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FAST PARADISE

A fascinating novel that provocatively animates the tendrils that connect past and present.

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Young archaeologists hunt for evidence of an ancient people on an Arctic island and attempt to reconstruct the life of a teenage girl.

In 1963, the charismatic Professor De Long, a “campus icon” at Pelham College, leads an archeological expedition to Ellesmere Island deep in the high Arctic, “80 degrees north latitude and then some.” De Long hypothesizes that the Tunit people, who inhabited the land one thousand years ago, were influenced by their Norse visitors and, in turn, influenced them. As a result, the Tunit “might have contributed to something like the glory that was Greece and grandeur that was Rome.” The professor’s star pupil, Arthur, accompanied by his girlfriend, Gabby, discover an animal skin with markings that might have belonged to a Tunit girl named Qaya—her name inscribed on the skin—who was possibly embarking on a hunting trek, an important ritualistic passage into adulthood. However, it’s not clear that a female would have been allowed on such a trek, and De Long sternly warns the crew against interpreting the past through the romantic lens of the present, an imposition of one’s values rather than the discovery of another’s. Nevertheless, Gabby becomes obsessed with following the scant evidence to find Qaya’s body, a search more personal than scientific, a peculiar quest movingly portrayed by Mayer. The author also portrays a parallel tale—Qaya’s own longing to set out on a hunt of her own, as well as her hesitation to enter into a marriage with Inuk, to whom she has been promised as a bride since childhood.

Despite the extraordinary distance between the lives of Qaya and Gabby—lives one might consider heterogeneous—Mayer (counter to De Long’s teachings) deftly pushes the reader to consider their subtle affinities and overlapping longings. The author’s command of the geography of the Arctic, and the Indigenous peoples who inhabited it, is masterly. One can hardly believe, as he notes, that he has never set foot there, this terrifyingly forbidding land overlaid by a “permafrost you can’t get through without a nuclear bomb.” Qaya’s story unfolds with a stirring plausibility—her life remote and relatable in equal parts. In this way, with remarkable subtlety, one can see the singularity and universality of her life. De Long memorably counsels against interpreting the ancient past through the familiar lens of the present: “If you went back in a time machine to save them no one would come aboard. They couldn’t imagine ‘save’ from what….They don’t want to be found, Gabby. That would only mean trouble. They wouldn’t even talk to you.” However, his intractable view excludes even a sliver of common human ground, any possible sense of human solidarity, a prohibitive possibility Gabby rejects. The story does tend to digress; the plot meanders and sometimes moves without any sense of narrative urgency. At some parts, too, Gabby’s passion threatens to turn not only frivolously quixotic, but sentimental. Fortunately, she stays on track, and overall, this is a mesmerizing novel, dramatically engaging as it is philosophically thoughtful.

A fascinating novel that provocatively animates the tendrils that connect past and present.

Pub Date: June 16, 2024

ISBN: 9781578338672

Page Count: 374

Publisher: Todd Communications

Review Posted Online: June 19, 2024

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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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THE WEDDING PEOPLE

Uneven but fitfully amusing.

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Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.

Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.

Uneven but fitfully amusing.

Pub Date: July 30, 2024

ISBN: 9781250899576

Page Count: 384

Publisher: Henry Holt

Review Posted Online: Sept. 13, 2024

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