Few first novels promised so much for a new writer as Styron's Faulknerian Lie Down in Darkness; with only one flawed major book in between, now sixteen years later it is difficult to relate this to the early book except for the emotional charge of some of the writing, most effective when descriptive. In the fulminating first person of Nat Turner, Just before he is to be killed, this reviews at black heat the "ruction" he incited—a mass murder and rape in the Virginia of 1831. "Nigger preacher," self-designated prophet, Nat is primarily a man who for the last half of his thirty-one years has nursed a "pure and obdurate" hatred for white men (and a less pure desire for their women). In the language of the law he's just an "animate chattel" although he had acquired the "lineaments not just of literacy out of knowledge" through one master who had educated him to be emancipated, then sold him because of economic pressures. On the one hand Nat thinks many bitter, contemporary thoughts about the Negro's imputed intellectual, spiritual and biological (but not sexual) inferiority; on the other hand, the novel is full of Yassuh-Massa survival stereotypes and situations from a much older literature (i.e. memories of his mother submitting to the white overseer; of blonde Miss Emmaline sullied and "ravished" by her cousin, etc.). This makes the book uneasy to reconcile—whether as a polemic or a novel; and then again there is no congruence between the Nat Turner who lived and died before the Civil War and the Nat Turner who seems to be a superimposition of the '60's, resurrected in some flagrantly modern scenes.
Pub Date: Oct. 9, 1967
ISBN: 0679736638
Page Count: 484
Publisher: Random House
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Oct. 1, 1967
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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