A step down from the first novel.
In the sequel to Habsburg Honor and Nazi Duty (2014), two adversaries/colleagues again form a prickly alliance, this time on the hunt for a Nazi rocket scientist at the end of World War II.
Stephan Kaas is in Soviet-controlled Vienna trying to find and deliver a Nazi rocket scientist to the Americans, which, Kaas hopes, will help him earn a new life, burying his Hitler-era past. But he has to outfox the Soviets, who, wanting the scientist just as badly, know Kaas is the link to finding the scientist. The love lives of Kaas and former Vienna police inspector Karl Marbach also intersect, with the discovery that Anna, the woman they both loved, has survived the war but is terribly burnt. Repelled by this, Kaas turns away from Anna, but when the Soviets take her hostage—a ploy to force Kaas to disclose the scientist’s location—Marbach is on hand to help find her. Adding to the danger are the Werewolves: bitter Nazis who kidnap Marbach. A British and an American officer greatly help Kaas and Marbach, but the officers have to work carefully because the Russians are intensely suspicious of their capitalist enemies. The action in Joyce’s (Vienna: Years Ago, 2014) novel takes place against a vivid depiction of the tension and fear in post–World War II Vienna. The two Vienna protagonists also have to wrestle with their differing views of honor, the main theme of the story. Marbach is steadfastly honest and fair, whereas Kaas is happy to lie and even beat people up to achieve his aims. Unfortunately, this intriguing theme is lost in a swirl of multiple plots that can leave the reader bewildered. Character development suffers as critical moments are brushed over, even in the mission to catch the scientist.
A step down from the first novel.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: AuthorHouse
Review Posted Online: Aug. 25, 2015
Review Program: Kirkus Indie
The emotions run high, the conversations run deep, and the relationships ebb and flow with grace.
When tragedy strikes, a mother and daughter forge a new life.
Morgan felt obligated to marry her high school sweetheart, Chris, when she got pregnant with their daughter, Clara. But she secretly got along much better with Chris’ thoughtful best friend, Jonah, who was dating her sister, Jenny. Now her life as a stay-at-home parent has left her feeling empty but not ungrateful for what she has. Jonah and Jenny eventually broke up, but years later they had a one-night stand and Jenny got pregnant with their son, Elijah. Now Jonah is back in town, engaged to Jenny, and working at the local high school as Clara’s teacher. Clara dreams of being an actress and has a crush on Miller, who plans to go to film school, but her father doesn't approve. It doesn’t help that Miller already has a jealous girlfriend who stalks him via text from college. But Clara and Morgan’s home life changes radically when Chris and Jenny are killed in an accident, revealing long-buried secrets and forcing Morgan to reevaluate the life she chose when early motherhood forced her hand. Feeling betrayed by the adults in her life, Clara marches forward, acting both responsible and rebellious as she navigates her teenage years without her father and her aunt, while Jonah and Morgan's relationship evolves in the wake of the accident. Front-loaded with drama, the story leaves plenty of room for the mother and daughter to unpack their feelings and decide what’s next.
The emotions run high, the conversations run deep, and the relationships ebb and flow with grace.Pub Date: Dec. 10, 2019
ISBN: 978-1-5420-1642-1
Page Count: 400
Publisher: Montlake Romance
Review Posted Online: Oct. 13, 2019
Kirkus Reviews Issue: Nov. 1, 2019
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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