Among all the recent fictions about the war, Cleave’s miniseries of a novel is a surprising standout, with irresistibly...
Privileged young Londoners lose their sense of entitlement and their moral innocence in Cleave’s (Gold, 2012, etc.) romantic but very adult World War II love story.
In 1939, Mary North and her friend Hilda are cosseted upper-class girls used to servants and tea at the Ritz. But as soon as England declares war, 18-year-old Mary quits finishing school and signs up to serve through the War Office. Sent to an elementary school, she is disappointed when practically her first task is to help evacuate her students from London. Looking for another teaching position, she meets 23-year-old Tom Shaw, who runs the school district. Melancholy iconoclast Tom does not enlist, believing “someone must stay behind who understands how to put it all back together,” but his more debonair roommate, Alistair, a conservator at the Tate, does join up. At first Alistair’s brutal experiences on the battlefront offer a stark contrast to the ease of the Londoners’ lives. Mary relishes teaching misfit children who remain in London, forming a particular bond with 10-year-old Zachary, a black American—the era’s racial prejudice becomes an undercurrent throughout the novel. Mary and Tom fall into heady love. Hilda remains a boy-crazy snob. When Alistair comes home on leave, the four spend an evening together. Hilda is attracted to Alistair, who is drawn to Mary, who is attracted back but does her best to remain loyal to Tom, who secretly tries to enlist but is turned down. Alistair ends up on Malta facing dire conditions under the Axis blockade. Meanwhile, the Blitz hits London. Suddenly no one is safe, and all face harsh realities. While Mary, Tom, and Alistair are all deeply complicated beneath their bantering wit, it is secondary character Hilda who grabs the reader’s heart as she evolves from Noel Coward joke into full-fledged human being.
Among all the recent fictions about the war, Cleave’s miniseries of a novel is a surprising standout, with irresistibly engaging characters who sharply illuminate issues of class, race, and wartime morality.Pub Date: May 3, 2016
ISBN: 978-1-5011-2437-2
Page Count: 608
Publisher: Simon & Schuster
Review Posted Online: Feb. 17, 2016
Kirkus Reviews Issue: March 1, 2016
PERSPECTIVES
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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