Diana Gabaldon
Diana Gabaldon was crossing genres in her action-flled Outlander series long before that was considered cool. We talk to Gabaldon about her latest in the series, Written in My Own Heart's Blood, this week on Kirkus TV.


KIRKUS REVIEW

Of haggis, gigged frogs and succubi: Continuing her Outlander series, Gabaldon (An Echo in the Bone, 2009, etc.) again pushes the boundaries of genre fiction.

Sensitive readers new to the series will want to know that Gabaldon’s leads are fond of dropping f-bombs, sometimes even in the clinical sense: “Damn you, neither one of us was making love to the other—we were both fucking you!" They’ll also want to know that, as those characters cross time and space, they’re given to the basest treacheries as well as the profoundest loyalties, which may help explain the preceding quotation. The action now takes place across the water in revolutionary America, where Jamie Fraser, one-time Jacobite rebel, now commands 10 companies of Continental militia, when, he worriedly notes, “he’d never led a band of more than fifty.” Lord John, his old Brit friend and sometime bugaboo, figures in the mischief, of course. There are twists aplenty, one of them Jamie’s Lazarus-like return from the great beyond to find—well, different domestic arrangements. Meanwhile, his child, having long since learned that it’s possible to enter “a time vortex with a gemstone” and come out safely in other eras, now has good reason to want to be not in the 20th century but back in the 18th, where, if things are just as complicated, she at least has trustworthy kin. Confused yet? With willingly suspended disbelief, it all makes sense in the end. Gabaldon’s themes are decidedly grown-up, as the in-joking chapter titles (“Frottage,” “Frannie’s Frenulum”) suggest, but the basic premise is a dash of juvenile fantasy, a jigger of historical fact and heaping helpings of counterfactuals. If you’re a Gabaldon fan, the Scottish dialect, laid on with a spade, and all those naughty asides will be a familiar pleasure. If not—well, this overly long book isn’t likely to make converts, at least not without several thousand pages of catch-up to figure out who’s who, who’s doing what, who’s doing whom, and why.

Gabaldon works a successful formula, with few surprises but plenty of devices. And yes, there’s room for a sequel—or 10.


Recent Interviews

Mona Eltahawy

author of HEADSCARVES AND HYMENS

Kirkus Interview

April 28, 2015
HEADSCARVES AND HYMENS by Mona Eltahawy In her debut book, Headscarves and Hymens: Why the Middle East Needs a Sexual Revolution, Egyptian-American journalist and commentator Mona Eltahawy mounts an angry indictment of the treatment of women throughout the Arab world. Born in Egypt, she spent her childhood in London, moving with her family to Saudi Arabia when she was 15. Her shock was immediate and visceral: “It felt as though we’d moved to another planet whose inhabitants fervently wished women did not exist,” she recalls. Women could not travel, work or even go to a doctor’s appointment without male approval. We talk to Eltahawy this week on Kirkus TV about her arresting new book. View video >

Luis Alberto Urrea

author of THE WATER MUSEUM

Kirkus Interview

April 21, 2015
THE WATER MUSEUM by Luis Alberto Urrea Examining the borders between one nation and another, between one person and another, Luis Alberto Urrea’s latest story collection, The Water Museum, reveals his mastery of the short form. This collection includes the Edgar-award winning "Amapola" and his now-classic "Bid Farewell to Her Many Horses," which had the honor of being chosen for NPR's "Selected Shorts" not once but twice. Urrea has also recently published a poetry collection, Tijuana Book of the Dead, mixing lyricism and colloquial voices, mysticism and the daily grind. We talk to Urrea about both of his new books this week on Kirkus TV. View video >

Upcoming Kirkus Interviews

May 12, 2015
Craig Johnson
author of DRY BONES
May 19, 2015
Jodi Picoult
author of OFF THE PAGE