An intelligently imagined Dickens prequel.
Frame (The Lantern Bearers, 2001, etc.) writes the story of Catherine Havisham, recluse of Satis House, in this prelude to Charles Dickens' Great Expectations.
Despite her mother’s death in childbirth, the Great Expectations of Miss Havisham come naturally. Her father, owner of a prosperous brewery, spoils her beyond measure. Then, as Catherine matures, he dispatches her to Durley Chase, home of Lady Chadwyck and her children Isabella, William, Marianna and cousin Frederick. The Chadwycks are to add the social polish necessary for Catherine to marry well. There, Catherine has eyes for William but soon learns that titled folk do not marry merchants' daughters. She then meets Charles Compeyson, charming, enigmatic, vaguely roguish. Class prejudices aside, the Chadwycks attempt to dissuade Catherine from Compeyson, but she is enthralled, even ignoring Chadwyck cousin Frederick, thinking him overly religious, awkward and unambitious despite his shy admiration for her. Then her father dies. Catherine allows Compeyson to run the brewery. He soon proposes then leaves her at the altar. Frame’s chapters are short, written from Catherine’s point of view, and laced with elements of classical poetry and song. Aeneas, Tom O’Bedlam and Henry Purcell deepen a narrative appealing to the modern ear yet suitably Dickensian. Subplots follow Sally, a village girl who becomes Catherine’s childhood companion, and Arthur, Catherine’s wastrel half brother. The book ripples with social commentary, an example being Catherine’s attempt to manage the brewery only to be stymied by gender prejudice and her own obstinacy. Finally, she closes the brewery. Catherine then adopts Estella, intending revenge on the masculine world—"all of the genus who conceitedly, smugly supposed that they were indispensable to a woman’s personal completeness, her felicity." Minor characters, Pip included, strengthen the story, and Frame’s presentation of the era is substantial but not overdone. Young Catherine’s character earns little empathy, and any sympathy for the recluse of Satis House certain that "true life is too awesome and terrifying to bear" can only be conjured up as her death looms.
An intelligently imagined Dickens prequel.Pub Date: Nov. 5, 2013
ISBN: 978-1-250-03727-5
Page Count: 368
Publisher: Picador
Review Posted Online: Aug. 30, 2013
Kirkus Reviews Issue: Sept. 15, 2013
BOOK REVIEW
BOOK REVIEW
PROFILES
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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