Kate Atkinson has rightfully developed a huge following with her impeccably crafted novels filled with ingenious plots, mysteries, and themes highlighted by unexpected ironies and dark humor. This, her twelfth novel, is the fifth in which she features Jackson Brodie, a detective who never seems to get his life together personally. The book requires patience, well rewarded at the end. The first plot, and Atkinson’s whole approach, is exemplified by the ironies involved with the arrival of two girls from Poland to work for a seemingly honest company, which is really a front for the sex trade operating from a small Yorkshire village. Jackson Brodie is busy with his son and working another case as a private eye and has little to do with this one until late in the novel. Many characters and complications illustrate life in this village, as murder and other horrors take place, but Atkinson plans and resolves every question, and the conclusion is a spectacular grand finale.
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Originally published in Italy in 1973, under the title Caro Michele (Dear Michele), Natalia Ginzburg’s most popular Italian novel changed its title for an English-speaking audience in this new edition. Happiness, as Such, the English title, conveys the author’s purpose, emphasizing the uncertainties of knowing exactly what happiness is on a grand scale, the major point of this novel, and applies to a broader cast of characters than just “dear” Michele, the “oblivious” son of a forty-three-year-old mother whose life is a melding of strange experiences with uncertain goals and values. Told through a series of letters, primarily between Adriana, the mother, and twenty-one-year-old Michele, her son, the letters reveal the often interconnected stories of several other characters – family, friends, and lovers, past and present – as they go about living and describing their daily lives. Author Ginzburg, whose style is so unpretentious and seemingly spontaneous that a reader cannot help but become involved in the various narratives, gradually shows how each person protects his/her happiness by doing whatever seems right at the time in order to escape misery, unpleasant consequences, and time-consuming self-analysis. As she reveals her characters, author Ginzburg herself begins to come alive, a person of ironic humor, witty insights, and immense sensitivity to hidden meanings as revealed in seemingly ordinary dialogue.
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“Tell me the truth,” I said.
“What truth?” he echoed. He was making a rapid sketch
in his notebook and now he showed me what it was: a long,
long train with a big cloud of black smoke swirling over it,
and himself leaning out of a window to wave a handkerchief.
I shot him between the eyes. – Opening lines of this book.
In The Dry Heart, her first novel after the war, author Natalia Ginzburg deals with the “world writ small” telling the story of the marriage of an uncommunicative and unnamed woman married to an even more uncommunicative man. Less than a hundred words after the novel opens, the conclusion is revealed: “I shot him between the eyes,” a statement of great drama because of the context’s lack of drama. Using the woman’s point of view, the author carefully shifts back and forth in time, illustrating what happens, and more importantly, what often does not happen, in this marriage. Matching her realistic style to the undramatic nature of the marriage, Ginzburg slowly builds the tensions, eventually revealing everything the reader needs to know about the past which will explain the bold admission of murder in the first few words.
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With this collection of stories, the favelas of Rio de Janeiro have produced a young author of stunning talent and the ability to convey images and feelings about the overcrowded, poverty-filled neighborhoods which are homes to many young teens who have little control over the neighborhoods in which they grow up. These teens, as we see in these stories, face death because they get mixed up with the “wrong” crowd, sometimes resort to theft and physical force to survive, and often become involved with guns simply because they are available. Some teens may have high hopes but find few legitimate outlets for their energy and creativity. New author Geovani Martins knows the Rio favelas well, having grown up and lived in them until the end of his teen years, but unlike most of the teens whose stories become the subjects of this collection, Martins was able to take advantage of a unique opportunity – he attended writing workshops at FLUP, the literary festival of the Rio favelas, which gave him an opportunity to channel his talents in surprising new directions – and he now has this powerful, new story collection to his credit.
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Note: Every six months or so, I enjoy looking at the statistics regarding this site to see which reviews garner the most interest. Reviews which have been on the site for many years have a greater chance of being in the Top Ten than new books, of course, and, as a result, some books have […]
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