Sober and smart writing that evokes the more mannered American stylists of the 1960s and '70s.
A clutch of well-crafted stories, thick with literary references, that turn on busted relationships between men and women and fathers and sons.
Harold Brodkey, James Joyce, J.F. Powers, Henrik Ibsen—each of these writers finds his way into the eight stories in this first work of fiction by Coffey (Days of Infamy, 1999, etc.). The name-checked authors hint at some of Coffey’s chief concerns—masculinity and faith most prominently—as well as his approach to style. “Inn of the Nations” centers on a priest who’s lost his passion for his calling and pursues an affair with a nun; set shortly after the JFK assassination, the brief story describes how “he’d become hardened to his own sin” but is without religious sanctimony. The broader “Sons” pursues a similar theme, following an alcoholic poet as he worries that his son is complicit in a calamity that makes national news; in Coffey’s hands, the man’s drunken fog reveals his self-loathing even while he busily labors to obscure it. This collection's stories are carefully chiseled, and the prose is sometimes stiff, but Coffey will occasionally cut loose, as in the closing “Finishing Ulysses,” which follows a professor eager to teach Joyce’s classic who’s out on the town in Philadelphia. Though short, the story has an appealingly jazzy, impressionistic, stream-of-consciousness rhythm. (“Smokes you need and why not the bennies. Some jump. Setting sun crashing into the façade of the church over there.”) Most of these stories capture men in decline, but one of the collection’s best is more tender: In “The Newman Boys,” the narrator recalls his brief childhood acquaintance with a neighbor boy diagnosed with hydrocephaly; the story captures the narrator’s narcissism, fears, confusions about adulthood—and, in its closing pages, a sense of how small kindnesses can resonate across decades.
Sober and smart writing that evokes the more mannered American stylists of the 1960s and '70s.Pub Date: Jan. 13, 2015
ISBN: 978-1-934137-86-4
Page Count: 208
Publisher: Bellevue Literary Press
Review Posted Online: Oct. 22, 2014
Kirkus Reviews Issue: Nov. 1, 2014
BOOK REVIEW
BOOK REVIEW
PROFILES
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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