There’s a scattershot quality to this Balkan imbroglio that leaves it a few notches below Furst’s best work.
As the Nazi invasion threat looms in Greece, a detective undertakes various secret missions in this latest from the master of European spy fiction.
Furst’s 11th novel (The Spies of Warsaw, 2008, etc.) covers the six months between October 1940 and April 1941, when German troops occupied Athens, and is set mostly in the port city of Salonika, an embarkation point for neutral Turkey. Though Greece is ruled by the dictator Metaxas, the Salonika cops have a live-and-let live attitude, personified by their deputy commander, Costa Zannis, Furst’s protagonist. The tough but likable Zannis is a Mr. Fix-It with a wide-ranging portfolio. The city is on edge with rumors about German intentions; in an early sequence, Zannis runs a German spy to ground in a warehouse. A bachelor and a ladies man, Zannis’s current girlfriend is Roxanne, an English ballet teacher, but naturally he’s happy to oblige the “stunning” Emilia Krebs, the Jewish wife of a Wehrmacht officer, who’s trying to arrange an escape route for other German Jews. After Mussolini, without Hitler’s approval, invades Greece but stumbles, her project advances; Zannis, in the mountains, recruits the anti-Nazi Pavlic, his opposite number in Zagreb. His subsequent trip to Budapest secures another part of Emilia’s pipeline. In Salonika, Zannis has a new love interest, exchanging Roxanne (a self-revealed British spy) for Demetria, gorgeous wife of a superrich banker. His attempts to free her from her gilded cage are interrupted by two more missions, these at the behest of the Brits. (Who can refuse Greece’s oldest ally?) The first takes him to Paris, to spirit away a top British asset, and the second to Yugoslavia, to assist an anti-German coup d’etat, but these episodes have no cumulative effect, and Zannis’s role as a stand-tall hero is undercut twice; in France it’s an unidentified deus ex machina who saves the day, while in Yugoslavia he’s a bit player.
There’s a scattershot quality to this Balkan imbroglio that leaves it a few notches below Furst’s best work.Pub Date: June 15, 2010
ISBN: 978-1-4000-6603-2
Page Count: 288
Publisher: Random House
Review Posted Online: Dec. 31, 2010
Kirkus Reviews Issue: April 15, 2010
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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