Smith brings to life the world of Highland Hospital, where the line between staff and “guests” often blurs, but Evalina is a...
Smith (Mrs. Darcy and the Blue Eyed Stranger, 2010, etc.) jumps on the bandwagon of recent interest in Zelda Fitzgerald, bringing to fictional life Asheville’s Highland Hospital, where Zelda and eight other patients died in a fire in 1948.
Right off the bat, narrator Evalina likens herself to Nick Carroway, asking, “Is any story not the narrator’s story?” Perhaps, but while The Great Gatsby dominates Nick’s story, Zelda makes only guest cameos in Evalina’s narration. Evalina spends her early childhood in New Orleans until her courtesan mother’s death. In 1936, after attempting to move her in with his respectable family, her mother’s wealthy lover sends adolescent Evalina to Highland Hospital as a combination patient, guest, and ward of Dr. and Mrs. Carroll. The Carrolls are historical figures, Dr. Carroll famed for treating physiological ailments with diet and exercise rather than introspection or analysis, Mrs. Carroll for her skills as a pianist—her most famous student, Nina Simone, has a walk-on here. Evalina soon meets the extremely mercurial Zelda, who treats her as a stand-in for Scotty, and later witnesses the Fitzgeralds lunching unhappily together at Asheville’s Grove Park Inn. Evalina also conveniently listens to other characters describe the Fitzgeralds in long-winded detail that adds nothing new. Evalina shows musical talent, and the Carrolls eventually send her to Philadelphia to study at Peabody. She becomes the accompanist/lover of a talented but philandering Italian tenor. After losing him and the baby he didn’t want, she returns to Asheville and undergoes shock treatment, newly instituted at the hospital. Ensconced in the halfway house attached to the hospital, Evalina is carrying on two contradictory romances by the time Zelda returns in the late 1940s, a shell of the glamorous woman she seemed a decade earlier. Evalina hints at various possibilities but leaves what caused the fatal fire a mystery.
Smith brings to life the world of Highland Hospital, where the line between staff and “guests” often blurs, but Evalina is a mishmash of clichés, while Zelda remains a rehash.Pub Date: Oct. 15, 2013
ISBN: 978-1-61620-253-8
Page Count: 368
Publisher: Algonquin
Review Posted Online: April 15, 2013
Kirkus Reviews Issue: May 1, 2013
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
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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