Finely written and deeply empathetic, a powerful portrait of artistic commitment and emotional frustration.
Horrocks follows up her well-regarded story collection, This Is Not Your City (2011), with a rueful novel about composer Erik Satie, his family, and friends.
The parameters of the Satie siblings’ lives are set shortly after their mother dies in 1872. Their overwhelmed father leaves them with relatives and vanishes; when he returns with a new wife, only Erik and younger brother Conrad are reclaimed, while Louise is left with their great-uncle. Her rage and bitterness are mostly justified by subsequent events in her life, chronicled in a first-person narration so vivid it frequently steals focus from the chapters narrated by Erik, Conrad, Erik’s friend Philippe, and Suzanne, the only woman emotionally cut-off Erik comes close to loving. The twin traumas of his mother’s death and the involuntary separation from Louise have made him pathologically wary of any kind of connection, including those that might smooth the way for his deliberately provocative music. Aspiring poet Philippe collaborates with Erik for a while and admires his friend’s disdain for compromise but ultimately opts for a more stable existence. Horrocks paints an atmospheric portrait of bohemian Paris and a poignant one of Satie and his avant-garde circle, who “lived in the yet: not now, but soon” when their art would be recognized. Meanwhile, they drink and scandalize the bourgeoisie with their bad behavior. An episode of unintentional cruelty cements Erik’s estrangement from Louise, whose losses mount in a wrenching account made bearable only by the fact that she narrates it as an elderly survivor in 1944. Erik’s story takes longer to engage readers, but gradually his austere passion and fierce dedication to his music become as affecting as Louise’s catalog of pain and deprivation. A keening finale revisits him at 21, with “the most popular seven minutes he will ever write…fading away in the sweaty, soot-dark room.”
Finely written and deeply empathetic, a powerful portrait of artistic commitment and emotional frustration.Pub Date: July 30, 2019
ISBN: 978-0-316-31691-0
Page Count: 464
Publisher: Little, Brown
Review Posted Online: May 1, 2019
Kirkus Reviews Issue: May 15, 2019
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
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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