Lyrical and intellectually rich without ever being ponderous, reminiscent at turns of Mann’s Death in Venice and Bowles’...
The winner of France’s 2015 Prix Goncourt: a fever-dream meditation on East and West and on a lost love that binds the two worlds.
Franz Ritter is an old-fashioned European neurasthenic, his lassitude helped along by artificial means: Énard’s opening words, after all, are, “We are two opium smokers each in his own cloud.” Indeed, and that “we” might just as well be the civilizations of Europe and the Muslim world, joined, Franz's beloved Sarah observes, by the Danube, “the river that links Catholicism, Orthodoxy, and Islam.” Don’t forget Judaism, counsels Franz meaningfully. It is about the only time when Sarah, a brilliant scholar, comes up short, but meanwhile Franz has fallen ill, perhaps for one last time, wishing he had—well, among other things, a little more opium, which is not so easy to come by in the Vienna of today, at least not for a law-abiding fellow. And so he lies awake, and he ponders, and he remembers: nights in Beirut and Aleppo before the destruction, days spent among the modern ruins of the Middle East, contemplating the “mosque of the Omayyads without its minaret, its stones lying scattered in the courtyard with the broken marble.” Some of Énard’s novel, drawing on his own career as an Arabist and translator, speaks to might-have-been possibilities: what might happen if the two worlds got along for once? There are quiet sendups of academia, of orientalist nostalgia along the way, but mostly this is a calmly paced tour of a long history, one in which Napoleon and Hitler, Wahhabism and Wagner alike bow in and out. There are moments of quiet Arabian Nights eroticism, too: “Now that I think about it,” reflects Franz, “Sarah’s feet have a perfect arch, under which a small river could easily flow.” And under which, it seems, the centuries and civilizations past and present might also flow as well.
Lyrical and intellectually rich without ever being ponderous, reminiscent at turns of Mann’s Death in Venice and Bowles’ Sheltering Sky.Pub Date: March 28, 2017
ISBN: 978-0-8112-2662-2
Page Count: 464
Publisher: New Directions
Review Posted Online: Jan. 22, 2017
Kirkus Reviews Issue: Feb. 1, 2017
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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
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SEEN & HEARD
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
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