Rachel Pastan

Very nicely played science historical fiction. The protagonist, Kate Croft, based on geneticist Barbara McClintock, is a good character in her own right—prickly, obsessive, impulsive—and the book takes on a lot without being didactic: gender disparities in the scientific community during the first half of the 20th century, what is gained and lost in single-minded dedication to work, the ways that power structures in academia are entangled in personal relationships, and a tantalizing show more glimpse into the actual science. Not that I understood much of the last, but it's always fun to read bits in what's essentially a different language, just for context. Altogether a very interesting, smooth read, and definitely recommended to anyone who likes this sort of thing. show less

This novel is both a mystery and a kind of art primer. I loved learning about art through the sensitivities of the young, naive art student / curator; the mystery not so much.

I appreciated Pastan's efforts to create a dark atmosphere when her characters talked about Alena but I didn't FEEL it. I did feel that many of the characters were more much more engaging than Alena; and experienced twinges of annoyance when the book kept going back to the question of Alena's disappearance.

And what's show more up with Pastan's obvious dislike of overweight women? show less

This is wonderfully written and engrossing book. The characters, the descriptions of places and art, and artistic practice, and the narrative are all so masterfully drawn, that the fact that Alena is a revamping of Daphne du Maurier's Rebecca is almost beside the point. But the older book's ghostly presence behind this book actually makes the reading of this book even more of a pleasure. I admit I love literary novels that are updates of my favorite classic novels (the most notable and most show more recent one that comes to mind is Longbourne), and this is why I so wanted to read this book, but it really stands on its own in terms of the writing, and makes the most of its relationship to its precursor. Pastan has struck the perfect balance between keeping and changing elements from Rebecca. This is clearly a very hard task, and I can't recall another book of this type that manages to both fully modernize and also fully grapple with its model. I read and liked Pastan's first novel, but Alena is a superior book on all counts. This was a very enjoyable and beautiful read, with the propulsive narrative and strong sense of atmosphere of du Maurier's novel, and very smart and interesting comments on contemporary art and curation thrown in. show less

Readers who loved REBECCA by Daphne du Maurier may have mixed emotions about the latest from Rachel Pastan. It's billed as an homage to that classic story and delivers with this opening sentence: "Last night I dreamed of Nauquasset again." From there we're drawn in to a 21st century remake of one of my favorite novels.

A naive young girl, steeped in a love of art history and working as the assistant to a pompous museum curator. A trip to Venice where our unnamed heroine meets the elusive and show more mysterious (and exceedingly wealthy) Bernard Augustin. Bernard takes the young woman under his wing, although a love match isn't in the cards. Soon he's offering her the chance to be a curator at his family's museum on Cape Cod. She'll be replacing his dearest friend and muse, Alena.

So far so good. Unfortunately, once the duo returns stateside the story descends into confusion and banality. Pastan's attempt to stay true to the bones of REBECCA and add her own twists fall flat. The most significant problem is the relationship between Bernard and his new protege. The spark that we witnessed in Venice never returns and without it there's no real tension, no sense of loyalty and commitment.

This could have been a sharp, tantalizing read. I blame Bernard for the bulk of my disappointment. He never achieves the top billing the author wants to confer on him. In the end my rebuke was, "You, sir, are no Max de Winter!" show less