While a bit repetitive, this captivating tale about a curious relationship will keep readers guessing.
A literary novel focuses on the distinctive relationship of two disparate souls.
Brigitte Weichmann, 48, is in Dijon, France. When readers first meet her, she is attending a support group for people dealing with loss. French is not Brigitte’s native language, and although the German woman sometimes stumbles with her words, she gets her point across: She is mourning the death of her only son, Michael. It is in the support group that she meets Christian Rolland. Christian, 35, is still getting over his divorce from a woman named Sylvie. Christian runs a bookshop in town and there is nothing that he loves more than reading. Brigitte, on the other hand, does not read. She has a penchant for musicals, particularly ones made before 1970. She is also a woman of immense wealth who can travel wherever she pleases. Despite this option, she decides to rent an apartment in Dijon. But where is her time with Christian leading? Brigitte is sometimes confused about the status of her own marriage to a factory owner named Hans. Perhaps she should go back to Hans. Or maybe she just needs more time to think about Michael. The desire to see what happens with Brigitte and Christian keeps Dragnić’s engaging story moving. Even deep into the book—translated from German by the author and Rose—the two characters’ fate remains a mystery. Will they fall in love? Have a falling out? Brigitte’s oddities add to her appeal. She is a woman who “would like to live in the black and white world of a black and white movie.” But a great deal about these characters winds up being repeated. For instance, readers already know about Christian’s divorce and yet he is keen to tell Brigitte flatly of what happened to his wife: “We’re divorced.” Likewise, readers are regularly reminded that Brigitte’s son is dead, a point that tends to eventually lose its dramatic impact. The intrigue comes not from the main characters’ pasts but their intertwined future.
While a bit repetitive, this captivating tale about a curious relationship will keep readers guessing.Pub Date: Nov. 13, 2024
ISBN: 9798338277027
Page Count: 254
Publisher: Self
Review Posted Online: Jan. 3, 2025
Review Program: Kirkus Indie
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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