifully drawn story about a teen discovering her heritage.Pub Date: March 15, 2018
ISBN: 978-1-55379-678-7
Page Count: 48
Publisher: HighWater Press
Review Posted Online: Feb. 28, 2018
Kirkus Reviews Issue: May 1, 2018
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
Bulky, balky, talky.
In an updated quest for the Holy Grail, the narrative pace remains stuck in slo-mo.
But is the Grail, in fact, holy? Turns out that’s a matter of perspective. If you’re a member of that most secret of clandestine societies, the Priory of Sion, you think yes. But if your heart belongs to the Roman Catholic Church, the Grail is more than just unholy, it’s downright subversive and terrifying. At least, so the story goes in this latest of Brown’s exhaustively researched, underimagined treatise-thrillers (Deception Point, 2001, etc.). When Harvard professor of symbology Robert Langdon—in Paris to deliver a lecture—has his sleep interrupted at two a.m., it’s to discover that the police suspect he’s a murderer, the victim none other than Jacques Saumière, esteemed curator of the Louvre. The evidence against Langdon could hardly be sketchier, but the cops feel huge pressure to make an arrest. And besides, they don’t particularly like Americans. Aided by the murdered man’s granddaughter, Langdon flees the flics to trudge the Grail-path along with pretty, persuasive Sophie, who’s driven by her own need to find answers. The game now afoot amounts to a scavenger hunt for the scholarly, clues supplied by the late curator, whose intent was to enlighten Sophie and bedevil her enemies. It’s not all that easy to identify these enemies. Are they emissaries from the Vatican, bent on foiling the Grail-seekers? From Opus Dei, the wayward, deeply conservative Catholic offshoot bent on foiling everybody? Or any one of a number of freelancers bent on a multifaceted array of private agendas? For that matter, what exactly is the Priory of Sion? What does it have to do with Leonardo? With Mary Magdalene? With (gulp) Walt Disney? By the time Sophie and Langdon reach home base, everything—well, at least more than enough—has been revealed.
Bulky, balky, talky.Pub Date: March 18, 2003
ISBN: 0-385-50420-9
Page Count: 400
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2003
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