The national pastime is the backdrop for an incisive exploration of manhood in modern America.
The game of baseball and a passion for traditional values bring two men into an unlikely confrontation.
Rising from his working-class roots in Union, New Jersey, to a first-ballot election to the Baseball Hall of Fame, former Boston Red Sox star Joe Grudeck, the “last of the hard-knuckled catchers,” should be ecstatic. Instead, he’s a lonely, bitter man, questioning the high price of his hard-earned fame while fearing his on-field feats soon will be forgotten by the fans of a game whose ethos he no longer recognizes. Horace Mueller, an archivist-turned-blacksmith at a farm museum in Cooperstown, New York, is as obscure as Grudeck is famous, but he’s no less disgruntled about the “culture of cheapness and idiocy that decayed this great country.” He’s especially dismayed that his 14-year-old son is a talented baseball player, and his complaint that the boy may choose "sports over intellect and meaningful work" only heightens the tension in his foundering marriage. The lives of these men intersect, with disastrous consequences, on the day of Grudeck’s induction, an event that epitomizes the cultural forces and trends that are central to their dissatisfaction and their respective critiques of a world each glimpses through a cracked lens. Di Ionno (The Last Newspaperman, 2012, etc.) succeeds in creating two believable principal characters who are, for all their surface differences, strikingly similar in crucial, and ultimately tragic, ways. Whether it’s Joe’s forceful response to the complaints of a disgruntled teammate or Horace’s simmering rage at the loss of his family that boils over in the heat of a July afternoon in Cooperstown, Di Ionno starkly portrays a dangerous and frightening passion for violence that too often has become synonymous with the expression of the American male psyche. And in a digression to recount the story of the 1869 hoax known as the Cardiff Giant, he offers an entertaining, and tantalizingly plausible, origin story for the country’s obsession with celebrity and diversion.
The national pastime is the backdrop for an incisive exploration of manhood in modern America.Pub Date: July 17, 2018
ISBN: 978-1-5011-7890-0
Page Count: 400
Publisher: N/A
Review Posted Online: April 30, 2018
Kirkus Reviews Issue: May 15, 2018
BOOK REVIEW
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
BOOK TO SCREEN
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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