Vividly evocative and steeped in American folkways: more great work from a master storyteller.
Jiles follows up National Book Award finalist News of the World (2016, etc.) with another atmospheric adventure in post–Civil War Texas.
During his few reluctant months in the Confederate Army, Simon Boudlin’s main concerns are staying alive and protecting his precious fiddle so that after the war he can make enough money to buy some land and settle down with the right woman. He sees her after his unit surrenders, at a dinner for the officers: Doris Dillon is an Irish indentured servant to Yankee Col. Webb, and by the time Simon learns her name he already knows that Webb is an arrogant SOB who mistreats the help and is nasty to musicians. That’s the last Simon sees of Doris for more than a year, as he forms a band with fellow veterans (three of the novel’s many deft characterizations) and they play their way across Texas, technically under military rule but mostly in a state of near anarchy; the musicians’ gigs, brilliantly captured in Jiles’ quiet but resonant prose, are as likely to end in a brawl as with applause. Simon and his mates bunk down in stolen boats and shelled-out buildings that make visible the cost of war, but magnificent descriptions of their travels make palpable the varied beauty of the landscape, from East Texas pines to the banks of the Nueces River, where Simon plays at a wild Tejano wedding and finally has enough money to buy his dreamed-of land. He’s been in touch with Doris via letters supposedly from his Irish-American drummer, Patrick, who helpfully invents some shared relatives, and is making his way toward San Antonio to rescue his beloved, who’s finding it increasingly difficult to evade Webb’s determined advances. The pace picks up and tension rises after Simon reaches San Antonio; there are some menacing moments, but clever plotting has laid the groundwork for a happy ending with just enough hints of potential troubles ahead to remain true to Jiles’ loving but cleareyed portrait of Texas’ vibrant, violent frontier culture.
Vividly evocative and steeped in American folkways: more great work from a master storyteller.Pub Date: April 14, 2020
ISBN: 978-0-06-296674-2
Page Count: 352
Publisher: Morrow/HarperCollins
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
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
BOOK TO SCREEN
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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