Readers will know, of course, that Barabbas is not the man (or god) to whom Miriam truly is destined. After a ravishing first third set in the temple and alive with tactile, persuasive detail, The Last Magdalene picks up speed, connecting Miriam, a woman of a sect often derided as “harlot”s, to Yeshua bar Yosef, a contender for the role of Mashiach purportedly capable of miracles—who welcomes her but declares “I shall leave no stain of my lust to condemn man to a life of suffering.”
What happens from there provokes and surprises, even as Conrad deftly blends her inventions (detailed in a helpful afterward) with both historical and Gospel records. This depiction of Yeshua is human, with an emphasis on the era’s politics; miracles involving healing and wine are presented with room for skepticism. What’s most arresting here is Conrad’s evocation of beliefs and ceremonies, her challenging of perceptions of women’s roles in ancient life, and the provocative connection Miriam eventually shares with Yeshua, a miracle of its own. The climax jolts due to Conrad’s surprising choice of where to end this first volume in a projected series.
Takeaway: Provocative, sensual vision of the life of Mary Magdalene.
Comparable Titles: Anita Diamant’s The Red Tent, Alice Hoffman’s The Dovekeepers.
Production grades
Cover: B+
Design and typography: A-
Illustrations: N/A
Editing: A-
Marketing copy: A
