An engrossing, impeccably researched tale connecting passionate, creative women across time.
In this novel, two strong-willed women strive to build artistic, independent lives in different centuries.
High-powered Los Angeles–based auctioneer Emsley Wilson has a lot on her plate. She spends her days arranging political auctions for celebrity donors, and after-hours, she has a complicated personal life to manage. Her ex-boyfriend and business partner, Trey, dumped Emsley for a close friend of hers who also works for their auction house. But Emsley always makes time for her grandmother Violet, a legendary New York City artist, gallery owner, and socialite recovering from a stroke in a rehabilitation facility. When Violet sells her Greenwich Village brownstone, Emsley’s mother insists that she clean it out because “who knows what risqué pictures of Violet with her celebrity friends might be at the house.” Violet then presses an ancient diary into Emsley’s hands before she returns to the West Coast. On the plane, Emsley begins to read it and is instantly transported to 19th-century Amsterdam and the life of Johanna Bonger, van Gogh’s sister-in-law. Like Emsley, Johanna wants to chart her own path as an independent woman. But according to Johanna’s mother, “Women are like the canals, steady and calm, the supporters of life. Men are like barges traveling to the seaports, having adventures and collecting their treasures.” Emsley barely has time to read the diary before she has to confront Trey’s plot to dissolve their business, which transforms into a demand that she pay him $1 million within 30 days for his shares or walk away from everything she’s built. As Emsley struggles to save her business, she is drawn into Johanna’s family life and quest to establish van Gogh’s artistic legacy. Fans of Maggie Shipstead’s novel Great Circle will find much to love in Emsley’s and Johanna’s braided storylines, with romance, knowledgeable references to art history, and evocative descriptions of Amsterdam, New York, and Paris. Molnar’s witty dialogue advances the plot briskly; in one fun exchange, Johanna’s brother mocks Monet’s move to Giverny, France, and claims that the artist’s decision to paint waterlilies “will be the end of him in the profession.” But the cleverly drawn supporting characters would be more robust if they had additional opportunities for action and reflection instead of banter.
An engrossing, impeccably researched tale connecting passionate, creative women across time.Pub Date: Aug. 30, 2022
ISBN: 978-1-940627-52-6
Page Count: 354
Publisher: Self
Review Posted Online: Sept. 23, 2022
Review Program: Kirkus Indie
BOOK REVIEW
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
I Who Have Never Known Men ($22.00; May 1997; 224 pp.; 1-888363-43-6): In this futuristic fantasy (which is immediately reminiscent of Margaret Atwood's The Handmaid's Tale), the nameless narrator passes from her adolescent captivity among women who are kept in underground cages following some unspecified global catastrophe, to a life as, apparently, the last woman on earth. The material is stretched thin, but Harpman's eye for detail and command of tone (effectively translated from the French original) give powerful credibility to her portrayal of a human tabula rasa gradually acquiring a fragmentary comprehension of the phenomena of life and loving, and a moving plangency to her muted cri de coeur (``I am the sterile offspring of a race about which I know nothing, not even whether it has become extinct'').
Pub Date: May 1, 1997
ISBN: 1-888363-43-6
Page Count: 224
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1997
BOOK REVIEW
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