The prose is rich in platitudes, especially when the underimagined characters are making speeches to each other. It takes...
Historically minded Gingrich and Forstchen (Days of Infamy, 2008, etc.) fix their eyes on the Revolutionary War and the pivotal victory that saved America.
Dec. 25, 1776. General George Washington, at the head of a ragtag, half-starved, oft-beaten army, is about to give his fledgling nation an unforgettable Christmas present. The Hessian mercenaries hired by King George are quartered in tiny Trenton, snug and smug, wallowing complacently in the limited pleasures of the season. Outside, sleet and bone-chilling wind relentlessly punish an exposed Continental Army. Wandering among the soldiers and sharing their misery is Thomas Paine, whose pen has been a goad to British sensibilities and a spur to American unrest. Now, however, Tom’s under pressure. A clamor has risen on every side for a successor to his Common Sense, which sold 100,000 copies and fired up rebellious hearts throughout the colonies. Even Washington importunes him: “You must write something! Anything!” But the great pamphleteer suffers writer’s block until he comes upon a campfire surrounded by a handful of hard-used militia men, including the fictitious 15-year-old Jonathan van Dorn. Suddenly a quarrel develops. Enraged at what he senses is a looming defection, young van Dorn cries out, “You were nothing but a patriot when the sun was shining but now that winter is here? My God…how you try my soul.” And the rest, as they say, is history. Writer’s block vanished, Tom gets his theme, Washington gets his victory and the overconfident Hessians get their comeuppance.
The prose is rich in platitudes, especially when the underimagined characters are making speeches to each other. It takes more than vividly rendered battle scenes to make compelling historical fiction.Pub Date: Nov. 1, 2009
ISBN: 978-0-312-59106-9
Page Count: 368
Publisher: Dunne/St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2009
A daring concept not so daringly developed.
In Kidd’s (The Invention of Wings, 2014, etc.) feminist take on the New Testament, Jesus has a wife whose fondest longing is to write.
Ana is the daughter of Matthias, head scribe to Herod Antipas, tetrarch of Galilee. She demonstrates an exceptional aptitude for writing, and Matthias, for a time, indulges her with reed pens, papyri, and other 16 C.E. office supplies. Her mother disapproves, but her aunt, Yaltha, mentors Ana in the ways of the enlightened women of Alexandria, from whence Yaltha, suspected of murdering her brutal husband, was exiled years before. Yaltha was also forced to give up her daughter, Chaya, for adoption. As Ana reaches puberty, parental tolerance of her nonconformity wanes, outweighed by the imperative to marry her off. Her adopted brother, Judas—yes, that Judas—is soon disowned for his nonconformity—plotting against Antipas. On the very day Ana, age 14, meets her prospective betrothed, the repellent Nathanial, in the town market, she also encounters Jesus, a young tradesman, to whom she’s instantly drawn. Their connection deepens after she encounters Jesus in the cave where she is concealing her writings about oppressed women. When Nathanial dies after his betrothal to Ana but before their marriage, Ana is shunned for insufficiently mourning him—and after refusing to become Antipas’ concubine, she is about to be stoned until Jesus defuses the situation with that famous admonition. She marries Jesus and moves into his widowed mother’s humble compound in Nazareth, accompanied by Yaltha. There, poverty, not sexism, prohibits her from continuing her writing—office supplies are expensive. Kidd skirts the issue of miracles, portraying Jesus as a fully human and, for the period, accepting husband—after a stillbirth, he condones Ana’s practice of herbal birth control. A structural problem is posed when Jesus’ active ministry begins—what will Ana’s role be? Problem avoided when, notified by Judas that Antipas is seeking her arrest, she and Yaltha journey to Alexandria in search of Chaya. In addition to depriving her of the opportunity to write the first and only contemporaneous gospel, removing Ana from the main action destroys the novel’s momentum.
A daring concept not so daringly developed.Pub Date: April 21, 2020
ISBN: 978-0-525-42976-0
Page Count: 432
Publisher: Viking
Review Posted Online: Jan. 26, 2020
Kirkus Reviews Issue: Feb. 15, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Another triumph for Enright: a confluence of lyrical prose, immediacy, warmth, and emotional insight.
A daughter reveals the intertwined tales of her mother—a theatrical legend—and herself, a mature retrospective of sharing life with a towering but troubled figure.
Katherine O’Dell, star of stage and screen, blessed with beauty, red hair, and a gorgeous voice, “the most Irish actress in the world,” was not Irish at all. She was born in London, and the apostrophe in her name crept in by error via a review following one of her appearances on Broadway. However, the fact that Katherine is “a great fake” doesn’t cloud the love her daughter, Norah, has for her, a bond which exists alongside the unanswered question of Norah’s father’s identity, “the ghost in my blood.” The complexities of this mother/daughter relationship and its context in Ireland, the men it includes, and the turns both women’s lives take through the decades are the meat of this tender, possessive, searching new novel from Man Booker Prize–winning Irish novelist Enright (The Green Road, 2015, etc.). Saga-esque, it traces Katherine back to her parents, strolling players from another era who invited her on stage at age 10, scarcely imagining the luminous, internationally recognized figure this “useful girl” would become. But the novel is no fairy tale. Katherine’s life was marked with loneliness; disappointing, sometimes exploitative, and abusive men; the pressure of trying to remain successful; a desperate act of violence; and a breakdown. Norah narrates both her mother’s life and her own—she’s the author of five novels, a mother, a sexual being, and also the sole offspring of a parent she both adored and observed at a distance. Fame, sexuality, and the Irish influence suffuse the story, which ranges from glamour to tragedy, a portrait of “anguish, madness, and sorrow” haunted by a late, explanatory glimpse of horror which nevertheless concludes in a place of profound love and peace.
Another triumph for Enright: a confluence of lyrical prose, immediacy, warmth, and emotional insight.Pub Date: March 3, 2020
ISBN: 978-1-324-00562-9
Page Count: 272
Publisher: Norton
Review Posted Online: Dec. 8, 2019
Kirkus Reviews Issue: Jan. 1, 2020
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