A rich and layered love story that begins in innocence and moves through hardship toward a broad humanity.
Hero of the French Resistance, diplomat, and two-time recipient of the Prix Goncourt under two different pen names, Gary (1914-1980; The Life Before Us, 1975, etc.) examines the fates of young love, naiveté, and idealism in his final novel, set in France during World War II and being published in English for the first time.
Ludo Fleury, an orphan raised in Normandy by his eccentric kite-building uncle Ambrose, suffers like the rest of his family from "an excess of memory." As a boy he falls desperately in love with a Polish nobleman's daughter, the beautiful and spirited Lila de Bronicki. Ludo visits the Bronicki estate in Poland ("a country accustomed to being reborn from its own ashes"), discusses politics with Lila’s brother, and competes with her German cousin Hans and a musical prodigy named Bruno for her affection. But war is looming, and the lives of all five become inexorably entangled in it. Gary, a Lithuanian Jew whose real name was Roman Kacew and whose life story reads more like fiction, writes with knowledge and empathy about occupied France and the struggle of ordinary people to resist. " 'Sensible' men...printed and distributed papers in which they spoke of 'immortality,' a word they employed frequently, despite the fact that they were always the first to die." The Fleurys' neighbor, a famous chef accused of collaborating, insists that just by setting foot in his restaurant, "any German with a shred of sense...can see he's dealing with supremacy, with historical invincibility." Ludo sustains himself with detailed memories of his time with Lila, though a fellow Resistance fighter warns him that when he sees her again she will have changed: "Even ideas stop resembling themselves when they're embodied." Gary's nuanced story avoids easy dichotomies. Ludo can't shake the idea that "the Nazis were human. And what was human about them was their inhumanity." Finding a dying German soldier, he thinks at first he recognizes the man, then realizes "what was familiar to me was the expression of suffering...German or French, in those moments, it's interchangeable."
A rich and layered love story that begins in innocence and moves through hardship toward a broad humanity.Pub Date: Oct. 31, 2017
ISBN: 978-0-8112-2655-4
Page Count: 375
Publisher: New Directions
Review Posted Online: Aug. 19, 2017
Kirkus Reviews Issue: Sept. 1, 2017
BOOK REVIEW
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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