Hello, my erudite darlings! I’m sorry for the lack of actual reviews of late– my supply of ARCs has more or less evaporated. I do have one that will be up as soon as I get around to finishing it. Also (possibly) in the works is my honest opinion of Twilight: The Graphic Novel, and reviews of the other Cybils graphic novel nominees. Today, though, I have a review for you of The Lacuna, by Barbara Kingsolver, which isn’t new, but did recently blow me away.
This book covers roughly twenty years in the life of Harrison William Shepherd, first his experiences in Mexico as a boy and with Diego Rivera, Frida Kahlo, and Leon Trotsky as employers, then his life in America during World War II and the Second Red Scare. Kingsolver has said that the foremost question she wanted to examine in writing this book was, why is the relationship between art and politics such an uneasy one in the US? A mere two decades sampled from our history can’t explain this question fully, but in looking at the period she did, Kingsolver revealed much, and strengthened her thesis by indirectly comparing America’s artisto-political climate to Mexico’s, where art and politics mold together in an almost celebratory way. The most standout character in the book, besides Shepherd himself, was Frida– by the end, you cannot think of her as a historical figure; she is incontrovertibly a real person.
The overarching story of this book is how little we actually know about people like Frida (and Harrison) from the way history paints them; it is the parts of the record that are missing (called “lacunas” by historians) that, when filled, reveal the truth. This book, then, a collection of Harrison’s journals, letters, and relevant news clippings from the time, is the massive piece which completes the puzzle of a life misrepresented. It explores the politics of fear, the inconstancy of public opinion, and the subjectivity of truth against the backdrop of American anti-communism, in a time when to dissent was to offer oneself up to a political and cultural witch hunt. All of this Kingsolver handles with deftness and sensitivity, telling a story that, while inescapably relevant to our current national climate, could only be told in the setting she told it in: it is a story of art, communism, family, and history. It is the story of a man isolated from the world by his upbringing and sexuality who nonetheless finds that he must live in it, and that he can make his mark upon it. It is the story of a life.
In a time when America is dealing with a surge of anger and fear, when “if you’re not with us, you’re against us” is still a touted view, Kingsolver’s novel is not only set in the past. It is a call for conscience and against censorship and intolerance. It highlights the dangers of fear politics, and poses the question, How many voices have been silenced?
Posted by Ray
In 2008, Suzanne Collins’ dystopian novel The Hunger Games reached popular and critical acclaim for its compelling portrayal of the intricacies of love and loyalty when set against the human desire to survive. Its sequel, Catching Fire, moved seamlessly into the lengths to which an oppressive ruling power will stretch to maintain their fragile control, and what it takes to forge a revolution. In Mockingjay, the third and final chronicle of the Hunger Games, Collins takes us on a spare-no-glance tour of the cost of war on a nation and on the human soul, and of how far we are willing to go in defense of a fragile conception of moral right.
*ARC Alert*
Like the “dog books” from my previous post, “dark” teen dramaromances have a certain formula– an awesomely hot and probably well-off teen girl, attending high school and possibly haunted by her dark past, falls for the hottest, most elite guy at school. He reciprocates. At least one of them is a vampire/faery/something hot and supernatural. The by now well-established minigenre includes books which I actually enjoyed, like Melissa Marr’s Wicked Lovely, and a lot that I didn’t, e.g. the Twilight series and Alyson Noel’s Evermore. Infinite Days, admittedly, falls under that category and shares some of its flaws.
Ever since around the time Marley & Me came out, the “dog book” has been a strong genre. Mostly they’re memoirs, but the occasional novel, like this one, fit into the group by following the formula, which parallels actual dog ownership– laughter and love, ended by heartbreak. A Dog’s Purpose takes this journey across multiple lifetimes with the dog who is first Toby, then reincarnated as Bailey (the name I’ll use for this review), Ellie and Buddy. Each time he finds purpose and meaning by linking his life to humans, and each time he dies thinking that his journey has ended and his duty fulfilled, only to discover himself born again in search of an even higher calling.
I have a particular habit which many people find, well, offputting. I carry a small but distinctly solid hammer in my purse, which comes everywhere with me. I could go through my whole rationale to prove that that doesn’t make me a crazy person– after all, who wants to mug the psycho bitch with the hand tools? –but really, all that is relevant here is that the practice was inspired by a heroine who is very uniquely herself and like no other character I have ever had the pleasure of reading: Lisbeth Salander.
So Harper Collins sent me a free uncorrected proof/advance-copy-that-wasn’t-an-advance-copy-because-this-book-came-out-in-January a few weeks ago, and I read it, and now I’m reviewing it because I can only assume that that’s what they wanted. A hearty thank-you to you, Harper Collins; I’m a big fan of the six-word memoir books. I have no idea why you sent me this, since it’s doubtful that you mistook me for a high-profile book reviewer. But thanks.