Excessive, obsessive, overlong but filled with moments of grandeur, insight, tearful tragedy, and rousing derring-do: War...
A long, exhausting but worthy conclusion to The Sands of Pride (2002), following the roles of more than fifty historical and fictional characters depicting North Carolina’s role in the Civil War.
With its preceding volume, Trotter’s epic aspires to be an American literary equivalent of Tolstoy’s War and Peace. So many intricately observed characters and incidents pile up so that the story ceases to be about the bloodiest, most catastrophic conflict Americans have ever fought, and becomes instead a wonderfully complicated evocation of the role of pride in human destiny, with all the irony, heroism, passion, sentimentality, and violence that epic historical fiction demands. But Trotter's aspirations aren’t merely literary. Dialogue passages laden with history-speak, and tour-guide digressions about landscape and military lore, serve as correctives to the more prevalent scholarly attitude that North Carolina’s influence in the Civil War was more political than strategic, given that most of the more studied battles, including Gettysburg (where, Trotter informs us through one of his characters, a so-called eyewitness account of North Carolina's brave forces falling apart during the bloody disaster of Pickett’s Charge was a lowly canard!) occurred outside the state. Trotter can be forgiven some of his scholarly fusillades, having fired his biggest guns in his three-volume history The Civil War in North Carolina. The battle scenes here, especially the climactic assault on Fort Fisher, are astonishingly accomplished, and when Trotter probes the human side of history in his fiction, his epic soars, especially in his accounts of the fabulous sea battles around the Outer Banks among Union Navy patrols and dashing Confederate blockade runners, and the moving, conflicted heroism of the African American “buffalo” soldiers.
Excessive, obsessive, overlong but filled with moments of grandeur, insight, tearful tragedy, and rousing derring-do: War and Peace, American style.Pub Date: March 1, 2004
ISBN: 0-7867-1223-6
Page Count: 576
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2004
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 Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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