Even in death, Urrea shows, we never lose our connection to one another, which is the point of this deft and moving book.
A family saga that asks what it means to be American.
Urrea (The Water Museum, 2015, etc.) tells the story of Miguel Angel de la Cruz, or Big Angel, who must bury his mother as he himself is dying. Before his death, though, he means to celebrate one last birthday. “He wanted a birthday, pues. A last birthday,” Angel’s sister explains, and from that simple statement, the entire book unfolds. Urrea is an accomplished writer of fiction and nonfiction; his novel The Hummingbird’s Daughter was inspired by his great-aunt, the Mexican mystic Teresita Urrea, and The Devils’ Highway: A True Story, which recounts a catastrophic border crossing, was a finalist for the 2005 Pulitzer Prize. Here, he returns to his family as source, modeling Big Angel, or at least his circumstance, on his oldest brother, who died a month after their mother’s funeral. The result is a novel that is knowing and intimate, funny and tragic at once. The de la Cruzes are a big clan, messy and complex. The members have competing agendas, secrets, but at the same time, all share a commitment to family. “All we do, mija,” Big Angel tells his daughter, “is love. Love is the answer. Nothing stops it. Not borders. Not death.” It’s impossible to read that line (or, for that matter, this novel) without reflecting on the current American moment, in which Mexican-American families such as the de la Cruzes are often vilified. But if Urrea’s novel is anything, it is an American tale. It is a celebration, although Urrea is no sentimentalist; he knows the territory in which his narrative unfolds. There is tragedy here and danger; these are real people, living in the real world. Still, even when that world intrudes, it only heightens the strength, the resilience, of the family. “He thought he was still alive to make his amends,” Urrea writes of Big Angel. “He thought he was alive to try one last hour to unite his family. But now he knew…he was alive to save his boy’s life. His youngest son.”
Even in death, Urrea shows, we never lose our connection to one another, which is the point of this deft and moving book.Pub Date: March 6, 2018
ISBN: 978-0-316-15488-8
Page Count: 336
Publisher: Little, Brown
Review Posted Online: Dec. 23, 2017
Kirkus Reviews Issue: Jan. 15, 2018
PROFILES
SEEN & HEARD
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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