The Four Winds, by Kristin Hannah****-*****

“‘My grandfather was a Texas Ranger. He used to tell me that courage was a lie. It was just fear that you ignored.’ She looked at him. ‘Well, I’m scared.’

‘We’re all scared,’ he said.”

Kristin Hannah’s electrifying new novel, The Four Winds, is set during the Great Depression in the American Dust Bowl and California. It’s a story about courage, and about the ways that love can transform us. My thanks go to Net Galley and St. Martin’s Press for the invitation to review. It’s for sale now.

Elsa is born into a wealthy family, but this doesn’t do her much good. She is tall, ungainly, and considered homely by her parents, a contrast to her two younger, more adorable sisters. She was very ill when younger, and the family liked having her tucked away in her room so much that they would like her to remain there. When company comes over, it is suggested that she go “rest.” Affection and kindness are denied her entirely.

One day, in a fit of unheard-of rebellion, she buys herself a silk dress and sneaks out to a speakeasy. There she meets Rafe, and before long she is rolling in the hay. When the morning sickness comes upon her, her furious father drives her to the Martinelli farm, (“Italians, no less!”) and she is unceremoniously dumped there. The baby is a Martinelli, he tells them, and it—and its mother—are your problem now.

Rose and Tony Martinelli are not affluent like Elsa’s parents; she learns to haul water and do farm chores, and she learns how to make delicious, cheap food the Italian way. But her father’s abandonment is a blessing in disguise, because the Martinellis are good people. She is happy there with them. She marries Rafe, and she bears two children. But the land has been over-farmed, and soon the dust storms come and destroy nearly everything they have built:

Past the outhouse, a murky, urine-yellow haze burnished the sky. Wind picked up, barreled across the farm from the south. A board flew off the chicken coop and cracked into the side of the house. Rafe and Tony came running out of the barn. The cows mooed angrily and pushed into each other, pointing their bony butts into the dust storm.

The door opened. Rose yanked her to her feet, pulled her into the rattling, howling house.

Elsa and Rose ran from window to window, securing the newspaper and rag coverings over the glass and sills. Dust rained down from the ceilings, wafted from infinitesimal cracks in the window frames and walls. The candles on the makeshift altar blew out. Centipedes crawled out from the walls, hundreds of them, slithered across the floor, looking for somewhere to hide.

A blast of wind hit the house, so hard it seemed the roof would be torn off. And the noise. It was like a locomotive bearing down on them, engines grinding. The house shuddered as if breathing too hard; a banshee wind howled, mad as hell.

Friends, this isn’t even the climax. This is sixteen percent of the way into the story. And misery and tribulation continue to rain down on this poor little family and thousands more like them. The crops die, and the livestock that doesn’t starve is killed by breathing dust. Children, including Elsa’s little boy, fall ill with dust pneumonia; no matter how hard they try to prevent it, so much dust is in the atmosphere that it makes its way into the lungs, and so the youngest and oldest are soon in trouble.

The first half of this novel is a rough read. There’s sorrow, and suffering, and loss, and grief, and I find myself eyeing the page numbers and thinking to myself that if this were written by anybody else, and if I didn’t owe a review, I probably wouldn’t finish it, because who wants an entire story of this? But at about the halfway mark, things begin to change.

By now, Rafe has hit the bricks. Never a man of character or great resolve, he sneaks off into the night, leaving the three remaining adults to care for the children and the farm. And it is now that change takes place. Without Rafe to anchor the family as is traditional during this period, Elsa is left to make the decisions about her children’s futures, and in doing so, she changes.

Hannah portrays the Depression era American West vividly and accurately, and this is when the story grows legs. The plight of agricultural workers is likewise dealt with in clear, immediate detail. My one quibble, and it is the source of the missing half star in my rating, is her inexpert portrayal of Communism, which plays more than a passing role in the last thirty percent of the story. The first time I saw farmworkers’ struggles as “shutting down the means of production,” I cleared my throat, but I told myself it was possibly a typo that might be edited out in the finished version. The next two times I saw it, I started making notes. This is not a technical error; this is a dumb-butt error (trying to elude the censors here) that should have been caught on the first pass, and because it appears when the climax ramps up, it is a distraction that interferes with the flow of the narrative.

Nevertheless, this is a well-written novel, set during an interesting time period. Particularly arresting is the development of the relationship between Elsa and her adolescent daughter, Lareda, whose point of view is shared alternately with Elsa’s.  Setting, character, and plot work together seamlessly to enforce one another and move the story forward, yet if I had to hang my hat on one laudable aspect of this book, it would be character development.

I strongly recommend this novel to you.  

Sub Rosa, by Stewart Alsop and Thomas Braden**

subrosaI was invited to read and review this title by Net Galley and Open Road Media. At first I thought it looked like a real winner, and in many respects it is. For me, one glaring problem made it impossible to finish; more on that in a minute. For those interested in the Resistance during World War II, this may prove a successful read and an interesting one if you can get past the hurdle that stopped me.

And now, the rant: Why is it—I ask for perhaps the tenth time—that publishers that would never, ever dream of letting literature that gratuitously uses the “N” word,  and rightfully so, nevertheless let anti-Asian slurs drift in and out of historical prose as if they are nothing more than period details? Yes, it’s true that in World War II, Japanese were called some ugly things, and inexplicably, so were Chinese, though they were friendly toward the US. And it’s also true that there are Black men in the US military that were referred to by ugly, racist epithets by Caucasians at all levels of command. We don’t reprint the nasty words used with regard to African-American troops, because those words are hurtful, and the use of them is wrong. In fact, it may be considered a hate crime.

So then…why is it any less urgent that anti-Asian insults be expunged from literature?

If I had seen just one or two instances in this work, I would have included a comment to that effect here and move forward with a description of the book itself. And it’s true that there is solid information provided by specialists here, along with meaty anecdotes. It’s not easy to find accessible books that describe the Resistance in a knowledgeable way, and this book does that. In fact, without the vile language incorporated here without recognition or comment on the part of the authors or the publisher, I would probably rate this at five stars. But it’s hard to be certain because when I hit the page where 5 slurs appeared on one page of my Kindle—at about the 40% mark—I gave up.

Yo, Open Road. I love that you folks were among the first to auto-approve me when I was a brand new blogger, and I have been looking for a chance to pay you back with a five star review. And we almost had that here. But you need to do whatever it is that publishers do when they find offensive terms sprinkled throughout the text of an otherwise worthy book for no good reason. If you can’t do that, I can’t praise your historical works.

For Asians—some 6 million in the USA, according to the most recent Census—for those that love Asians and hate racism, this book is not recommended.