Even when she’s not at her best, Atkinson is still pretty good.
In his sixth outing, Jackson Brodie finds himself trapped in an Agatha Christie novel that is also a Jackson Brodie novel.
The story begins with Jackson attending a murder-mystery weekend at “one of England’s premier stately homes.” Lady Milton, the doyenne of Burton Makepeace House, is confused by the large cast of characters. The private investigator himself can’t wait for this farce to be over. “It hasn’t even begun properly yet,” Detective Constable Regina Chase informs him. This setup is as delicious as it is improbable; there is no one in popular fiction less likely to enjoy a whodunit starring Reverend Smallbones and Countess Voranskaya than Atkinson’s world-weary (but intensely empathetic) private investigator. Before we get a chance to see how this situation unfolds, though, the narrative jumps backward a week to introduce Jackson’s latest clients. Hazel and Ian, the twin offspring of the late Dorothy Padgett, have hired the former police detective because someone—probably Dorothy’s carer—has stolen a Renaissance painting that hung in her bedroom. Next, Atkinson reintroduces Lady Milton, whose estate boasted a Turner until someone—probably the housekeeper—absconded with it. This chapter, which is just over 20 pages, is followed by a chapter spent in the company of Reverend Simon Cate. This is 16 pages that feels like a lot more. Rereading the opening scene at this point gives one the sense that Atkinson is describing her own novel: There are too many characters, and it’s a bit slow. This is funny in the way that Atkinson is often funny, but the critique stands. By the time he returns, even Jackson seems attenuated. Reading about him reading about art theft is about as exciting as it sounds. The pace does pick up, eventually, and fans who stick around will get what they came for.
Even when she’s not at her best, Atkinson is still pretty good.Pub Date: Sept. 3, 2024
ISBN: 9780385547994
Page Count: 320
Publisher: Doubleday
Review Posted Online: June 15, 2024
Kirkus Reviews Issue: July 15, 2024
A pleasant if not entirely convincing tribute to the power of art.
A French art historian’s English-language fiction debut combines the story of a loving relationship between a grandfather and granddaughter with an enlightening discussion of art.
One day, when 10-year-old Mona removes the necklace given to her by her now-dead grandmother, she experiences a frightening, hour-long bout of blindness. Her parents take her to the doctor, who gives her a variety of tests and also advises that she see a psychiatrist. Her grandfather Henry tells her parents that he will take care of that assignment, but instead, he takes Mona on weekly visits to either the Louvre, the Musée d’Orsay, or the Centre Pompidou, where each week they study a single work of art, gazing at it deeply and then discussing its impact and history and the biography of its maker. For the reader’s benefit, Schlesser also describes each of the works in scrupulous detail. As the year goes on, Mona faces the usual challenges of elementary school life and the experiences of being an only child, and slowly begins to understand the causes of her temporary blindness. Primarily an amble through a few dozen of Schlesser’s favorite works of art—some well known and others less so, from Botticelli and da Vinci through Basquiat and Bourgeois—the novel would probably benefit from being read at a leisurely pace. While the dialogue between Henry and the preternaturally patient and precocious Mona sometimes strains credulity, readers who don’t have easy access to the museums of Paris may enjoy this vicarious trip in the company of a guide who focuses equally on that which can be seen and the context that can’t be. Come for the novel, stay for the introductory art history course.
A pleasant if not entirely convincing tribute to the power of art.Pub Date: Aug. 26, 2025
ISBN: 9798889661115
Page Count: 432
Publisher: Europa Editions
Review Posted Online: June 7, 2025
Kirkus Reviews Issue: July 15, 2025
SEEN & HEARD
SEEN & HEARD
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
SEEN & HEARD
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