Roosevelt knows her terrain, but it remains unclear if she meant this family portrait to be as unflattering as it is.
The great-granddaughter of Eleanor and Franklin writes about members of a fictional elite family struggling to shape their individual identities.
When Roger Whitby Jr. dies, his many children from his first three marriages (family tree provided) discover that he has bequeathed the little left of the Whitby fortune to his fourth wife’s son, Nick, whom he adopted. Although the plot is ostensibly about inheritance, the older, barely fleshed-out nonheirs are remarkably nonchalant about getting nothing; only Shelley, from marriage No. 3, and Brooke, from No. 2, fear losing the family houses where they were raised and still live, though it seems unlikely that Nick, unreachable after having participated in an environmental protest gone awry, will be greedy. The true subject here, developed through memories of childhoods and marriages, is the ambivalent love Nick, Shelley, and Brooke feel for Roger, who abandoned each differently. By the time the 21-year-old Nick eventually shows up at 22-year-old Shelley’s Upper West Side brownstone, she is in a creepy sexual liaison with her new employer, Kamal, a blind Egyptian architect. Nick begins a romance with Kamal’s naïve, intellectual daughter, whom he involves in his Occupy Wall Street–type activity. Meanwhile, in Boston, 37-year-old nurse Brooke wants to keep her Beacon Hill house for the baby she’s conceived sleeping with a nouveau riche Italian-American to avoid acknowledging she might be gay. Brooke’s disdain for her sex-mate reflects Whitby snobbery and perhaps the author’s—Nick’s pointedly middle-class mother is also portrayed as crassly mercenary compared to Roger’s previous aristocratic wives, while Nick’s lefty friends are beyond the pale. Given the Whitby kids’ claims to shun their privileged advantages, the frequent references to fancy schools and Martha’s Vineyard vacations wear thin. The Whitbys increasingly come across as spoiled, self-absorbed, and ultimately trivial poor rich kids.
Roosevelt knows her terrain, but it remains unclear if she meant this family portrait to be as unflattering as it is.Pub Date: March 5, 2019
ISBN: 978-1-5247-4317-8
Page Count: 464
Publisher: Dutton
Review Posted Online: Dec. 10, 2018
Kirkus Reviews Issue: Jan. 1, 2019
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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