It’s not just crime fiction at its craftiest, but shrewdly rendered social history.
Two-time Pulitzer Prize winner Whitehead continues his boisterous, incisive saga of late-20th-century Harlem and of a furniture dealer barely keeping his criminal side at bay.
The adventures of entrepreneur, family man, and sometime fence Ray Carney, which began with Harlem Shuffle (2021), are carried from the Black Citadel's harried-but-hopeful 1960s of that book to the dismal-and-divided '70s shown here. In the first of three parts, it’s 1971, and Carney’s business is growing even amid the city’s Nixon-era doldrums and the rise of warring militant groups like the Black Panthers and the Black Liberation Army. Carney barely thinks about sliding back into his more illicit vocation until his teenage daughter, May, starts hankering to see the Jackson 5 perform at Madison Square Garden. And so he decides to look up an old contact named Munson, a seriously bent White NYPD officer and “accomplished fixer,” who agrees to get free “up close” seats for the concert if Carney will fence stolen jewelry stuffed in a paper bag. But the job carries far more physical peril than advertised, culminating in a long night’s journey into day with Carney getting beaten, robbed, and strong-armed into becoming Munson’s reluctant, mostly passive partner in the cop’s wanton rampage throughout the city. In the second part, it’s 1973, and Pepper, Carney’s strong, silent confidant and all-purpose tough guy, is recruited to work security on the set of a blaxploitation epic whose female lead inexplicably goes missing. The third and final part takes place in the bicentennial year of 1976, the nadir of the city’s fiscal crisis, marked by widespread fires in vacant buildings in Harlem and elsewhere in New York’s poorer neighborhoods. When an 11-year-old boy is seriously injured by a seemingly random firebombing, Carney is moved to ask himself, “What kind of man torches a building with people inside?” He resolves to find out with Pepper’s help. What recurs in each of these episodes are vivid depictions of hustlers of varied races and social strata, whether old-hand thieves, crass showbiz types, remorseless killers, or slick politicians on the make with the business elite. Whitehead’s gift for sudden, often grotesque eruptions of violence is omnipresent, so much so that you almost feel squeamish to recognize this book for the accomplished, streamlined, and darkly funny comedy of manners it is. If its spirits aren’t quite as buoyant as those of Harlem Shuffle, it’s because the era it chronicles was depressed in more ways than one. Assuming Whitehead continues chronicling Ray Carney’s life and times, things should perk up, or amp up, for the 1980s.
It’s not just crime fiction at its craftiest, but shrewdly rendered social history.Pub Date: July 18, 2023
ISBN: 9780385545150
Page Count: 336
Publisher: Doubleday
Review Posted Online: April 11, 2023
Kirkus Reviews Issue: May 1, 2023
PERSPECTIVES
PERSPECTIVES
PERSPECTIVES
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
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
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