A sensitive, sober account of an interesting woman and her times, narrated with respect for the factual record and a minimum...

THE FOREST LOVER

Fictionalized biography of painter Emily Carr by bestselling Vreeland (Girl in Hyacinth Blue, 1999; The Passion of Artemisia, 2002).

Carr (1871–1945) was perhaps the first Canadian woman artist to achieve international recognition, partly thanks to her studies abroad (in America, London, and Paris) and partly thanks to her association with the famed Group of Seven, a Toronto-based salon of painters who revolutionized Canadian art. In her third historical, Vreeland adds some invented characters and situations, but for the most part offers a faithful account of Carr’s career. Born in Victoria, British Columbia, she lost both of her parents early in life and was raised by her domineering elder sister Dede, who disapproved of Emily’s interest in painting and tried to prevent her from enrolling in art school. Because of an interest in Native American art that was unusual for her times, Carr lived for a while among the Squamish Indians of Vancouver Island, studying their crafts and rituals. There, she met Sophie Frank, a Squamish basket weaver who became both a friend and inspiration, as well as Claude Serreau, a French-Canadian fur trapper who was briefly Carr’s lover. The Indian themes that dominated her early work were not well received in Canada, so in 1910 Carr traveled to Paris to immerse herself in the new styles that were coming into vogue among modernists. In France, she befriended New Zealand painter Frances Hodgkins, with whom she spent a happy summer working in the countryside, but she found as little encouragement in Paris as she had in Vancouver. After a year, she returned to Canada and dedicated herself to painting the Native American villages, houses, and totem poles that were fast disappearing. Eventually, she mounted an exhibition at the National Gallery in Ottawa that established her as one of the leading artists of her day.

A sensitive, sober account of an interesting woman and her times, narrated with respect for the factual record and a minimum of heavy breathing.

Pub Date: Jan. 19, 2004

ISBN: 0-670-03267-0

Page Count: 320

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 1, 2003

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The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

SUMMER ISLAND

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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Whitehead continues the African-American artists' inquiry into race mythology and history with rousing audacity and...

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THE UNDERGROUND RAILROAD

What if the metaphorical Underground Railroad had been an actual…underground railroad, complete with steam locomotive pulling a “dilapidated box car” along a subterranean nexus of steel tracks?

For roughly its first 60 pages, this novel behaves like a prelude to a slave narrative which is, at once, more jolting and sepulchral than the classic firsthand accounts of William Wells Brown and Solomon Northup. Its protagonist, Cora, is among several African-American men and women enslaved on a Georgia plantation and facing a spectrum of savage indignities to their bodies and souls. A way out materializes in the form of an educated slave named Caesar, who tells her about an underground railroad that can deliver her and others northward to freedom. So far, so familiar. But Whitehead, whose eclectic body of work encompasses novels (Zone One, 2011, etc.) playing fast and loose with “real life,” both past and present, fires his most daring change-up yet by giving the underground railroad physical form. This train conveys Cora, Caesar, and other escapees first to a South Carolina also historically unrecognizable with its skyscrapers and its seemingly, if microscopically, more liberal attitude toward black people. Compared with Georgia, though, the place seems so much easier that Cora and Caesar are tempted to remain, until more sinister plans for the ex-slaves’ destiny reveal themselves. So it’s back on the train and on to several more stops: in North Carolina, where they’ve not only abolished slavery, but are intent on abolishing black people, too; through a barren, more forbidding Tennessee; on to a (seemingly) more hospitable Indiana, and restlessly onward. With each stop, a slave catcher named Ridgeway, dispensing long-winded rationales for his wicked calling, doggedly pursues Cora and her diminishing company of refugees. And with every change of venue, Cora discovers anew that “freedom was a thing that shifted as you looked at it, the way a forest is dense with trees up close but from outside, the empty meadow, you see its true limits.” Imagine a runaway slave novel written with Joseph Heller’s deadpan voice leasing both Frederick Douglass’ grim realities and H.P. Lovecraft’s rococo fantasies…and that’s when you begin to understand how startlingly original this book is.

Whitehead continues the African-American artists' inquiry into race mythology and history with rousing audacity and razor-sharp ingenuity; he is now assuredly a writer of the first rank.

Pub Date: Sept. 13, 2016

ISBN: 978-0-385-53703-2

Page Count: 320

Publisher: Doubleday

Review Posted Online: April 13, 2016

Kirkus Reviews Issue: May 1, 2016

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