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EXILE EXODUS

An intricate tale that presents an intriguing blend of politics, romance, and betrayal.

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Fleming’s historical novel traces Egyptian Pharaoh Akhenaten’s tumultuous reign as it coincides with the biblical exodus and the subsequent birth of Judaism.

The year is 1371 BCE, and Amenhotep IV is 10 years old. Despite the fact that he’s the youngest son of the pharaoh, children from the labor village bully him and tease him about the fact that his family worships Amen, “the hidden one who has no form.” From there, the narrative jumps forward, largely centering on the long, turbulent history of Amenhotep IV’s reign, which only comes about due to the death of his pharaoh father and the tragic drowning of his older brother, Thutmoses, during a military campaign. A thoughtful man, Amenhotep IV often struggles with issues of spirituality: “Only my thoughts of awareness have meaning. It is as if the gods are looking at the world through my eyes. Is it one god, or several gods, or is it Aten – or something else beyond my understanding, or simply a distorted illusion of my incidental soul?” He eventually concludes that Aten is the one true god—a radical departure from Egyptian polytheism. He changes his name to Akhenaten and rules Upper and Lower Egypt with his beloved wife, Nefertiti, at his side. Years later, their grown daughter, Meritaten, finds an abandoned baby, whom she takes in as her own and names Moses. Multiple storylines document the turmoil of Akhenaten’s unusual rule as political rivals plot schemes and assassinations. The events ultimately culminate in Moses’ leading the famous exodus from Egypt, resulting in a religious movement that will change the world forever.

Fleming does an admirable job of weaving together a multitude of happenings over the novel’s timespan. Readers who are unfamiliar with Egyptian history will see some familiar names pop up, such as Nefertiti and Tutankhamen. However, character names become increasingly hard to keep track of after they start to change in the middle of the narrative (Amenhotep to Akhenaten, Nebetah to Beketaten, Tutankhaten to Tutankhamen, and so on). It’s inconvenient, but Fleming does his best to make it as painless as possible by providing an extremely helpful family tree at the beginning of the novel, and by grounding the narrative in concrete historical touchstones. The dialogue flows naturally, with no attempt at old-fashioned dialect, and the author manages to keep up a brisk pace, despite dedicating a large amount of text to the ins and outs of Egyptian politics. The book even manages to branch out into thriller territory with the shocking murder of a key player. One of its most interesting aspects is Fleming’s personalization of historical events; Moses’s reluctance to accept his exile, for example, feels distinctly relatable: “‘We cannot leave Egypt. It is our home. We were born and raised here for many generations.’ Moses stood up and put his hand on his chest. ‘I was raised in the royal family of Pharaoh Tutankhamen.’” It’s this sense of humanity that carries the novel and effectively provides context to a dramatic time in history.

An intricate tale that presents an intriguing blend of politics, romance, and betrayal.

Pub Date: May 21, 2024

ISBN: 9780971567641

Page Count: 189

Publisher: Wellspring Books

Review Posted Online: Sept. 16, 2024

Kirkus Reviews Issue: Nov. 15, 2024

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THE NIGHTINGALE

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

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THE WEDDING PEOPLE

Uneven but fitfully amusing.

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Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.

Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.

Uneven but fitfully amusing.

Pub Date: July 30, 2024

ISBN: 9781250899576

Page Count: 384

Publisher: Henry Holt

Review Posted Online: Sept. 13, 2024

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