A novel that reads like a labor of love. Unfortunately, the labor is as evident as the love.
In her sixth work of fiction about the inter-penetration of life and art, Vreeland (Luncheon of the Boating Party, 2007, etc.) celebrates the putative designer of Tiffany’s leaded-glass lampshades.
That would be Clara Driscoll. Some art historians now believe that it was Clara, unacknowledged in her lifetime, who conceived the lampshades. What is indisputable is that, encouraged by Louis Tiffany, she was a major creative force at his Glass and Decorating Company. (This was separate from the jewelry company, run by his father Charles.) From 1892 to 1908, she oversaw the Women’s Department; many of her workers were from poor immigrant families and still in their teens. Louis would not employ married women. Clara had returned to the company after her much older husband Francis died, omitting her from his will. Vreeland’s account of the marriage is sketchy; her primary focus is on the workplace. Here Clara is a commanding figure: a mother hen to the Tiffany Girls, a feminist challenging the rampant sexism of the Men’s Department and an imaginative innovator marrying glass to flowers and insects. Her greatest triumph was the dragonfly lamp at the Paris Exposition, though even there she was not given credit. However, she did find consolation in her bohemian downtown boardinghouse, especially in the company of the madcap painter George Waldo (gay, like several of their fellow lodgers) and his straight brother Edwin, a prospective husband until his mysterious disappearance. Vreeland guides us conscientiously through the world of glass, of cames and cabochons, though the detail can be overwhelming. More damagingly, she has let the stifling propriety of the time infect Clara as narrator; though prim among her peers, she could surely have unbuttoned to us, her readers. Louis, cocooned in reverence, suffers too. His one memorable scene comes after his wife’s death when, a remorseful drunk, his language turns salty.
A novel that reads like a labor of love. Unfortunately, the labor is as evident as the love.Pub Date: Jan. 11, 2011
ISBN: 978-1-4000-6816-6
Page Count: 432
Publisher: Random House
Review Posted Online: Sept. 22, 2010
Kirkus Reviews Issue: Oct. 15, 2010
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
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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