It was fun to see the boyishly aging cops of CHiPs on the road again—and just about everybody hopes Mary and Rhoda will get together once more. But no reappearance could be more welcome than that of Thomas Berger’s fictional centenarian (and more), Jack Crabb, protagonist and, in his way, hero of the now-classic Little Big Man (1964), hands down the ne plus ultra among novels about the American Old West—until now, that is: for we—re about to learn that the resourceful Jack only pretended to die in an old-folks’ home at age 111 (thus eluding his avaricious ghostwriter), and that he survived to relate the comparably amazing adventures that came after his survival of the Battle of Little Big Horn. These occurred during Jack’s itinerant middle years in the several western territories (some not yet states) and abroad, and they include his intimate associations with such eminent and romantic figures as Wild Bill Hickok, Wyatt Earp, and Bat Masterson, Doc Holliday, Annie Oakley, and Buffalo Bill Cody—and, in a spectacularly hilarious chapter, England’s Queen Victoria. Jack’s Zelig-like penchant for showing up in key places at momentous times occasions vivid first-person accounts of events both ignoble (a farcical misadventure at a “mission school” where he works as a Cheyenne translator) and legendary (the novel’s major set-pieces: “The Gunfight That Never Happened at the O.K. Corral” and the story of the great Indian leader Sitting Bull’s sad fate). All is told in a vigorous colloquial voice whose earthy accents often echo perfectly the impertinent horse sense of Mark Twain (“The Catholics . . . us[e] Latin which nobody understands and therefore seems more like a language God would speak”) and plaintively lament both the white man’s rape of Native America and the ornery persistence with which people continue misunderstanding one another. This magnificent sequel ends with Jack’s teasing half-promise that he—ll live on even longer and tell the rest of his story. And why shouldn’t we believe him? Jack Crabb is already one of the immortals.
Pub Date: March 1, 1999
ISBN: 0-316-09844-2
Page Count: 448
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1999
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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