Review | Margaret climbs a mountain of insecurities in 'A Change in Altitude'

Anita Shreve's latest book, set in Kenya, includes wild animals, dangerous jealousies and suffering natives.

BY VALERIE SAYERS

Miami Herald

A CHANGE IN ALTITUDE. Anita Shreve. Little, Brown. 307 pages. $26.99.

Anita Shreve is a bestselling novelist in large part because of the economical way she builds suspense. In the first line of her new book, a young white doctor who has arrived in Nairobi to conduct research, announces, ``We're climbing Mount Kenya.'' In those four words to his wife, he suggests the story's central questions: Why is Patrick telling Margaret, with her scant climbing experience, rather than asking her? Can the young American couple rise to the physical and psychological challenge? And what will this climb allow them to discover about Kenya and about themselves?


The novel, set in the 1970s, is told from Margaret's angle and, because she is a photographer, that perspective is often visual and sharply focused. She's especially sensitive to those who claim authority, and that includes all five of her climbing partners: She and Patrick, accompanied by a guide and porters, take on Mount Kenya with two European couples well accustomed to wielding the authority of post-Mau Mau white colonials. Patrick and Margaret's landlord, Arthur, is the one who has suggested the climb, and Margaret has certainly noticed the proprietary attention he pays her. Arthur's athletic wife, Diana, has noticed, too.


Shreve's prose is workaday here, and the dialogue is occasionally stiff, but she knows how to keep a reader engaged. Sometimes, Margaret's interior monologue does a good job of explaining a bit of action: ``After she had stumbled a couple of times, she noticed that the cook, whose name she didn't know (whose name she didn't know!), stood near her in case she fell badly.'' More often, however, Margaret's thoughts are separated from the action and tend to state her dilemmas baldly. In the middle of the night, she wakes in their mountain shelter to find rats crawling over her, and allows Arthur to comfort her by taking her hand. The passage describing the morning after seems designed to reassure those readers who are a little slow on the uptake: ``She wondered who else had seen her hand in Arthur's, and if that explained the angry voices outside.''

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Herta Müller Wins the Nobel Prize in Literature

Herta Müller, the Romanian-born German novelist and essayist who has written widely about the oppression of dictatorship in her native country and the unmoored life of the political exile, on Thursday won the 2009 Nobel Prize for Literature.

Announcing the award in Stockholm, the Swedish Academy described Ms. Müller, “who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed.” Her award comes on the 20th anniversary of the fall of Communism in Europe.Ms. Müller, 56, emigrated to Germany in 1987 after years of persecution and censorship in Romania. She is the first German writer to win the Nobel award since Günter Grass in 1999. Just four of her works have been translated into English, including the novels “The Land of Green Plums” and “The Appointment.”

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'Evidence of Murder' By Lisa Black

Reviewed By Oline H. Cogdill
Miami Herald

In her second novel about Cleveland forensic investigator Theresa MacLean, Black constructs an involving plot that seems to have no clues. No matter how Theresa approaches her latest case, she cannot find any evidence that would reveal how a young woman died in the woods. Nothing suspicious was found near Jillian Perry's body, and forensics tests yield nothing.

A former escort with an adored 5-month-old baby, Jillian apparently had finally found happiness with Evan, her husband of three weeks. Evan and his business partner had just developed an innovative video game that was likely to bring them wealth -- and a bit of fame.

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'True Compass' by Edward M. Kennedy

Review By Tim Rutten
Chicago Tribune

"The graveyards of the world," Charles De Gaulle once said, "are filled with indispensable men."

The eloquent shrug of Gallic irony aside, the living do walk away, even from the graves of the great and good, and history -- which is life in the aggregate -- simply goes on. Yet it does no justice to the living or the dead to pretend that some losses do not diminish us in ways that impoverish our collective experience and strip away a bit of life's savor.

Sen. Edward M. Kennedy's recent death was such a loss, and "True Compass," his touchingly candid, big-hearted and altogether superb memoir, demonstrates precisely why. Completed in the shadow of the senator's own mortality, this is a book whose clarity of recollection and expression entitles it to share in the lineage established by America's first great memoir of public life -- "The Autobiography of U.S. Grant," which he wrote while himself dying of cancer.

There are, of course, fundamental differences: The former president and Union commander was a 19th century man setting down a public life; Kennedy is very much a man of our time, open to exploring the interplay of his inner and outer lives. Grant wrote his autobiography; although Kennedy was a devoted diarist whose natural gifts as a storyteller and as a sharp, painterly observer shine through every page, he was ably assisted not only by the writer -- and Twain biographer -- Ron Powers, but also by his wife, Vicki Reggie, and a variety of scholars, particularly those associated with the University of Virginia's oral history project.

All the Kennedy brothers were known for their superb staffs -- Teddy, most of all.

In the weeks leading up to Monday's publication of "True Compass," much of the obvious "news" in this book was leaked to the press, particularly his bitter regrets over his "inexcusable" behavior during the Chappaquiddick tragedy, the night of heavy drinking that resulted in rape allegations against one of his nephews, and the failure of his first marriage. What's far more remarkable about this memoir is its capacious and generous spirit.

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'Born Round' By Frank Bruni

'Born Round'
By Frank Bruni

Reviewed By Susan Orlean
NY Times

Frank Bruni’s early relationship with food did not bode well. As a toddler, still in diapers, he was such an avid eater that two large hamburgers could not satisfy him; even worse, if he was denied a third burger, he protested by vomiting the first two. If he was rationed to a more-than-reasonable three cookies, he would beg his mother for a fourth and vomit if he was shot down. He was an equal-opportunity glutton, as insatiably enthusiastic about his grandmother’s marvelous-sounding frits — crackling chunks of fried dough, used to shovel up drifts of sugar — as he was about the lowliest of supermarket cookies.

If “Born Round,” Mr. Bruni’s new memoir, just detailed his obsessive eating, his serial bouts of bulimia, the barometric rise and fall of his pants size, his frequent episodes of self-loathing punctuated by midnight snacks of enough roast chicken to feed a family, it would be an unexceptional book; after all, confession culture, and particularly food- and diet-related confession, has been popular for 20 years and pretty tedious for about 19.

But Mr. Bruni’s book is distinctive and intriguing on several accounts. The author is male (most diet memoirs are written by, and for, women); he writes well and insightfully (rare in this often sloppy genre); and in spite of his problems with food, he has spent the last five years as perhaps the most influential eater in America: the restaurant critic of The New York Times.


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'The Show That Smells' by Derek McCormack

Reviewed By Jim Ruland
LA Times

Even by the standards of the paranormal romances that occupy the top slots of bestseller lists, Derek McCormack's new novel of cursed crooners, murderous fashion designers and homosexual vampires is an exercise in campy excess.

Taking its name from carny speak for a performance that features animal acts, "The Show That Smells" spins off the actual premise of country music pioneer Jimmie Rodgers dying young as a result of tuberculosis. Jimmie's wife, Carrie, makes a deal with the devil to save her husband's life, only in McCormack's milieu the devil is the inimitable Parisian fashion designer Elsa Schiaparelli -- who happens to be a vampire who can be stopped only with liberal doses of Chanel No. 5. "The Show That Smells" is redolent with such high jinks.

The story is presented as a live-action film shot entirely in a mirror maze. The characters are both the actors and the roles they play. For instance, Schiaparelli's minion is simultaneously "Dracula's" Renfield and Lon Chaney in stage makeup. Because the action is located on a set that replicates everything ad infinitum, it's never clear what's "real" and what's simply in the script.


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Inside the Meltdown: Financial Ruin and the Race to Contain It

NY Times

A year ago it would have been hard to imagine a book about the Federal Reserve and Treasury Department making it onto people’s must-read summer reading lists. But the financial calamities of last autumn put the global economy on the brink of disaster and led to continuing fiscal woes. Understanding what happened has become vitally important not just for bankers and economists, but for everyone affected by the fallout, which means ... well, just about everyone.

For all of us then, David Wessel’s new book “In Fed We Trust” is essential, lucid — and, it turns out, riveting — reading.

In these pages Mr. Wessel, the economics editor of The Wall Street Journal, chronicles how the Fed chairman Ben S. Bernanke, with Henry M. Paulson Jr., then the Treasury secretary, and a small group of associates, frantically worked to shore up the United States economy, capturing how this handful of people — “overwhelmed, exhausted, beseeched, besieged, constantly second-guessed” — tried to catch and stabilize one toppling fiscal domino after the next.

In this volume Mr. Wessel uses his narrative gifts and a plethora of sources to give readers a vivid, highly immediate sense of what transpired in last-minute, high-pressure, seat-of-their-pants meetings in Washington and New York while placing these events in a broader historical context. He examines the Fed’s increasingly important (and increasingly debated) role as an economic first responder, looks at how personality and personal philosophy can inform policy making and offers a concise explication of the causes of what he calls “The Great Panic.”

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'Censoring an Iranian Love Story' By Shahriar Mandanipour

Reviewed By Trenton Daniel
Miami Herald

In his first novel to be translated into English, Shahriar Mandanipour sets out to write the story of young lovers struggling to consummate their prenuptial passion under the eyes of the Iranian morals police. They hang out nervously in Internet cafes, dark movie houses and on the jammed and smoggy streets of modern-day Tehran.

The clandestine courtship comes at a time when university students protest, and vigilantes watch out for transgressing neighbors. A war with U.S. troops and suicide bombers rages in next-door Iraq.

Telling amorous tales in post-Islamic-revolution Iran is tricky, if not downright dangerous, but a fictional writer named Shahriar Mandanipour, is up to the task. ''I am an Iranian writer tired of writing dark and bitter stories, stories populated by ghosts and dead narrators with predictable endings of death and destruction,'' writes the alter ego of the real-life Mandanipour, a Harvard visiting scholar and former writing fellow at Brown.

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'How to Hold a Woman' by Billy Lombardo

Reviewed By Lynna Williams
Chicago Tribune

'How to Hold a Woman' by Billy Lombardo

Death of a daughter, sister ripples throughout her family for years to come.

Missing and then murdered children are so much a part of the American landscape that a novelist who deals with the subject must find new ways into the material. Chicago writer Billy Lombardo has done that in "How to Hold a Woman" by fragmenting the novel into stories, separate moments in the lives of the family a dead 12-year-old girl leaves behind.

The result is a moving kaleidoscope of sorrow, as the impact of the tragedy continues to wreak profound change on a middle-class family of six, bewilderingly changed to five on an August evening in Chicago that begins with a joyful homecoming. Dad Alan Taylor is coming home from two months on a research trip in Madagascar and his family -- wife Audrey, daughter Isabelle and son Sammy -- pick him up at the airport. Son Dex is spending the night at a friend's house, and the family decamps to a restaurant where Isabelle flirts with her father, acting out bits of Daisy Buchanan's dialogue from "The Great Gatsby." She has changed in those two months, Alan sees, become someone a little more grown up, less a little girl.

We see the family happy together for part of that night. Then, as quickly as the unthinkable becomes real, Isabelle drops out of the picture. When we come upon the family again, two years later, she's been sliced out of the family dialogue. No one refers to her by name or tells her story directly. We hear about no vigils, no years in therapy, no efforts to keep her memory alive. Alan and Audrey are a couple with an increasingly troubled marriage who, when asked, answer correctly that they have two children. We see the impact of the loss of Isabelle in everything they do, though, from Audrey's raging silences to the parents' separation to Alan's change of careers to Audrey's standing at a window at a dance studio, her nose pressed against the glass as young girls practice inside. The couple are loving parents to their sons, but the boys are left to think through Isabelle's disappearance and death themselves. Sammy is too young to really remember her last night, but Dex, who wasn't there, lives with regret that he wasn't present, sure that he would remember each moment with Isabelle in ways Sammy cannot.


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'In the Graveyard of Empires' By Seth G. Jones

Reviewed By MICHIKO KAKUTANI
NY Times

The Choices That Closed a Window Into Afghanistan

Among the many lasting consequences of the Bush administration’s decision to invade Iraq in 2003 was the collateral damage it inflicted on Afghanistan and the war there against Al Qaeda and the Taliban. Money, troops and expertise were diverted to Iraq, and as the RAND Corporation political scientist Seth G. Jones observes in his useful new book, the initial success of the military operation in Afghanistan was squandered.

The slender window for securing a stable democracy in Afghanistan began to close, and by 2006, Mr. Jones writes, a “perfect storm of political upheaval” had gathered, with several crises ominously converging: “Pakistan emerged as a sanctuary for the Taliban and Al Qaeda, allowing them to conduct a greater number of operations from bases across the border; Afghan governance became unhinged as corruption worked its way through the government like a cancer, leaving massive discontent throughout the country; and the international presence, hamstrung by the U.S. focus on Iraq, was too small to deal with the escalating violence.”

The first major operation using additional troops sent to Afghanistan by President Obama recently began in the southern part of that country, even as Taliban advances in border regions have aided Al Qaeda’s efforts to destabilize neighboring Pakistan.

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Will electronic devices make books obsolete?

BY JOHN WENZEL
The Denver Post (via the Miami Herald)

Like a lot of readers, Kimberly Field likes and laments her new Kindle.

On one hand, the in-demand electronic device solves a problem common to fans of novels and nonfiction: too many books, not enough bookshelves.

''I was about to resort to the Fahrenheit 451 method of book management'' joked the Denver author, referring to Ray Bradbury's cautionary tale about book-burning.

On the other hand, its convenience has removed the tactile sensation from a treasured hobby.

``I prefer turning the pages of a book because I like touching it and flipping back to reread passages. You don't get that with Kindle.''

While readers are torn over the merits of literary toys like Amazon's Kindle, the iPhone and Sony Reader, there's no doubt they have overwhelmingly embraced them.

This year, electronic books sales are up 150 percent and analysts predict the number could triple by December. That comes in a year when sales of traditional books are down four percent.

The publishing industry is scrambling to keep up with -- or take advantage of -- the interest in electronic reading. Ailing magazines and newspapers, hungry for a delivery system the public will like, are hopeful. Brick-and-mortar bookstores are hoping they don't become obsolete.

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'The Favorites' by Mary Yukari Waters

Reviewed By Janice P. Nimura

LA Times

True fluency in two cultures is a privilege -- and a burden -- granted to few. Mary Yukari Waters is one of these. Her Irish American father met and married her mother in Kyoto, Japan, where Waters spent her early years. At age 9, she moved with her parents to California, where she still lives, while remaining close to her Kyoto relatives. Strikingly Caucasian-looking to the Japanese, more Japanese at heart than Americans suspect, Waters is unusually able to explain them to each other.

Six years ago, Waters published "The Laws of Evening," a collection of quiet, precise stories that brought the submerged trauma of postwar Japan to agonized life. Each story was an intimate ink drawing, expressing volumes of pain and stubborn hope with a few eloquent strokes. They were exquisite, and complete in themselves, but to Waters, it seems, they were just a sketchbook.

"The Favorites," her first novel, borrows liberally from many of the stories, repeating images and characters in a larger format, one perhaps not as well-suited to her minimal style.

The novel's first half is an expanded revision of Waters' semiautobiographical story "The Way Love Works." In the summer of 1978, 14-year-old Sarah Rexford and her mother, Yoko, arrive in Kyoto from California for an extended visit with Sarah's sprightly grandmother, Mrs. Kobayashi.

After five years of expatriate unease, Yoko has returned to her natural element, and Sarah watches in wonder as her mother reclaims her place as charismatic "queen bee" of the neighborhood and apple of her mother's eye. Sarah, used to rolling her adolescent eyes at Yoko's cultural gaffes at home, is startled at the pleasure she now takes in her mother's reflected glory.

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