Desperately contrived, but the bitchiness is fun in small doses.
Brown’s fiction debut is a bitter comedy about divorce in California’s Silicon Valley, where apparently men are even more ruthless in marriage than in business.
The same day his pharmaceutical company stock rises meteorically, Paul Miller sends his wife, via messenger, a typed note letting her know that he is leaving her for her tennis partner. Forty-nine-year-old Janice is shocked. She and Paul have been married since she became pregnant in college with their first daughter, Margaret, now 29, and she gave up her dreams to become Paul’s perfect wife—or at least a smashing cook and tennis player. The kind of controlled suburban matron who keeps herself and her home in immaculate condition, Janice doesn’t have a clue about her daughters. After spending most of her childhood overweight and unpopular, 14-year-old Lizzie has recently lost weight and become more popular—or at least busy—since she started having sex with any boy who asks. Margaret, who moved to Los Angeles with her actor boyfriend several years ago, much to her parents’ dismay, has driven the boyfriend away and racked up close to $100,000 in debt running a feminist magazine that even she knows is pretentious twaddle. Learning of the impending divorce, Margaret rushes home not to care for her distraught mother but to escape her creditors. Meanwhile, a distraught Janice starts drinking heavily and buying methamphetamines from the pool guy. Then Margaret discovers that Paul is trying to screw Janice out of her share of his wealth—he even attempts bribing Margaret to testify against her mother in court—and she is galvanized into action. Meanwhile, Lizzie, who has joined a Christian youth group and signed an abstinence oath, realizes she is pregnant. Janice and her daughters bicker and keep secrets from each other but eventually they unite against Paul, who, like most of the male characters, is a total jerk.
Desperately contrived, but the bitchiness is fun in small doses.Pub Date: May 27, 2008
ISBN: 978-0-385-52401-8
Page Count: 368
Publisher: Spiegel & Grau
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2008
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
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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