A joyful art-world romp from Christensen (The Epicure's Lament, 2004, etc.) that allows aging women to come across as sexy.
After a famous painter’s death, the septuagenarian women who loved and survived him reexamine their lives, in a novel as much about aging as art.
Oscar Feldman was a typical larger-than-life, mid-20th-century New York artist with a huge appetite for life’s sensual delights and an equally huge ego. Although he worked when abstracts ruled, he painted only realistic nudes, always women. Now two biographers, angst-ridden new father Henry Burke and gay black intellectual Ralph Washington, have competing contracts to write his biography. Each man seeks out interviews with Oscar’s wealthy, devoutly Jewish wife Abigail, his longtime (but not only) mistress Teddy and his sister Maxine, well-known in her own right as an abstract painter. On the Upper West Side, Abigail accepted Oscar’s philandering and narcissism without complaint and cared for their severely autistic son Ethan without his help. She also carried on a passionate three-year affair with Ethan’s doctor and now is not above bribing Ralph to put a favorable gloss on Oscar’s worst peccadilloes. In Brooklyn, earthy, avowedly Bohemian Teddy bore Oscar twin daughters and provided passionate devotion with no strings attached. She prefers neurotic Henry as a biographer, sensing his sexual energy. Maxine, still painting in Soho at 79, resents the attention paid to her brother. Nevertheless, the flimsy plot concerns her desire to protect his reputation. Her failed effort to hide the secret behind one of his most respected paintings involves Maxine’s female former lover and Teddy’s best friend, who also secretly loved Oscar. As they muse on Oscar’s life and art, the women feed the biographers and themselves wonderful meals, bicker and find common ground where none previously existed. Friendship and sexual love remain of vibrant importance for these tough old birds, unforgettable and far more engaging characters than predictable Oscar.
A joyful art-world romp from Christensen (The Epicure's Lament, 2004, etc.) that allows aging women to come across as sexy.Pub Date: Aug. 14, 2007
ISBN: 978-0-385-51845-1
Page Count: 320
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2007
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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