Reliably entertaining and intelligent, Ginder is an excellent tour guide for both the sunny Greek islands and the darker...
A trip to Greece with a family on the rocks.
Ginder (The People We Hate at the Wedding, 2017, etc.) is back with a speedy follow-up to his last wickedly funny concoction, again sending his characters abroad. Meet the Wright family of Berkeley, California: Husband Dean is a beloved American novelist with a cushy academic job at UC Berkeley; wife Sue Ellen teaches classics; their gay son, Will, 23, is unhappily failing to follow in his father's footsteps, struggling through his college fiction workshops. All are coping with the fallout of Dean's recent adultery (the one they know about, anyway). When Sue Ellen is asked to give a lecture to a tour group on the Greek island of Aegina, where she did her doctoral research, she jumps at the chance for a break. Aegina represents a poignant road not taken in her life, and even though her old flame has since died (too bad, he could have really kicked things up a notch), she is eager to return. But what's this? Dean and Will insist on coming with her. Combining farcical elements with more earnest plotlines, the novel never quite achieves liftoff. Ginder is at his best when he's over the top—a Swedish bottled beverage tastes like "compost, mixed with gull shit and spoiled chocolate milk"; Sue Ellen's lecture, as best her husband can peg it, involves "geriatrics gathering with their walkers at the temple's steps, and Sue Ellen speaking as the sun dipped into the Aegean, and her stopping just in time for everyone to have a glass of cheap chardonnay before Zeus, or Poseidon, or Shiva, or whoever ripped a tear in the space-time continuum and carried them all away to that plush, easily navigable retirement home in the sky." Along with the romantic subplots—which are sad—there are not one but two cases of literary plagiarism in the novel. It must be contagious; it's turning up everywhere.
Reliably entertaining and intelligent, Ginder is an excellent tour guide for both the sunny Greek islands and the darker channels of the human heart.Pub Date: June 11, 2019
ISBN: 978-1-250-14315-0
Page Count: 320
Publisher: Flatiron Books
Review Posted Online: March 17, 2019
Kirkus Reviews Issue: April 1, 2019
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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