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HAP AND HAZARD AND THE END OF THE WORLD

While it rings true, the novel’s childlike narration may be off-putting to some readers. Readers who can look past that will...

A child yearning for answers to adult mysteries comes of age in this debut novel about post–World War II Texas.

DeSanders’ unnamed child narrator misses the attention she got from her mother when her father was away at war. He returned home, and two babies promptly arrived; she is displaced from the center of her mother’s life. Her father believes in American institutions, traditional family roles. “Daddy believes in General Motors,” she tells us, and “he wants to have things a certain way.” The author captures the veneer of simplicity that followed the second world war. Capitalism, family, and country reign, but DeSanders’ narrator wants to know why. What is truth? Is it built on trust? The author approaches these questions through the eyes of a child who wants to know everything, from the truth about Santa to how the universe works. “It seems like the main thing grown-ups want is for you not to find out anything about what’s real,” she laments. Unfortunately, her father suffers from PTSD and war injuries; his rage keeps his family on edge. The narrator’s world becomes about trying to anticipate the outbursts of a deeply troubled man while helping her mother maintain the fiction of stability. “I decided then to at least go ahead and like Daddy,” she tells us after he is in a giving mood, “on a trial basis.” As the novel progresses, her view of the world eventually becomes predictably more shaded. “There is a change in the universe…,” she says after an altering experience. “The world is plain and flat now, more gray, the mystery and the brilliance gone out of it.”

While it rings true, the novel’s childlike narration may be off-putting to some readers. Readers who can look past that will find a time capsule of American awakening.

Pub Date: Jan. 9, 2018

ISBN: 978-1-942658-36-8

Page Count: 288

Publisher: Bellevue Literary Press

Review Posted Online: Sept. 27, 2017

Kirkus Reviews Issue: Oct. 15, 2017

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THE NIGHTINGALE

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

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IF CATS DISAPPEARED FROM THE WORLD

Jonathan Livingston Kitty, it’s not.

A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.

The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.

Jonathan Livingston Kitty, it’s not.

Pub Date: March 12, 2019

ISBN: 978-1-250-29405-0

Page Count: 176

Publisher: Flatiron Books

Review Posted Online: Feb. 16, 2019

Kirkus Reviews Issue: March 1, 2019

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