A wonderfully enthralling first novel from writer-historian Ignatieff (The Russian Album, 1987, etc.)—unabashedly unpretentious but satisfyingly literate and informative. Asya is one of those remarkable women who somehow survive countless traumas with high spirits and innocence intact. Born in 1900 to a wealthy noble Russian family, Asya as a small child had tried to cross an ice-bound river. Just before she fell through the ice, she had seen a mysterious skater, all dressed in white, coming toward her through the mist. Her survival is thought to be miraculous, but the ``shock of the river had frozen something inside her and in the future there would be moments when her actions would rise from a dark and unknowable region of herself. That was the price she paid for crossing the river. What she won was fearlessness.'' And it is this lack of fear—this refusal to mourn the past or dig beneath the surface—that shapes Asya's life. Her parents die; she trains as a nurse; the Revolution begins; and, fleeing from the advancing Reds, she meets Sergei, the great love of her life. Safe in Paris, she bears Sergei's child, then soon acquires a job and a circle of helpful admirers. In 1924, Sergei turns up; they marry, prosper, but when the invading Germans force Asya to flee, she learns some unpleasant truths about her friends. Treachery is everywhere, yet Asya survives, and in a final visit to Moscow in 1990, in search of Sergei—a man of secrets as well—she finally accepts what she has denied for so many years. A sufficiently complex plot, memorable characters, dramatic events, and vivid and various settings, together with a heroine worthy of them all: one of those rare books that will delight all those who enjoy a good story well told. A reading feast.
Pub Date: Oct. 4, 1991
ISBN: 0-679-40657-3
Page Count: 320
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1991
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Canin's return to short fiction should be a cause for welcome- -yet isn't, disappointingly. In four adipose, rhetorical, quite forced long stories, he continues—as in his unfortunate last book, the novel Blue River (1991)—to strive for ``wise'' adult tonalities. But these rich, deep voices all but neglect the small flashes of humaneness and helpless knowledge that made Canin's debut collection, Emperor of the Air (1988), remarkable—turning him into a writer who builds high, fussy, false ceilings without walls to support them. Upon an unstartling theme—that we repeat as adults what we do as children- -each story here plays out a variation. In the baldest, the title piece, a powerful captain of industry still is moved to impress his elderly prep-school teacher with his temerity and moral sleaze. In ``Accountant,'' an old friend's later-life success throws a careful man to the edge of his rectitude. In ``City of Broken Hearts,'' a middle-aged father learns something about trust and love from his college-aged son. And in ``Batorsag and Szerelem,'' a boy observes in his elder genius brother what seem like signs of schizophrenia but are instead sexual misapprehensions. It's here that the book is most ragged but also most genuine-seeming: the younger boy has available to him an X-raying psychology no grown-up character in Canin ever does (Canin must be the ultimate ``kid-brother'' writer)—and it's frustrating that this quicksilver perceptiveness is given so little play in the stories, which are bulked-up instead with grown-up characters that are invariably slow, large, and overwide. The stories thus always seem to be wearing their parent's clothes—an effect that reaches into the prose itself, a simulacrum of Cheeverian and Peter Tayloresque modulation that in Canin's hands is just pomp and circumstance.
Pub Date: Feb. 1, 1994
ISBN: 0-679-41962-4
Page Count: 224
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1993
Backman plays the story for both cynicism and hope, and his skill makes both hard, but not impossible, to resist.
Shockwaves from the incidents in Beartown (2017) shake an economically depressed hockey town in this latest from the author of A Man Called Ove.
Swedish novelist Backman loves an aphorism and is very good at them; evident in all his novels is an apparent ability to state a truth about humanity with breathtaking elegance. Often, he uses this same elegance to slyly misdirect his readers. Sometimes he overreaches and words that sound pretty together don’t hold up to scrutiny. This novel has a plethora of all three. Grim in tone, it features an overstocked cast of characters, all of whom are struggling for self-definition. Each has previously been shaped by the local hockey club, but that club is now being defunded and resources reallocated to the club of a rival town. Some Beartown athletes follow, some don’t. Lines are drawn in the sand. Several characters get played by a Machiavellian local politician who gets the club reinstated. Nearly all make poor decisions, rolling the town closer and closer to tragedy. Backman wants readers to know that things are complicated. Sure, many of Beartown’s residents are bigots and bullies. But some are generous and selfless. Actually, the bigots and bullies are also generous and selfless, in certain circumstances. And Lord knows they’ve all had a rough time of it. The important thing to remember is that hockey is pure. Except when it inspires violence. This is an interesting tactic for a novel in our cultural moment of sensitivity, and it can feel cumbersome. “When guys are scared of the dark they’re scared of ghosts and monsters,” he writes. “But when girls are scared of the dark they’re scared of guys.” Margaret Atwood said it better and with more authority decades ago.
Backman plays the story for both cynicism and hope, and his skill makes both hard, but not impossible, to resist.Pub Date: June 5, 2018
ISBN: 978-1-5011-6079-0
Page Count: 336
Publisher: Atria
Review Posted Online: April 30, 2018
Kirkus Reviews Issue: May 15, 2018
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