Disarmingly powerful—a nuanced story of female resilience that reaches across the ages.
A mysterious orphan becomes a saintly figure after discovering she has a miraculous gift in Payne’s medieval thriller debut.
The novel opens in Konya, Turkey in 1270, where Rumi, the poet and Sufi mystic, is approaching the end of his life. He has been called on to perform the funeral of a girl whose charred body has arrived in the possession of a partially tongueless monk. On attending to her, the poet is overcome by the scent of roses and discovers the girl to still be alive. The narrative then skips back to 1256 to describe the birth of Damascena in a Bulgarian monastery. The friar who assists in her delivery, Ivan Balev, is alarmed by the smell of roses that surrounds the child and by the arrival of a stork that seems to watch over her. After her mother’s disappearance, Damascena is left to be raised by the increasingly malevolent Ivan; as a young woman, she escapes the monastery. She discovers that she has the gift of turning roses into rose oil and is recognized as a saint. However, she again falls into the clutches of Ivan, who devises ways of exploiting her gift. The true meaning of her existence becomes clear only when she escapes to Turkey and encounters Rumi. Payne has crafted an absorbing page-turner whose plot unfolds at a satisfyingly unhurried pace. The author takes time to embellish the story with carefully crafted descriptions: “her long, dark hair—as shiny as a raven’s wing in the mid-day light.” The prose is beautifully uplifting, particularly when communicating the spiritual change Damascena’s gift brings to the monastery: “Young and old spoke of seeing God between the trees, within the trees, in the clouds and in the face of the sun.” There are rare occasions when the author’s descriptive approach is too heavy-handed; however, this detracts little from a thought-provoking story that, in many ways, echoes the tenor of Rumi’s work in its desire to understand the human condition and seek courage in vulnerability.
Disarmingly powerful—a nuanced story of female resilience that reaches across the ages.Pub Date: Sept. 1, 2023
ISBN: 9780982279762
Page Count: 350
Publisher: Skywriter Books
Review Posted Online: Oct. 19, 2023
Kirkus Reviews Issue: Dec. 1, 2023
Review Program: Kirkus Indie
PERSPECTIVES
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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