An offbeat, well-turned riff on anti-colonialist themes.
A vision of the Aztec empire on the verge of conquest.
In 1520, Spanish conquistadors led by Hernán Cortés began to wrest control of Tenochtitlan (in what is now Mexico City) from the Aztecs. But in November 1519, when Enrigue’s arch historical novel is set, the two cultures were play-acting at diplomacy. The Aztecs are baffled by the Spaniards’ horses, the proclamations of their King Charles I, and tales of Christianity. The conquistadores, meanwhile, find the food repulsive, the long waits frustrating, and are troubled by a citadel decorated with thousands of skulls. In the run-up to the inevitable horrors to come, Enrigue focuses on one junior representative from each side: Jazmín Caldera, an investor in Cortés’ expedition, and Atotoxtli, the sister and (figurehead) wife of Moctezuma, the Aztec emperor whose alliances are crumbling and who is prone to retreat into a druggy, sleepy haze. Moctezuma is mercurial, prone to calling for the execution of assistants at the smallest slights, but the Spaniards aren’t much better, slavers biding their time. Enrigue’s tone (nicely conveyed via Wimmer’s translation) is of ironic disbelief—the fate of two global cultures turns on the narcissistic preening of these two tribes? (“If there’s anything Spaniards and Mexicans have always agreed upon, it’s that nobody is less qualified to govern than the government itself,” Enrigue quips.) Little has changed, Enrigue means to say, at certain moments pushing the story out of strict historical fiction, at one point suggesting that a foreboding sound echoes a T. Rex song, or crafting an ahistorical dream sequence in which history turns the Aztecs’ way. In the acknowledgments, Enrigue cites Borges as a key inspiration, and the novel certainly shares an affinity for dark humor, metanarrative, and detail about history, real and imagined. But the irony and wit Enrigue brings to the story is entirely his own.
An offbeat, well-turned riff on anti-colonialist themes.Pub Date: Jan. 9, 2024
ISBN: 9780593544792
Page Count: 240
Publisher: Riverhead
Review Posted Online: Sept. 26, 2023
Kirkus Reviews Issue: Nov. 1, 2023
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
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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