An engaging, rich, deceptively revelatory if lengthy insight into Syrian society.
Affectionate, insightful, tangential tales of life in 1950s Damascus enfold the central story of a mismatched marriage and a runaway wife.
Schami (The Dark Side of Love, 2009, etc.) delivers social breadth as well as generational depth in his leisurely, lyrical exploration of the truth behind the rumor concerning beautiful Noura’s flight from her chilly calligrapher husband Hamid Farsi, supposedly because of the unwelcome attentions of philanderer Nasri, who has paid the unwitting calligrapher to write his love letters. The truth, more complicated and passionate, involves Salman, a Christian and “a penniless man with a child’s beardless face and jug ears” with whom Noura has fallen in love. Schami’s unhurried tale-spinning offers a brightly detailed panorama of life on the streets and in the homes of Damascus, including schoolyards, hammams, dressmakers and betrothal ceremonies—lending particular insight into the gender divide as well as the customs of the country. Salman meets Noura while working as the calligrapher’s errand boy. She, the daughter of a scholar, is in despair over her boring, conceited, occasionally violent husband and finds in Salman the tenderness she craves. For the master calligrapher, humiliation is followed by disgrace after he stabs Nasri and is sentenced to life imprisonment. Meanwhile in Aleppo, a less gifted but more amiable, jug-eared calligrapher makes an adequate living, and his wife will eventually become a famous calligrapher too.
An engaging, rich, deceptively revelatory if lengthy insight into Syrian society.Pub Date: Feb. 1, 2011
ISBN: 978-1-56656-830-2
Page Count: 444
Publisher: Interlink
Review Posted Online: Dec. 30, 2010
Kirkus Reviews Issue: Jan. 1, 2011
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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