Jorge delivers a dose of near-contemporary history tempered by a page-turning family saga and romance.
The fates and fortunes of two Portuguese families become entwined during the later years of the 20th century.
The lonely death of Dona Regina, the matriarch of the influential Leandro family, prompts her granddaughter Milene to investigate its circumstances so she can explain them to the rest of her extended family, all of whom are out of reach on vacation at the time. Milene, an opaque and guileless sort, revisits the site of her grandmother’s demise, the family’s former cannery on the Portuguese coast. Her futile investigative efforts bring her into the orbit of the Mata family, the current tenants of the cannery, who have turned it into their family compound. The welcome extended to her by the Matas, working-class immigrants from Cape Verde, contrasts (in almost every measurable way) with the hand-wringing, anger, and annoyance Milene’s presence provokes within her own family. Jorge manages to recapitulate many of the issues present in post-colonial Portugal—racism, workers’ rights, sexism, economic disparities, overdevelopment—within the context of Milene’s developing romance with one of the Matas, but she never lets the didactic get in the way of the romantic. An anonymous and enigmatic narrator propels much of the narrative while essential aspects of Milene’s sometimes-puzzling character are slowly revealed. Present in both families are key actors and bit players living a thoroughly 20th-century life in Portugal: the White cannery scions are succeeded on their landholdings by the Black Matas, who have produced a pop star (tuna replaced by tunes?). As translated from the Portuguese by the team of Jull Costa and McDermott, who provide an extensive introduction to the work, Jorge’s narrative ranges from the lyrical to the mundane but conveys the universality of a specific, familial place.
Jorge delivers a dose of near-contemporary history tempered by a page-turning family saga and romance.Pub Date: Feb. 8, 2022
ISBN: 978-1-63149-759-9
Page Count: 528
Publisher: Liveright/Norton
Review Posted Online: Jan. 11, 2022
Kirkus Reviews Issue: Feb. 1, 2022
BOOK REVIEW
PERSPECTIVES
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
Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.
The sequel to It Ends With Us (2016) shows the aftermath of domestic violence through the eyes of a single mother.
Lily Bloom is still running a flower shop; her abusive ex-husband, Ryle Kincaid, is still a surgeon. But now they’re co-parenting a daughter, Emerson, who's almost a year old. Lily won’t send Emerson to her father’s house overnight until she’s old enough to talk—“So she can tell me if something happens”—but she doesn’t want to fight for full custody lest it become an expensive legal drama or, worse, a physical fight. When Lily runs into Atlas Corrigan, a childhood friend who also came from an abusive family, she hopes their friendship can blossom into love. (For new readers, their history unfolds in heartfelt diary entries that Lily addresses to Finding Nemo star Ellen DeGeneres as she considers how Atlas was a calming presence during her turbulent childhood.) Atlas, who is single and running a restaurant, feels the same way. But even though she’s divorced, Lily isn’t exactly free. Behind Ryle’s veneer of civility are his jealousy and resentment. Lily has to plan her dates carefully to avoid a confrontation. Meanwhile, Atlas’ mother returns with shocking news. In between, Lily and Atlas steal away for romantic moments that are even sweeter for their authenticity as Lily struggles with child care, breastfeeding, and running a business while trying to find time for herself.
Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.Pub Date: Oct. 18, 2022
ISBN: 978-1-668-00122-6
Page Count: 352
Publisher: Atria
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
SEEN & HEARD
SEEN & HEARD
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