Calls long overdue attention to the Black women veterans of World War II.
As the United States heads into World War II, two Black women in Harlem are dissatisfied with their career prospects.
Although she’s a brilliant pianist, Grace Steele freezes at her Juilliard audition and fears to confess her failure to her mother, who’s already distraught about son Tony’s disappearance in the Philippines. Eliza Jones is warring with her employer and father, the editor and publisher of a prominent Black newspaper, because he’s relegated her to covering the society beat. Grace and Eliza meet as new recruits to the newly formed Women’s Army Auxiliary Corps, where each hopes to alter her destiny. But as they enter training, even as relatively privileged officer candidates, they soon learn that racial and sex discrimination have followed them into the armed forces. Although prominent African Americans like Mary McLeod Bethune urge enlistment in the WACs to advance “the race,” the government reneges on its promise to not segregate the WACs. The main arc of the episodic plot is the conflicted friendship between Grace and Eliza. There is a push-pull between them, instant dislike at first, followed by personality clashes—Eliza thinks Grace is rigid and arrogant, Grace resents Eliza’s spoiled, upper-class attitude. Then both, unthinkingly, inflict grievous harm on the other. Eliza blames Grace for failing to warn her about disembarking, alone, at a deserted Kentucky train station, where she is savagely beaten. Later, Eliza will, unintentionally, put Grace in jeopardy in a manner that is equally mystifying and contrived. The language throughout is overly expository and repetitious. But the author fulfills her stated intent to shed light on “hidden figures,” in this case, the trajectory of the WAC in general and the empowerment, however provisional, with which it “armed” its soldiers, who weren’t allowed to bear actual arms.
Calls long overdue attention to the Black women veterans of World War II.Pub Date: Aug. 3, 2021
ISBN: 978-0-06-296458-8
Page Count: 400
Publisher: Morrow/HarperCollins
Review Posted Online: June 1, 2021
Kirkus Reviews Issue: June 15, 2021
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.
A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.
When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.Pub Date: Feb. 6, 2024
ISBN: 9781250178633
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Nov. 4, 2023
Kirkus Reviews Issue: Dec. 1, 2023
PERSPECTIVES
BOOK TO SCREEN
SEEN & HEARD
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
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