Brilliant work, from one of the finest new novelists at work today.
A most unusual portrait of the artist gradually takes shape in this Anglo-Indian author’s limpid second novel (after The Opium Clerk, 2003).
The story’s set in 16th-century Hindustan, where the gifted youth Bizhad, son of Mughal emperor Akbar’s favorite court painter (“the Kwaja”), grows up among the emperor’s inner circle. Bizhad, the namesake of a legendary artist renowned for his illustrations of classic Middle- and Near Eastern tales, is raised in a hothouse atmosphere by his father and beautiful young stepmother Zuleikha, kept away from all corrupting influences (i.e., other people), and forbidden to learn to read or write. Instead, he’s forced to concentrate his energies on an artistic bent that manifests itself in vivid, lurid miniatures depicting “haunting dervishes, lovers, poems of death and unrequited dreams.” The most compelling of such dreams is Bizhad’s unrequited love for his emperor, which he fantasizes in explicit erotic scenes showing himself and Akbar as lovers. A jealous rival reveals Bizhad’s secret, and he’s banished, thereafter condemned to years of wandering, poverty, and unfulfillment. But the death of a beloved friend stimulates new emotional and artistic growth, and a kind of miracle occurs. Out of Bizhad’s love for one man emerges a heartfelt identification with all human life, indeed the entire visible creation: a renewed passion of a very different kind, manifested in Bizhad’s much celebrated portrait of a Madonna and child, flowering in a life-affirming denial of the warning posed in the novel’s epigraph (that “thou who draw pictures will be punished on the day of resurrection”). This moving parable of the manifold sources of art bears some resemblance to Turkish author Orhan Pamuk’s My Name is Red. But it’s a richly satisfying original creation: a story that might have come out of a contemporary Arabian Nights.
Brilliant work, from one of the finest new novelists at work today.Pub Date: July 1, 2004
ISBN: 0-297-82926-2
Page Count: 247
Publisher: Weidenfeld & Nicolson/Trafalgar
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2004
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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