Falling Angels

PUBLISHERS WEEKLY 2001年7月30日

No small part of the appeal of Chevalier's excellent debut, Girl with a Pearl Earring, was its plausibility; readers could readily accept the idea that Vermeer's famous painting might indeed have been created under circumstances similar to Chevalier's imaginative scenario. The same cannot be said about her second novel. While Chevalier again proves adept at evoking a historical era this time, London at the turn of the 19th century she has devised a plot whose contrivances stretch credibility. When Maude Coleman and Lavinia Waterhouse, both five years of age, meet at their families' adjoining cemetery plots on the day after Queen Victoria's death, the friendship that results between sensitive, serious-minded Maude and narcissistic, melodramatic Livy is not unlikely, despite the difference in social classes. But the continuing presence in their lives of a young gravedigger, Simon Field, is. Far too cheeky for a boy of his age and class, Simon plays an important part in the troubles that will overtake the two families. Other characters are gifted with insights inappropriate to their age or station in life. Yet Chevalier again proves herself an astute observer of a social era, especially in her portrayal of the lingering sentimentality, prejudices and early stirrings of social change of the Victorian age. When Maude's mother, Kitty, becomes obsessively involved with the emerging suffragette movement, the plot gathers momentum. While it's obvious that tragedy is brewing, Chevalier shows imaginative skill in two neatly accomplished surprises, and the denouement packs an emotional wallop. While not as accomplished a work as Girl, the ironies inherent in the dramatic unfolding of two families' lives ultimately endow this novel with an impressive moral vision.