by Uwe Johnson ; translated by Damion Searls ‧ RELEASE DATE: Oct. 16, 2018
A rich book to be read slowly and thoughtfully, from a writer too little known today.
“Das war es denn wohl. That takes care of that.” An overstuffed masterwork of late European modernism by German writer Johnson (1934-1984).
Hailed by Günter Grass as the most significant East German writer, Johnson left his homeland in 1959, dying at the age of 49 in England. From 1966 to 1968, though, he lived in New York, where he wrote the tetralogy called Jahrestage. Likened to Joyce’s Ulysses, it’s really a kind of Joseph Cornell box in words, a vast montage stretching from August 1967 to August 1968. The narrator, Gesine Cresspahl, lives in self-exile on the Upper West Side, working as a translator, trying to raise a daughter, Marie, by herself. Gesine is too young to have been complicit in the crimes of the Third Reich, but she saw them unfold, enabled by those who stood by, some of whose uniforms have merely changed colors in the years since the war ended even as other things have remained the same. The Levy’s Jewish rye ads on the New York subway, for instance, bear ominous signs of old: “There tend to be swastikas drawn on these posters,” remarks Gesine after reflecting on both a moment of wartime history and the opening of baseball season. “It’s true that they aren’t drawn correctly…but tonight I saw one more of them than I did this morning.” Past feeds into present and flows backward as Gesine travels in time and space to places like New Orleans and San Francisco in a time of torment. She sighs, “This summer is over, it’s now our future past, that’s what we can expect from life.” Her diary—which is to say, Johnson’s nearly 2,000-page novel—touches on Vietnam, World War II, postwar Eastern Europe, the inhumane conditions of that New York subway system and the humanity of its riders ("Marie was always given a greater amount of breathing room than she needed”), the triumph of despair, and countless other topics.
A rich book to be read slowly and thoughtfully, from a writer too little known today.Pub Date: Oct. 16, 2018
ISBN: 978-1-68137-203-7
Page Count: 1720
Publisher: New York Review Books
Review Posted Online: Aug. 20, 2018
Kirkus Reviews Issue: Sept. 1, 2018
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PERSPECTIVES
by Claire Lombardo ‧ RELEASE DATE: June 25, 2019
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
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SEEN & HEARD
by Lisa Jewell ‧ RELEASE DATE: April 24, 2018
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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