Like a tapestry of the period, decorous but two-dimensional.
A surprisingly sympathetic portrayal of the Renaissance clan who gave meaning to the term “Machiavellian,” narrated by a lady-in-waiting to Lucrezia Borgia. The Showtime drama based on the book premiers April 2011.
Esther, who left Spain after Ferdinand and Isabella ordered the expulsion of the Jews, followed her father to Rome, losing her mother on the journey. Her father, a moneylender to the Vatican, arranges, for his daughters’ protection, to have her join the court of Lucrezia, one of Pope Alexander VI’s many illegitimate noble children. The Borgias require that Esther be baptized Catholic. Later, Lucrezia’s dashing, unscrupulous brother, Duke Valentino, known as Cesare, sardonically nicknames Esther “Violante” (promise-breaker). Despite the Duke’s dangerous reputation as an assassin and womanizer, Violante is violently attracted to him. He toys with her affections, but when Violante follows Lucrezia to the province of Ferrara where she is to wed its ruler, Duke Alfonso d’Este, Cesare stays away. Lucrezia settles into her relatively happy marriage to Alfonso. (It's her third politically expedient union to be negotiated by the Pope: Previous husbands were shed, one fatally, when they no longer served Alexander’s interests.) Violante exchanges romantic confidences with her fellow lady-in-waiting Angela (Lucrezia’s cousin), who has affairs with two of Alfonso’s brothers. On a visit, Cesare deflowers and impregnates Violante. He’s long gone, besieging other Italian city states and perpetrating all manner of treachery, when Violante gives birth to a son, Girolamo. Lucrezia, though her love for Cesare is more than sisterly, appears to share in Violante’s hope that Cesare will propose marriage. Much plotting, dungeon-languishing (but, oddly enough, no poisoning, at least not of humans) later, this ponderous tome lumbers to a close. The confinement of the point of view to Violante narrows the scope of the novel to her observations of the pageantry of life among the great, and although her descriptions are lush and detailed, the Borgias and their enemies emerge as mere figments of history, not fully fleshed characters.
Like a tapestry of the period, decorous but two-dimensional.Pub Date: March 1, 2011
ISBN: 978-1-4022-5963-0
Page Count: 544
Publisher: Sourcebooks Landmark
Review Posted Online: Feb. 1, 2011
Kirkus Reviews Issue: Feb. 1, 2011
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
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
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