An overstuffed narrative and sloppy writing mar a novel that, despite it all, still has its moments.
A trio of storylines centers around the Partition of India.
Anwar’s debut novel is an ambitious one, with threads reaching back to World War II, to the more-or-less present day, and to 1970, to the devastating storm that killed half a million people in Bangladesh. The novel follows several storylines and a scattering of characters, straining by the end to bring them all together. To begin with, there’s Shahryar, a young father who lives in Washington, D.C., but was born in Bangladesh. Shahryar’s visa is about to expire, and he’s desperately casting about for a way to stay in the country with his daughter, Anna. Then there’s Claire Drake, a British doctor serving in World War II, first in Burma, and then in what was at that time East Bengal. There’s also Ichiro, a Japanese pilot shot down nearby, whom Claire must treat. There’s Rahim, too, a wealthy Muslim man living in Calcutta with his wife, Zahira, as that city erupts into riots in the midst of the Partition of India. To say the least, there’s a lot going on. Anwar ups the ante even further with additional twists: Rahim is kidnapped by a Hindu gang, and Shahryar is caught up in what may or may not be a conspiracy. At this point, the book is practically bursting at the seams. Why Anwar shoved all these characters into one book is unclear: They would have done just fine each in their own respective novels. His prose doesn’t help matters. It is sometimes overwrought (“a valley covered in cloaks of mist run ragged in places by trees crowned with fall’s incipient fire”) and sometimes plainly lacking (Zahira’s response when the police appear in the nick of time: “You…how…what?”). Still, Anwar has an engaging voice that will perhaps improve with practice.
An overstuffed narrative and sloppy writing mar a novel that, despite it all, still has its moments.Pub Date: May 15, 2018
ISBN: 978-1-5011-7450-6
Page Count: 320
Publisher: Atria
Review Posted Online: March 4, 2018
Kirkus Reviews Issue: March 15, 2018
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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