Provocative issues of race and gender intertwine in earnest if uneven issues-oriented fiction.
Former litigator Conklin’s first novel employs the increasingly popular technique of overlapping contemporary and historical fictions—in this case, the lives of a young lawyer defining herself in 21st-century New York and a young slave with secret talents in 19th-century Virginia.
In 1852, on a failing Virginia farm, 17-year-old Josephine cares for her dying mistress, Lu Anne Bell, while plotting her escape. Childless Lu Anne has always had a complicated relationship with the bright, naturally gifted Josephine; Lu Anne taught the girl to read and to paint but failed to protect Josephine from husband Robert Bell’s rape when Josephine was barely 14. Now, Lu Anne tells Josephine a terrible secret before she dies. Cut to 2004. Lu Anne’s art is highly prized as the work of a protofeminist artist sensitive to the plight of slaves. But while researching a case concerning reparations to slave descendants, Lina Sparrow, a white first-year lawyer in a cutthroat Manhattan firm, discovers that a controversy is brewing in the art world: Some art critics wonder if paintings attributed to Lu Anne were really completed by Josephine. At a gallery showing of Lu Anne/Josephine’s work, Lina meets a young musician who claims to own several of the paintings. Hoping to prove he is Josephine’s descendant, although he appears to be Caucasian, Lina sets out to uncover Josephine’s history. Art and identity matter to Lina. Raised by her artist father, Oscar, she longs to know more about her long-dead mother, Grace, especially now that Oscar has painted a provocative series of portraits of Grace. As the focus shifts back and forth between the centuries, Josephine evolves into a wonderfully fresh character whose survival instinct competes with her capacity for love as she tries to reach freedom. But while Conklin clearly knows her way around the legal world, her lawyer, Lina, comes across more as a sketch than a portrait, and the choices she makes are boringly predictable.
Provocative issues of race and gender intertwine in earnest if uneven issues-oriented fiction.Pub Date: Feb. 12, 2013
ISBN: 978-0-06-220739-5
Page Count: 384
Publisher: Morrow/HarperCollins
Review Posted Online: Dec. 2, 2012
Kirkus Reviews Issue: Dec. 15, 2012
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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