A centrifugal story told with great sensitivity and empathy, highlighting Statovci’s development as a leading voice in...
Kosovo-born Finnish novelist Statovci (My Cat Yugoslavia, 2017) returns with a beguiling story that proves the old adage about not being able to go home again—if one has a home at all.
“I am a man who cannot be a woman but who can sometimes look like a woman.” So says 22-year-old Bujar, who, it seems, can be anything he wishes to be, of any age and gender, any guise, supported by whatever story he can spin. Even though in his new life in Rome he takes pains to disguise his Albanian origins, he carries stories from his late father about his ancestral nation and the deeds of heroes whose hearts reside “in the breast of the black two-headed eagle on the flag.” Bujar lives as if he is alone, but with him is his childhood friend Agim, “a year older than me but much smaller,” who is smart and soulful and who adds to Bujar’s father’s stock of stories with other tales, such as the curious one about a farm governed by the animals there: “Imagine, Bujar, the animals form a totalitarian society." Bujar and Agim, heroes in their own way, are a shade too young to remember the most terrible excesses of totalitarianism in their homeland, but now, away, they are free to do as they wish—but not really, because sexual violence at the hands of brutish men is always a danger everywhere they travel, and in any event they’re despised for their foreignness, even if, as Bujar says, “Everybody around us wanted to be European, to belong to the European family, to stand on the other side of the invisible but insurmountable fence where people were people, at the forefront of humanity.” Marginalized in several dimensions, Bujar and Agim struggle to find their identities as well as a hint of the happiness that, as events unfold, seems ever more elusive.
A centrifugal story told with great sensitivity and empathy, highlighting Statovci’s development as a leading voice in modern European literature.Pub Date: April 2, 2019
ISBN: 978-1-5247-4749-7
Page Count: 272
Publisher: Pantheon
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
BOOK REVIEW
BOOK REVIEW
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
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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