Emotionally intense, deeply engaging, and profound.
Set in contemporary Ireland, this is a novel of self-sacrifice, penance, and circumscribed possibilities for happiness, narrated with great compassion and written with elegant lyricism.
At the age of 33, Melody Shee finds herself pregnant and under a moral cloud. The father of her child is not Pat, her husband of a decade, but rather Martin Toppy, a 17-year-old she had been tutoring. Martin is a Traveller, a member of an ethnic group similar to though distinct from the Roma, and the Traveller subculture plays a major and fascinating role in the novel. Travellers tend to set themselves apart from the larger community, and their children are often not integrated into the educational system—hence the need for people like Melody who can tutor them. Enraged by Melody's infidelity, not least because their own relationship had yielded only miscarriages, Pat leaves home, and Martin soon disappears as well. Ryan structures each chapter as a week in Melody’s pregnancy, beginning with week 12 and ending with the birth of her son and a postpartum grace note. Melody narrates the novel, and her consciousness is at its core as she moves from despair and suicidal thoughts to guilt and the need for penance to self-acceptance and a willingness to put others’ needs ahead of her own. Desperate for emotional support during this grueling time, Melody turns to Mary Crothery, a young Traveller woman with whom she develops an intense and quasi-romantic relationship. Mary and her family are deeply involved in Traveller power struggles, and her engagement in these affairs results in violence and blood vengeance. Throughout the term of Melody’s pregnancy, Mary remains stalwart, and having her nearby gives Melody someone to care for. Mary's presence also gives Melody an opportunity for a form of displaced penance for something that happened when she was a teenager. We learn through flashbacks that Melody’s best friend, Breedie Flynn, committed suicide when Melody and others turned against her during a volatile time, and Melody hopes to atone for her mistreatment of Breedie by nurturing Mary.
Emotionally intense, deeply engaging, and profound.Pub Date: July 4, 2017
ISBN: 978-0-14-313104-5
Page Count: 192
Publisher: Penguin
Review Posted Online: May 1, 2017
Kirkus Reviews Issue: May 15, 2017
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
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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