Lively, involving and largely cheerful (despite a graphic rape), but how readers respond will depend in part on their...
British travel writer Albinia’s (Empires of the Indus, 2008) first novel retells the Mahabharata in present-day Delhi.
The author makes the epic accessible to less knowledgeable Westerners while keeping its large scope. Elephant-headed Ganesh, the traditional scribe of the Mahabharata, narrates. He summarizes the original epic while explaining how its composer Vyasa, Vyasa’s second wife Meera, the slave girl Leela whom Vyasa impregnated and a slew of secondary characters have reappeared through the ages, reliving the original story of egotism, sexual conquest and intrigue, as well as love and loyalty. In his current incarnation, egotistical, womanizing Vyasa is a professor, internationally famous for his controversial take on ancient texts. He has raised his twin son and daughter alone since the death of his wife Meera, whose poetry he published posthumously to great acclaim. Now his son is marrying the daughter of a reactionary right-wing Hindu named Shiva, whose moral rigidity is pure hypocrisy. Meera’s adopted sister Leela lives in New York City with her husband Hari, who happens to be Shiva’s brother. After 20 years of self-imposed exile, Leela returns to Delhi with Hari to attend the wedding. But she has never told Hari, a sweet-natured businessman, that she knows Vyasa, or anything about her past. A poor orphan, she was adopted by Meera’s parents and raised as Meera’s sister. The two girls were inseparable until Meera fell in love with the young professor Vyasa, a proponent of free love; attracted to both Meera and Leela he unwittingly impregnated them both. Meera pretended both children were hers and cut off communication with Leela before her death when the “twins” were toddlers. Leela comes face-to-face with her past at the Midsummer’s Night Dream of a wedding that causes all the characters to discover their true selves for good or ill.
Lively, involving and largely cheerful (despite a graphic rape), but how readers respond will depend in part on their reaction to a white British woman presuming to author sharp satire of Indian culture.Pub Date: Jan. 9, 2012
ISBN: 978-0-393-08270-8
Page Count: 400
Publisher: Norton
Review Posted Online: Nov. 5, 2011
Kirkus Reviews Issue: Nov. 15, 2011
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
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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