A great premise, a great story, but most of all, great characters.
In the suburbs of London, two young men and one much older man end up caring for a toddler—or trying to.
This debut novel from journalist Lamont begins with an unusual, original premise. Téodor Erskine is home from London for the weekend to visit his ailing father, Vic, and spend a little quality time in the pub with childhood friends. As he has in the past, he calls Lia Woods, his dear friend and longtime crush, with an offer to babysit her 2-and-a-half-year-old son, Joel, hoping it will lead to a more adult get-together afterwards. This time it leads to something else entirely, and Téo becomes the interim caretaker for the child, whose paternity is unknown. Well, unknown to Téo, anyway—his friend Ben Mossam and even his poor old dad know the truth. There is so much to love about this book, foremost the poignantly, sometimes painfully detailed portrait of 30-something guys learning to take care of a child with no woman in sight. Joel himself—his way of speaking, his tantrums, his predilections, his memory—is one of the most vivid fictional children since Jack in Room. The whole lot of them are Jewish, not very religious but strongly identified, as typified by the wild boozer and all-night poker player Ben, who always wears a yarmulke. Their synagogue has a new rabbi, a woman named Sibyl Challis, who is also the best rabbi character in recent memory, both in her idea of embracing “gut Jews, Jews who would not be recognised as Jewish anywhere else, Jews by deed and affinity, those who only felt an inexplicable conviction they belonged,” and in her unexpected, intense crush on one of the other characters. But unfortunately, she fails to stop Vic from a betrayal with harsh results.
A great premise, a great story, but most of all, great characters.Pub Date: Jan. 14, 2025
ISBN: 9780593803240
Page Count: 304
Publisher: Knopf
Review Posted Online: Oct. 8, 2024
Kirkus Reviews Issue: Nov. 15, 2024
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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