A fun romp through Paris and history, one that nevertheless makes us understand that the sins of the past are not truly past.
A melancholy and mournful tale of the past's inextricable relationship to the present.
Faulks (Pistache Returns, 2017, etc.) gives us a novel that uses World War II as a way to think about the contemporary refugee crisis and nationalist politics in Europe. He brings us the story of Tariq, a lovelorn, disaffected, and perpetually aroused Algerian teenager whose unfulfilling studies and infatuation with his virginal classmate Laila fill him with romantic dreams of fleeing his home for the streets of Europe. The son of a half-French, half-Arab woman whose father was a French settler, Tariq eventually abandons Algeria for Paris. Meanwhile, an American academic named Hannah arrives in Paris in order to do research on a historical project about the lives of Parisian women under the Vichy government during the war. Hannah is more concerned with the past than the present, but she feels increasingly empty in her history-obsessed life. As Tariq floats through the streets of Paris, looking for shelter and work, his and Hannah's paths eventually cross; soon, Tariq is a lodger in Hannah's apartment. Eventually, however, Hannah's obsession with the past collides with Tariq's complicated family history. Tariq soon finds that the hatred and xenophobia that drove French complicity with Nazi Germany and the settling of Algeria have not evaporated but taken on more subtle manifestations. Narrated in the first person from both Hannah's and Tariq's perspectives, this is a briskly told and engaging novel that sets us in the bustling streets of mid-2000s Paris. However, the prose is workmanlike, even dull at times, never rising to the lyrical heights of books whose subject matter this shares. The comparison might be unfair, but it's hard not to recall novels like Sebald's gorgeous Austerlitz when reading this novel, which suffers for the comparison. Tariq's and Hannah's voices are occasionally unconvincing. Taking Tariq as a hard-up teenage Algerian runaway is difficult when, after running into a mysteriously familiar woman on the Paris Metro, he utters, "I felt she was meant for me as the man I could become, as the man I deep down already am—an older, better man beneath all the clumsy, unimportant stuff of being young and useless and being me." Most unfortunately, the novel's twists are easy to see coming. Still, this is an entertaining novel with memorable characters.
A fun romp through Paris and history, one that nevertheless makes us understand that the sins of the past are not truly past.Pub Date: Nov. 6, 2018
ISBN: 978-1-250-30565-7
Page Count: 272
Publisher: Henry Holt
Review Posted Online: Sept. 1, 2018
Kirkus Reviews Issue: Sept. 15, 2018
BOOK REVIEW
BOOK REVIEW
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
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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