Juicy and cool, this could be O’Farrell’s U.S. breakthrough book.
A reclusive French film star, her American linguist husband, and their exes, parents, siblings, and children from various marriages feature in a sophisticated story about love.
In an interlocking series of narratives set from 1944 to 2016, in places ranging from Sussex to Goa to Brooklyn, with titles like “The Tired Mind Is a Stovetop,” “How a Locksmith Must Feel,” and “When All the Tiny Lights Begin to Be Extinguished,” British novelist O’Farrell (Instructions for A Heat Wave, 2013, etc.) unfolds the history of Daniel Sullivan and Claudette Wells. After being discovered in her early 20s by a Swedish film director, Claudette became an international icon and obsession on the most extreme scale possible—until the day she disappeared so completely she was assumed dead. Actually, she was hiding at a remote location in Donegal, where unhappy Berkeley professor Daniel, in Ireland to collect his grandfather’s ashes, finds her broken down by the side of the road. From that literal and figurative intersection—as the title says, “this must be the place”—the story shoots out in many directions, past and future. Almost every character struggles with some burdensome disability—stuttering, eczema, anorexia, agoraphobia, infertility—and yet all have a magnetic star quality courtesy of O’Farrell’s excellent characterizations. The scenario is glamorous, the writing is stylish, the globe-trotting almost dizzying, but there’s a satisfying core of untempered feeling as well. Here’s Daniel, reunited with Claudette after a separation: “I don’t think our language contains a word with sufficient largesse or capacity to express the euphoria I feel as I bury my face in her hair….What redemption there is in being loved: we are always our best selves when loved by another.” Or sister-in-law Maeve, upon picking up her adopted daughter in Chengdu, China: “If she was a liquid, she would drink her; if she was a gas, she would breather her in; if she was a pill, she would down her; a dress, she would wear her; a plate, she would lick her clean.”
Juicy and cool, this could be O’Farrell’s U.S. breakthrough book.Pub Date: July 19, 2016
ISBN: 978-0-385-34942-0
Page Count: 400
Publisher: Knopf
Review Posted Online: May 2, 2016
Kirkus Reviews Issue: May 15, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A deeply satisfying novel, both sensuously vivid and remarkably poignant.
Norwegian novelist Jacobsen folds a quietly powerful coming-of-age story into a rendition of daily life on one of Norway’s rural islands a hundred years ago in a novel that was shortlisted for the 2017 Man Booker International Prize.
Ingrid Barrøy, her father, Hans, mother, Maria, grandfather Martin, and slightly addled aunt Barbro are the owners and sole inhabitants of Barrøy Island, one of numerous small family-owned islands in an area of Norway barely touched by the outside world. The novel follows Ingrid from age 3 through a carefree early childhood of endless small chores, simple pleasures, and unquestioned familial love into her more ambivalent adolescence attending school off the island and becoming aware of the outside world, then finally into young womanhood when she must make difficult choices. Readers will share Ingrid’s adoration of her father, whose sense of responsibility conflicts with his romantic nature. He adores Maria, despite what he calls her “la-di-da” ways, and is devoted to Ingrid. Twice he finds work on the mainland for his sister, Barbro, but, afraid she’ll be unhappy, he brings her home both times. Rooted to the land where he farms and tied to the sea where he fishes, Hans struggles to maintain his family’s hardscrabble existence on an island where every repair is a struggle against the elements. But his efforts are Sisyphean. Life as a Barrøy on Barrøy remains precarious. Changes do occur in men’s and women’s roles, reflected in part by who gets a literal chair to sit on at meals, while world crises—a war, Sweden’s financial troubles—have unexpected impact. Yet the drama here occurs in small increments, season by season, following nature’s rhythm through deaths and births, moments of joy and deep sorrow. The translator’s decision to use roughly translated phrases in conversation—i.e., “Tha’s goen’ nohvar” for "You’re going nowhere")—slows the reading down at first but ends up drawing readers more deeply into the world of Barrøy and its prickly, intensely alive inhabitants.
A deeply satisfying novel, both sensuously vivid and remarkably poignant.Pub Date: April 7, 2020
ISBN: 978-1-77196-319-0
Page Count: 272
Publisher: Biblioasis
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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