A messy, but ultimately memorable, look at the moral gray areas that govern our choices.
Four women have their friendship tested by a series of traumatic revelations.
As first-year students at the prestigious Quincy-Hawthorn College, four suitemates are thrown together and enter into an intensely close friendship. Lainey, a mixed-race adoptee, devotes herself to political activism and short-lived romances. Alice comes from an upper-crust white family and is on track to be a star athlete and pre-med student. Ji Sun, from Korea, is cocooned by her extraordinary wealth, and Margaret, from a lower-middle-class white Missouri family, by her extraordinary beauty. Ames structures this, her debut novel, in four parts, each of which corresponds, like an ethics textbook, to a different moral quandary centered on one of the women. In the novel’s opening section, “The Accident,” Alice struggles to keep secret from her new roommates a childhood trauma that wracks her with guilt. Further into their time at Quincy-Hawthorn, in the second section, “The Accusation,” the women learn that Ji Sun plans to accuse her professor of sexual harassment. In the final two parts, “The Kiss” and “The Bite,” Margaret and then Lainey—now new wives and mothers—inflict trauma on children in very different ways. Written in a deft omniscient narration, the novel’s first half can sometimes blur the characters together within its slippery point of view, and the crushes and drunken exploits seem like overly familiar snapshots from collegiate life. But the novel sharpens when the women come into independent adulthood, and though the structure emphasizes the sameness of their transgressions—the way all of us will cross lines for morally complicated reasons—the characters finally bloom into vibrant individuality, and the book fulfills its promise to investigate the question Margaret asks herself near the book’s finale: “Did loving so much mean you knew more about hatred?”
A messy, but ultimately memorable, look at the moral gray areas that govern our choices.Pub Date: Aug. 27, 2019
ISBN: 978-1-9848-7849-6
Page Count: 352
Publisher: Viking
Review Posted Online: May 26, 2019
Kirkus Reviews Issue: June 15, 2019
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
BOOK TO SCREEN
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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