Despite some soap-opera machinations and occasional literary overreach, the novel will strike a responsive chord in any...
A debut novel that delves so deeply into the small-town heartland that readers will accept its flaws as part of its charm.
“Write what you know” is the first dictum directed toward aspiring fiction writers, and there’s no doubt that Butler knows his fictional Little Wing inside out. It’s a Wisconsin farm town not far from Eau Claire, where the author was raised, and it holds a central place in the hearts of those who came of age there—particularly the four men who were boyhood friends and who narrate the novel’s alternating chapters, along with the fifth, a woman who was the childhood sweetheart of at least two of them. Beth and Henry are the married couple who remained to farm in Little Wing and, despite their financial struggles, are in some ways the envy of the others. Lee, who is Henry’s best friend, has become “America’s most famous flannel-wearing indie troubadour,” an artist so successful he hobnobs with those that others know mainly from celebrity magazines. But he only feels at home in Little Wing, where he found his voice and wrote the songs on the album that catapulted him to fame (and gives the novel its title). Kip made millions for others and did well for himself as a broker in Chicago but has returned to Little Wing to restore its mill as a commercial center and to show off the beautiful woman who will be his wife. Ronny left town as a rodeo rider and an alcoholic and has returned to recover after a brain-damaging mishap. There are four weddings in the novel, a few separations, a bunch of drunken adventures and confessions, and a fairly preposterous ending. But there is also a profound empathy for the characters and the small-town dynamic that the reader will likely share, an appreciation for what “America was, or could be.”
Despite some soap-opera machinations and occasional literary overreach, the novel will strike a responsive chord in any reader who has found his life reflected in a Bob Seger song.Pub Date: March 4, 2014
ISBN: 978-1-250-03981-1
Page Count: 320
Publisher: Dunne/St. Martin's
Review Posted Online: Jan. 8, 2014
Kirkus Reviews Issue: Jan. 15, 2014
PROFILES
IN THE NEWS
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
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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