A talent to watch, Patterson manages to travel broad swaths of history and geography while creating intimate moments with a...
Patterson’s debut novel sprawls across decades and continents, from the American heartland to the far reaches of China, to follow the lives of four women—some related more closely than others—who remake themselves as circumstances allow or require.
When 84-year-old Hazel goes into a nursing home in 1999, her children arrive to close up her farmhouse in Edwardsville, Illinois, and find relics of a past they can’t fully understand. Abruptly the story shifts to Illinois in the 1890s, as Hazel’s mother, Louisa, who has moved from Ohio to farm with her husband, receives letters from her sister Addie, who's living what seems to Louisa an exotic life in China with her missionary husband, Owen, and two sons. Another abrupt shift takes readers to 1998 China as recent college graduate Juanlan reluctantly returns to her provincial hometown to help her parents run their small hotel. While Louisa settles into a mostly contented life, the stories of Hazel, her aunt Addie, and Juanlan, whose physical connection to the others is slim at best, follow a similar thematic arc. Each recognizes that she may have more than one identity, each shrugs off passivity to take control of her life, and each is influenced by a deep relationship with another woman as she falls into an unexpected love affair. Respected widow Hazel carries on a long, secret love affair with her best friend's husband; dutiful daughter Juanlan forges a bond with her rebellious, pregnant sister-in-law while finding herself attracted to several different men; and most dramatically, Addie abandons her family to travel across China beside a woman missionary with whom she's fallen in love. Despite minor quibbles—at times Patterson gets stuck in the weeds of daily minutiae, and outlier Louisa, satisfied in her quiet life, remains undeveloped—Hazel’s, Juanlan’s, and Addie's stories could each stand alone as an involving novel.
A talent to watch, Patterson manages to travel broad swaths of history and geography while creating intimate moments with a refreshing lack of sentimentality; and the novel's sense of adventure makes it addictive reading.Pub Date: Aug. 8, 2017
ISBN: 978-0-06-257404-6
Page Count: 560
Publisher: Harper/HarperCollins
Review Posted Online: May 14, 2017
Kirkus Reviews Issue: June 1, 2017
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
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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