Lyrical and affecting, the novel succeeds in skirting clichés through its empathy and through the depth of its major...
In post–Civil War Texas, a 10-year-old girl makes an odyssey back to her aunt and uncle’s home after living with the Kiowa warriors who had killed her parents four years earlier.
Johanna Leonberger remembers almost nothing of her first 6 years, when she lived with her parents. Instead, her memory extends only as far as her Kiowa family—she speaks no English and by white standards is uncivilized. Tired of being harassed by the cavalry, the Kiowa sell her back to an Indian agent for "fifteen Hudson’s Bay four-stripe blankets and a set of silver dinnerware." Enter Capt. Jefferson Kyle Kidd, a 70-year-old veteran of two wars and, in 1870, when the novel takes place, a professional reader—he travels through Texas giving public readings from newspapers to an audience hungry for events of the world. At first reluctant to take her the 400 miles to the town near San Antonio where her aunt and uncle live, he soon realizes his itinerant life makes him the most plausible person for the job—and he also knows it’s the right thing to do. He buys a wagon, and they start their journey, much to the reluctance and outrage of the undomesticated Johanna; but a relationship soon begins to develop between the two. Jiles makes the narrative compelling by unsentimentally constructing a bond based at least in part on a mutual need for survival, but slowly and delicately, Johanna and Kidd begin to respect as well as need one another. What cements their alliance is facing many obstacles along the way, including an unmerciful landscape; a lack of weapons; and a vicious cowboy and his companions, who want to kill Kidd and use the girl for their own foul purposes. As one might expect, Kidd and Johanna eventually develop a deep and affectionate relationship; when they arrive at the Leonbergers, the captain must make a difficult choice about whether to leave the girl there or hold onto her himself.
Lyrical and affecting, the novel succeeds in skirting clichés through its empathy and through the depth of its major characters.Pub Date: Oct. 4, 2016
ISBN: 978-0-06-240920-1
Page Count: 224
Publisher: Morrow/HarperCollins
Review Posted Online: Jan. 19, 2016
Kirkus Reviews Issue: Feb. 1, 2016
PROFILES
BOOK TO SCREEN
BOOK TO SCREEN
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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