A provocative first novel filled to the brim with dazzling language, mystery, and a profound belief in the human capacity to...
Ruskovich’s debut opens to the strains of a literary thriller but transforms into a lyrical meditation on memory, loss, and grief in the American West.
Ann, a young music teacher, falls in love with Wade Mitchell, the father of two girls in her school, over piano lessons. That summer, Wade’s family is ripped apart by a tragedy that leaves one daughter dead, another missing, and Wade’s now-ex-wife, Jenny, serving a life sentence for murder. Against all odds, Ann and Wade marry, and she tries to soothe her new husband’s insurmountable grief by piecing together what happened that day. Her efforts are thwarted by Wade’s creeping dementia, which has a tendency to turn violent. Ann is left with only the powers of her imagination to reconstruct an account of the murder, putting her personal safety at risk as Wade becomes less predictable. Like memory, Ann's shifting vision of that day is fleeting, ephemeral, and imperfect, scattered as easily as "dozens of blackbirds, startled at nothing." In fact, her emotional porousness might be a key for the entire novel, which hopscotches across more than 50 years and multiple perspectives to draw connections, parallels, and portraits of the men and women who populate Ruskovich’s Idaho. We also catch glimpses of Elizabeth, Jenny’s cellmate; Wade’s fractured recollections of his childhood and first marriage; the final days of May, Wade’s murdered daughter; and, at long last, Jenny herself. Ruskovich builds poetry out of observing the smallest details—moments of narrative precision and clarity that may not illuminate what happened the day of the murder but which push the reader to interrogate the limits of empathy. Fans of lush, psychological dramas like the BBC miniseries Top of the Lake or Broadchurch have their winter reading cut out for them.
A provocative first novel filled to the brim with dazzling language, mystery, and a profound belief in the human capacity to love and seek forgiveness.Pub Date: Jan. 3, 2017
ISBN: 978-0-8129-9404-9
Page Count: 320
Publisher: Random House
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
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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