Book Reviews

Hosseini's stunning debut novel starts as an eloquent Afghan version of the American immigrant experience in the late 20th century, but betrayal and redemption come to the forefront when the narrator, a writer, returns to his ravaged homeland to rescue the son of his childhood friend after the boy's parents are shot during the Taliban takeover in the mid '90s. Amir, the son of a well-to-do Kabul merchant, is the first-person narrator, who marries, moves to California and becomes a successful novelist. But he remains haunted by a childhood incident in which he betrayed the trust of his best friend, a Hazara boy named Hassan, who receives a brutal beating from some local bullies. After establishing himself in America, Amir learns that the Taliban have murdered Hassan and his wife, raising questions about the fate of his son, Sohrab. Spurred on by childhood guilt, Amir makes the difficult journey to Kabul, only to learn the boy has been enslaved by a former childhood bully who has become a prominent Taliban official. The price Amir must pay to recover the boy is just one of several brilliant, startling plot twists that make this book memorable both as a political chronicle and a deeply personal tale about how childhood choices affect our adult lives. The character studies alone would make this a noteworthy debut, from the portrait of the sensitive, insecure Amir to the multilayered development of his father, Baba, whose sacrifices and scandalous behavior are fully revealed only when Amir returns to Afghanistan and learns the true nature of his relationship to Hassan. Add an incisive, perceptive examination of recent Afghan history and its ramifications in both America and the Middle East, and the result is a complete work of literature that succeeds in exploring the culture of a previously obscure nation that has become a pivot point in the global politics of the new millennium.

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With five novels to her credit, including the acclaimed The Weight of Water, Anita Shreve now offers a skillfully crafted exploration of the long reach of tragedy in The Pilot's Wife. News of Jack Lyons's fatal crash sends his wife into shock and emotional numbness:

Kathryn wished she could manage a coma. Instead, it seemed that quite the opposite had happened: She felt herself to be inside of a private weather system, one in which she was continuously tossed and buffeted by bits of news and information, sometimes chilled by thoughts of what lay immediately ahead, thawed by the kindness of others ... frequently drenched by memories that seemed to have no regard for circumstance or place, and then subjected to the nearly intolerable heat of reporters, photographers and curious on-lookers. It was a weather system with no logic, she had decided, no pattern, no progression, no form.

The situation becomes even more dire when the plane's black box is recovered, pinning responsibility for the crash on Jack. In an attempt to clear his name, Kathryn searches for any and all clues to the hours before the flight. Yet each discovery forces her to realize that she didn't know her husband of 16 years at all. Shreve's complex and highly convincing treatment of Kathryn's dilemma, coupled with intriguing minor characters and an expertly paced plot, makes The Pilot's Wife really take off.

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Honey-sweet but never cloying, this debut by nonfiction author Kidd (The Dance of the Dissident Daughter) features a hive's worth of appealing female characters, an offbeat plot and a lovely style. It's 1964, the year of the Civil Rights Act, in Sylvan, S.C. Fourteen-year-old Lily is on the lam with motherly servant Rosaleen, fleeing both Lily's abusive father T. Ray and the police who battered Rosaleen for defending her new right to vote. Lily is also fleeing memories, particularly her jumbled recollection of how, as a frightened four-year-old, she accidentally shot and killed her mother during a fight with T. Ray. Among her mother's possessions, Lily finds a picture of a black Virgin Mary with "Tiburon, S.C." on the back so, blindly, she and Rosaleen head there. It turns out that the town is headquarters of Black Madonna Honey, produced by three middle-aged black sisters, August, June and May Boatwright. The "Calendar sisters" take in the fugitives, putting Lily to work in the honey house, where for the first time in years she's happy. But August, clearly the queen bee of the Boatwrights, keeps asking Lily searching questions. Faced with so ideally maternal a figure as August, most girls would babble uncontrollably. But Lily is a budding writer, desperate to connect yet fiercely protective of her secret interior life. Kidd's success at capturing the moody adolescent girl's voice makes her ambivalence comprehensible and charming. And it's deeply satisfying when August teaches Lily to "find the mother in (herself)" a soothing lesson that should charm female readers of all ages. (Jan. 28)Forecast: Blurbs from an impressive lineup of women writers Anita Shreve, Susan Isaacs, Ursula Hegi pitch this book straight at its intended readership. It's hard to say whether confusion with the similarly titled Bee Season will hurt or help sales, but a 10-city author tour should help distinguish Kidd. Film rights have been optioned and foreign rights sold in England and France.

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The scant confirmed facts about the life of Vermeer, and the relative paucity of his masterworks, continues to be provoke to the literary imagination, as witnessed by this third fine fictional work on the Dutch artist in the space of 13 months. Not as erotic or as deviously suspenseful as Katharine Weber's The Music Lesson, or as original in conception as Susan Vreeland's interlinked short stories, Girl in Hyacinth Blue, Chevalier's first novel succeeds on its own merits. Through the eyes of its protagonist, the modest daughter of a tile maker who in 1664 is forced to work as a maid in the Vermeer household because her father has gone blind, Chevalier presents a marvelously textured picture of 17th-century Delft. The physical appearance of the city is clearly delineated, as is its rigidly defined class system, the grinding poverty of the working people and the prejudice against Catholics among the Protestant majority. From the very first, 16-year-old narrator Griet establishes herself as a keen observer who sees the world in sensuous images, expressed in precise and luminous prose. Through her vision, the personalities of coolly distant Vermeer, his emotionally volatile wife, Catharina, his sharp-eyed and benevolently powerful mother-in-law, Maria Thins, and his increasing brood of children are traced with subtle shading, and the strains and jealousies within the household potently conveyed. With equal skill, Chevalier describes the components of a painting: how colors are mixed from apothecary materials, how the composition of a work is achieved with painstaking care. She also excels in conveying the inflexible class system, making it clear that to members of the wealthy elite, every member of the servant class is expendable. Griet is almost ruined when Vermeer, impressed by her instinctive grasp of color and composition, secretly makes her his assistant, and later demands that she pose for him wearing Catharina's pearl earrings. While Chevalier develops the tension of this situation with skill, several other devices threaten to rob the narrative of its credibility. Griet's ability to suggest to Vermeer how to improve a painting demands one stretch of the reader's imagination. And Vermeer's acknowledgment of his debt to her, revealed in the denouement, is a blatant nod to sentimentality. Still, this is a completely absorbing story with enough historical authenticity and artistic intuition to mark Chevalier as a talented newcomer to the literary scene. Agent, Deborah Schneider. -------------------------------------------------------------

Once you start The Girl with the Dragon Tattoo, there's no turning back. This debut thriller--the first in a trilogy from the late Stieg Larsson--is a serious page-turner rivaling the best of Charlie Huston and Michael Connelly. Mikael Blomkvist, a once-respected financial journalist, watches his professional life rapidly crumble around him. Prospects appear bleak until an unexpected (and unsettling) offer to resurrect his name is extended by an old-school titan of Swedish industry. The catch--and there's always a catch--is that Blomkvist must first spend a year researching a mysterious disappearance that has remained unsolved for nearly four decades. With few other options, he accepts and enlists the help of investigator Lisbeth Salander, a misunderstood genius with a cache of authority issues. Little is as it seems in Larsson's novel, but there is at least one constant: you really don't want to mess with the girl with the dragon tattoo

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For every innocent man sent to prison, there is a guilty one left on the outside. He doesn’t understand how the police and prosecutors got the wrong man, and he certainly doesn’t care. He just can’t believe his good luck. Time passes and he realizes that the mistake will not be corrected: the authorities believe in their case and are determined to get a conviction. He may even watch the trial of the person wrongly accused of his crime. He is relieved when the verdict is guilty. He laughs when the police and prosecutors congratulate themselves. He is content to allow an innocent person to go to prison, to serve hard time, even to be executed.

Travis Boyette is such a man. In 1998, in the small East Texas city of Sloan, he abducted, raped, and strangled a popular high school cheerleader. He buried her body so that it would never be found, then watched in amazement as police and prosecutors arrested and convicted Donté Drumm, a local football star, and marched him off to death row.

Now nine years have passed. Travis has just been paroled in Kansas for a different crime; Donté is four days away from his execution. Travis suffers from an inoperable brain tumor. For the first time in his miserable life, he decides to do what’s right and confess.

But how can a guilty man convince lawyers, judges, and politicians that they’re about to execute an innocent man?

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Bestselling inspirational writer and speaker Andrews (The Traveler's Gift) again blends fiction, allegory and inspiration and seasons it with a dash of autobiography. The result is a readable little tale of a mysterious old man named Jones—just Jones, no mister—who shows up in the lives of people in crisis. Jones brings the gift of perspective—he notices alternative ways to think about things. Some of what he says is common sense: yes, sir works better than I guess. Some of what he says counters received wisdom: do sweat the small stuff, because little things can make a big difference as surely as brushstrokes make up a masterpiece. The narrator Andy is personable and appealing, and Jones is mysterious and brusque enough not to be a cloying Pollyanna. The title is awkward and not everyone likes motivational books, but many readers do. Andrews brings a track record, wordsmith skills and, best of all, an imagination.

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Before Henry VIII ever considered making Anne Boleyn his wife, her older sister, Mary, was his mistress. Historical novelist Gregory (Virgin Earth) uses the perspective of this "other Boleyn girl" to reveal the rivalries and intrigues swirling through England. The sisters and their brother George were raised with one goal: to advance the Howard family's interests, especially against the Seymours. So when Mary catches the king's fancy, her family orders her to abandon the husband they had chosen. She bears Henry two children, including a son, but Anne's desire to be queen drives her with ruthless intensity, alienating family and foes. As Henry grows more desperate for a legitimate son and Anne strives to replace Catherine as queen, the social fabric weakens. Mary abandons court life to live with a new husband and her children in the countryside, but love and duty bring her back to Anne time and again. We share Mary's helplessness as Anne loses favor, and everyone abandons her amid accusations of adultery, incest, and witchcraft. Even the Boleyn parents won't intervene for their children. Gregory captures not only the dalliances of court but the panorama of political and religious clashes throughout Europe. She controls a complicated narrative and dozens of characters without faltering, in a novel sure to please school library fans of historical fiction

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 Critics were enthralled by Donoghue's latest novel, inspired by the Josef Fritz case, in which an Austrian man locked his daughter in the basement for 24 years. Describing it as gripping, claustrophobic, and "fantastically evocative" (Washington Post), they also predicted that Room, recently short-listed for the Booker Prize, would appeal to a much larger audience than the author's previous fiction. On the other hand, several reviewers noted that Jack's understated anxiety in the book's second half didn't quite ring true, but they also acknowledged that the critique was "based on the very high standards set by the beauty of the book" (New York Times Book Review). As a thriller of sorts and a love story, Donoghue's novel is a stunning achievement. Or, as one critic put it, "Such a story, such a mother"