A rollicking soap opera with as many twists as a corkscrew, written with an investigative reporter’s eye for detail and nose...
Debut novel by New York Times Pulitzer-winning correspondent Egan (Lasso the Wind, 1998, etc.) about a young woman’s quest to uncover the cause of her brother’s death.
When young Angelo Cartolano moved to the Pacific Northwest just after WWII, he came up with the idea of importing grapes from his native Italy and eventually created the first (and, many believe, the best) winery in Washington State. But after 50 years, Angelo is getting on. His daughter Brunella is an architect in Seattle, currently working as consultant to a developer who wants to reclaim an abandoned fishing village on the Puget Sound; his son Niccolo is a smokejumper in the Forest Service. An extended drought has led to a series of disastrous firestorms in the region, and Niccolo is killed fighting one of them. Angelo and Brunella are both devastated, but their shock turns to horror when they learn that the Forest Service has begun an investigation into claims that Niccolo’s own incompetence led to his death and those of the men under his command. Brunella, meanwhile, finds herself at the center of a controversy when she testifies at the last minute against the development she had been hired to vet. She also learns that a nearby Indian tribe is trying to siphon off water supplies in order to construct a casino on its reservation, and she begins to suspect that this may have had something to do with the failure of the fire pumps that led to her brother’s death and vilification. Overwhelmed by such revelations, Brunella flees to Italy and tries to begin a new life. But family ghosts are not so easily stilled.
A rollicking soap opera with as many twists as a corkscrew, written with an investigative reporter’s eye for detail and nose for coincidence—even though, like a good Barolo, it’s a bit too strong to swallow in one gulp.Pub Date: Jan. 1, 2004
ISBN: 1-4000-4099-X
Page Count: 320
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2003
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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