As usual, Gregory delivers a spellbinding (and definitely York-biased) exposé.

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THE WHITE PRINCESS

In the aftermath of the Wars of the Roses, the new queen of Henry VII, founder of the Tudor dynasty, struggles with divided loyalties.

After he returns from exile to defeat Richard III in the Battle of Bosworth, Lancastrian conqueror Henry Tudor marries Yorkist princess Elizabeth, daughter of Richard’s predecessor, King Edward IV. The marriage, intended to finally reconcile the warring Yorks and Lancasters, does the opposite. Edward’s dowager queen Elizabeth Woodville (The White Queen, 2009) and her sworn enemy Margaret Beaufort, Henry’s mother (The Red Queen, 2010) engineer the marriage, each to promote her own agenda. Princess Elizabeth, who had been the lover of Richard III, is horrified to have her distrust of Henry and his mother confirmed by a pre-wedding rape: Henry and Margaret want to make sure she proves fertile before vows are taken. After her marriage, and the “premature” birth of son Arthur, Elizabeth forms an uneasy truce with Henry that will lead, eventually and after the birth of more children (including future king Henry VIII), to an interlude of genuine affection. However, her mother and she remain York sympathizers at heart, particularly after their young cousin Edward Warwick is placed under house arrest in the Tower. This is an ominous reminder of the imprisonment of King Edward and Queen Elizabeth’s two sons, Edward and Richard, in the Tower, from which they later disappeared. Rumors abound: Prince Richard may still be alive and may be coming to England to assert his entitlement to kingship, far superior to Henry’s. Both Elizabeths know more about such claims than they dare let on: Years before, they had substituted a pageboy for Richard when the two princes went into captivity. A ruthless monarch who rules by intimidation, Henry can never escape the nagging fear that a Yorkist heir will unseat him, especially since the Yorks are so much more likable and better looking than the Tudors.  

As usual, Gregory delivers a spellbinding (and definitely York-biased) exposé.

Pub Date: July 23, 2013

ISBN: 978-1-4516-2609-4

Page Count: 544

Publisher: Touchstone/Simon & Schuster

Review Posted Online: May 30, 2013

Kirkus Reviews Issue: June 15, 2013

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Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

CILKA'S JOURNEY

In this follow-up to the widely read The Tattooist of Auschwitz (2018), a young concentration camp survivor is sentenced to 15 years’ hard labor in a Russian gulag.

The novel begins with the liberation of Auschwitz by Soviet troops in 1945. In the camp, 16-year-old Cecilia "Cilka" Klein—one of the Jewish prisoners introduced in Tattooist—was forced to become the mistress of two Nazi commandants. The Russians accuse her of collaborating—they also think she might be a spy—and send her to the Vorkuta Gulag in Siberia. There, another nightmarish scenario unfolds: Cilka, now 18, and the other women in her hut are routinely raped at night by criminal-class prisoners with special “privileges”; by day, the near-starving women haul coal from the local mines in frigid weather. The narrative is intercut with Cilka’s grim memories of Auschwitz as well as her happier recollections of life with her parents and sister before the war. At Vorkuta, her lot improves when she starts work as a nurse trainee at the camp hospital under the supervision of a sympathetic woman doctor who tries to protect her. Cilka also begins to feel the stirrings of romantic love for Alexandr, a fellow prisoner. Though believing she is cursed, Cilka shows great courage and fortitude throughout: Indeed, her ability to endure trauma—as well her heroism in ministering to the sick and wounded—almost defies credulity. The novel is ostensibly based on a true story, but a central element in the book—Cilka’s sexual relationship with the SS officers—has been challenged by the Auschwitz Memorial Research Center and by the real Cilka’s stepson, who says it is false. As in Tattooist, the writing itself is workmanlike at best and often overwrought.

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-26570-8

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Oct. 28, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be...

LOVECRAFT COUNTRY

Some very nice, very smart African-Americans are plunged into netherworlds of malevolent sorcery in the waning days of Jim Crow—as if Jim Crow alone wasn’t enough of a curse to begin with.

In the northern U.S. of the mid-1950s, as depicted in this merrily macabre pastiche by Ruff (The Mirage, 2012, etc.), Driving While Black is an even more perilous proposition than it is now. Ask Atticus Turner, an African-American Korean War veteran and science-fiction buff, who is compelled to face an all-too-customary gauntlet of racist highway patrolmen and hostile white roadside hamlets en route from his South Side Chicago home to a remote Massachusetts village in search of his curmudgeonly father, Montrose, who was lured away by a young white “sharp dresser” driving a silver Cadillac with tinted windows. At least Atticus isn’t alone; his uncle George, who puts out annual editions of The Safe Negro Travel Guide, is splitting driving duties in his Packard station wagon “with inlaid birch trim and side paneling.” Also along for the ride is Atticus’ childhood friend Letitia Dandridge, another sci-fi fan, whose family lived in the same neighborhood as the Turners. It turns out this road trip is merely the beginning of a series of bizarre chimerical adventures ensnaring both the Turner and Dandridge clans in ancient rituals, arcane magical texts, alternate universes, and transmogrifying potions, all of which bears some resemblance to the supernatural visions of H.P. Lovecraft and other gothic dream makers of the past. Ruff’s ripping yarns often pile on contrivances and overextend the narratives in the grand manner of pulp storytelling, but the reinvented mythos here seems to have aroused in him a newfound empathy and engagement with his characters.

If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be doing triple axels in his grave at the way his imagination has been so impudently shaken and stirred.

Pub Date: Feb. 16, 2016

ISBN: 978-0-06-229206-3

Page Count: 432

Publisher: Harper/HarperCollins

Review Posted Online: Nov. 4, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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