As amiable and charming as all his novels, Edgerton's latest about small-town life brings together his usual cast of drunks, church-going Baptists, and southern eccentrics, all of whom encounter the Devil in the form of a traveling ne'er-do-well. This devilish Jack Umstead (a.k.a. Rusty Smith, a.k.a. Delbert Jones, etc.) even dares to pretend he's Jesus—the true sign of the Antichrist—in deceiving the sick and elderly Dorothea Clark. Neither Dorothea nor her two sisters (who never married and are thus known as the Blaines), who run a chicken- and ice-store, were ever quite right, and they still can't understand why Dorothea went off and married that vulgar Clark fellow, Claude T. of the gold ring and Cadillac. Most of what we learn is through the eyes of little Stephen Toomey, the coddled and asthmatic son of Harvey and Alease, Alease herself a righteous and pretty woman not immune to Umstead's blandishments. Everyone in little Listre, a town that ``looked settled, ripe, timid, kind of stupid,'' is touched by Umstead's evil presence. He seduces the dreamy-eyed Cheryl Daniels, the sister of Stephen's best friend, Terry (Terry is additionally providing a spiritual crisis for the married preacher, Mr. Crenshaw). Umstead also pals up with Stephen's drunk Uncle Raleigh, a vet who lost an arm during WW II. But Umstead bides his time for his big score—he hopes to rob the Blaine Sisters when the next lightning storm comes, since that's when they abandon their home for their sister Dorothea's. Little Stephen, who wants to cuss, drink, and smoke like the men of Listre, is lucky enough to witness Umstead's bloody end. And he discovers that it's a lot more enjoyable than the readings from Aunt Margaret's Bible Stories, a volume that provides parallel texts throughout the novel. Jokes about breasts and flatulence punctuate a lighthearted treatment of good and evil and the simple world of those who are weak but seek salvation. An always enjoyable read. (Author tour)
Pub Date: Sept. 19, 1997
ISBN: 1-56512-061-2
Page Count: 280
Publisher: Algonquin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 1997
BOOK REVIEW
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
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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