Reviews for Resurrection

Booklist Reviews 2006 July #1
Like The Da Vinci Code, Marlakey's novel professes to find the hidden meaning of Christianity buried behind deceptive orthodoxies. But here the secret comes from the ancient gnostic Gospels recovered from Nag Hammadi, Egypt, shortly after World War II. The sleuth who uncovers the Gospels, Gemma Basian, comes to Egypt to bury the remains of her archaeologist father, who has died in Cairo under suspicious circumstances._As Gemma investigates her father's death, she finds herself increasingly drawn into the mysteries that drew him to the land of Isis. The gnostic Gospels he finally discovers before his death reveal to him--and then to Gemma--everything he had been looking for: individual salvation without a church, sexual ecstasy rather than celibacy, Egyptian magic rather than Hebrew morality. The gnostic Gospels also accord women a much larger role than the New Testament, identifying Mary Magdalene as Jesus' lover and as the apostle first vouchsafed a vision of the Resurrection. The recovered words of gnostic scripture thus reconnect Gemma with her murdered father--and embolden her in challenging a society long darkened by ecclesiastical conspiracy. Although some readers may enjoy Malarkey's novel simply as a literary thriller, many will find themselves wrestling with theological conundrums. In fact, controversy will surely surround this novel, as readers who hail it as a daring expose clash with those who see it as a slander against their faith. ((Reviewed July 2006)) Copyright 2006 Booklist Reviews.

Kirkus Reviews 2006 June #1
Investigating her father's mysterious death in post-WW2 Cairo, a young woman finds herself on the trail of the Lost (Gnostic) Gospels; there is also a flickering love interest in this second novel from Malarkey (An Obvious Enchantment, 2000). Gemma Bastian is a nurse in London. She lost her mother in the Blitz; then her father, an archaeologist, left for Egypt. Now it's 1947, and Gemma is off to Cairo herself; her father has died of a heart attack, and she will stay with his friends. David Lazar is an Englishman; his second wife is Egyptian; his children are half-brothers. There's Michael (a morphine addict, drowning in self-pity because of his injuries as a fighter pilot) and Anthony (another archaeologist, calm, aloof); Gemma will spar and flirt with the still-sexy Michael while she pushes Anthony for information on her father's research. He had achieved a breakthrough and was expecting money before being found dead in his office after his client, a British Museum official, was killed by a rock slide. It smells bad. Who is the ginger-haired guy she surprises in her father's office? Why is he following her? And why is Anthony stonewalling? Gemma is her father's daughter, a smart, fearless loner, and realizes her father had unearthed one of the Lost Gospels (as a young man, he had left the seminary after a similar discovery). Sinister machinations by the Catholic church; the elevation of Mary Magdalene--yes, there are some similarities to The Da Vinci Code here. But Malarkey assures us that her many gospel quotations are authentic (and credits The Gnostic Gospels, by Elaine Pagels). Her mix of shattering scriptural revelations and skullduggery should be combustible, but the fire never catches. The murders (four, at least) generate little excitement (this is Egypt; stuff happens) and the sheer number of different gospels in circulation becomes confusing. All this, and the bombing of Cairo by the Israelis? It's way too much. Passable entertainment; could have been much better. Copyright Kirkus 2006 Kirkus/BPI Communications.All rights reserved.

Library Journal Reviews 2006 April #1
Listen up, Da Vinci Code fans: Tin House founder Malarkey (An Obvious Enchantment) has dreamed up a story featuring Mary Magdalene as the first apostle. At least, that's the idea Gemma Bastian starts chasing after traveling to post-World War II Cairo to follow up on her late archaeologist father's final project: uncovering the Gnostic Gospels. With a national tour. Copyright 2006 Reed Business Information.

Library Journal Reviews 2006 July #1

In her second novel (after An Obvious Enchantment ), Tin House founding editor Malarkey offers an absorbing fictional account of the discovery, history, and repression of the “lost gospels” found at Nag Hammadi, Egypt, in the 1940s. Although Malarkey draws heavily on Elaine Pagels’s respected historical study, The Gnostic Gospels , for subject matter and structure, the fictional world she creates is all her own. When Gemma Bastian’s archaeologist father dies unexpectedly, she leaves World War II torn London for Cairo to see the place he loved and learn more about his work. Charles Bastian knew that additional gospels outside of the four in the Bible existed and thought they should be distributed for public consumption. These gospels, including one by Mary Magdalene, illuminate an alternative picture of the life and teaching of Christ, especially in regards to his relationship with Mary. Sound familiar? Unlike The Da Vinci Code , however, Malarkey’s book is more novel than thriller; she focuses in equal parts on the character of Gemma and the finer details of the Gnostic Gospels. Readers who enjoyed Kate Mosse’s Labyrinth or Elizabeth Kostova’s The Historian will find Resurrection a good read. Recommended for most public libraries. [See Prepub Alert, LJ 4/1/06.]â€"Andrea Y. Griffith, Loma Linda Univ. Lib., CA

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Publishers Weekly Reviews 2006 June #1

A temperate entry in the rapidly overheating Da Vinci Code sweepstakes, Malarkey's second novel (following An Obvious Enchantment ) illuminates the spiritual yearnings underlying and bolstering that boffo megaseller's more sensationalistic elements. Set in Egypt just after WWII, the novel fictionalizes the discovery of the Gnostic gospels, early Christian writings whose explosive intimations--that a growing nonauthoritarian sect was suppressed as Christianity was incorporated into the Roman empire--have been expertly explored by the great scholar Elaine Pagels. Malarkey, a founding editor of Tin House , is clearly enamored of these writings, but she makes a hash of the intrigue around their discovery. A faulty sense of period (a character at one point anachronistically calls for "security") and characters and situations straight from romance fiction ("This is the most beautiful part of the horse, and, I think, some women") mix uneasily with fairly sophisticated Bible readings, as young Brit Gemma Bastian follows her archeologist father to Cairo and gets mixed up with the household of his friend David Lazar--and David's sons. Such criticisms would be quibbles if Resurrection possessed the pulpy energy of Da Vinci , but it doesn't. Budding Gnostics and Essenes would be better off going straight to Pagels. (Aug.)

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