A bullet of a book—and an absolute bull’s eye.
Murder and mayhem are served up alongside metaphysical musings in Rice’s latest (Angel Time, 2009, etc.).
Toby O’Dare is a magnificent mess. PTSD survivor of a hellish childhood (his mother slaughtered his brother), he’s grown up wary, prickly, solitary. This makes him perfectly suited for his vocation/mission—service to the angel Malchiah as a kind of divine vigilante dispensing justice with James Bond cunning. It’s a gig he debuted in Angel Time, the first installment of Songs of the Seraphim, a series that, in company with the author’s prescient vampire chronicles and a catalogue of dozens of other titles, qualifies her as one of America’s most dependably surprising storytellers. Proving herself a brilliant thematic schizophrenic, she here combines her Catholicism, underscored by her previous first-rate fictional takes on the Gospels, and her passion for the dark. A time traveler, O’Dare touches down in Renaissance Italy, assigned by his angelic mentor the task of guarding Vitale, a desperate Jewish physician whose house is possessed by a dybbuk (ghost). Anti-Semitism and fear of demonic possession cause neighbors to feel that Vitale is gradually poisoning a patient, Niccolò. In truth, it’s Niccolò’s brother Lodovico who’s doing the poisoning, by means of death-by-caviar. Hip to the trick, O’Dare ponders motive, and hits upon the lovely Leticia. Turns out she’s Lodovico’s impossible object of desire, impossible because his father, Antonio, had promised the girl to Niccolò. Hence sibling hatred. As the plot turns increasingly operatic, Antonio gets in on the Vitale-bashing, convinced that the physician’s prayers to strange gods are the cause of Niccolò’s dwindling health. O’Dare, the one who unravels this dastardly complexity, rights it, and then proceeds throughout the course of this lean, speedy thriller to rid the world of further horror. The plot’s intense; equally so are Rice’s meditations, while never breaking the seamlessness of the story line, on the nature of love and evil.
A bullet of a book—and an absolute bull’s eye.Pub Date: Dec. 1, 2010
ISBN: 978-1-4000-4354-5
Page Count: 160
Publisher: Knopf
Review Posted Online: July 27, 2010
Kirkus Reviews Issue: Aug. 15, 2010
The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...
An unlikely love story set amid the horrors of a Nazi death camp.
Based on real people and events, this debut novel follows Lale Sokolov, a young Slovakian Jew sent to Auschwitz in 1942. There, he assumes the heinous task of tattooing incoming Jewish prisoners with the dehumanizing numbers their SS captors use to identify them. When the Tätowierer, as he is called, meets fellow prisoner Gita Furman, 17, he is immediately smitten. Eventually, the attraction becomes mutual. Lale proves himself an operator, at once cagey and courageous: As the Tätowierer, he is granted special privileges and manages to smuggle food to starving prisoners. Through female prisoners who catalog the belongings confiscated from fellow inmates, Lale gains access to jewels, which he trades to a pair of local villagers for chocolate, medicine, and other items. Meanwhile, despite overwhelming odds, Lale and Gita are able to meet privately from time to time and become lovers. In 1944, just ahead of the arrival of Russian troops, Lale and Gita separately leave the concentration camp and experience harrowingly close calls. Suffice it to say they both survive. To her credit, the author doesn’t flinch from describing the depravity of the SS in Auschwitz and the unimaginable suffering of their victims—no gauzy evasions here, as in Boy in the Striped Pajamas. She also manages to raise, if not really explore, some trickier issues—the guilt of those Jews, like the tattooist, who survived by doing the Nazis’ bidding, in a sense betraying their fellow Jews; and the complicity of those non-Jews, like the Slovaks in Lale’s hometown, who failed to come to the aid of their beleaguered countrymen.
The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as nonfiction. Still, this is a powerful, gut-wrenching tale that is hard to shake off.Pub Date: Sept. 4, 2018
ISBN: 978-0-06-279715-5
Page Count: 272
Publisher: Harper/HarperCollins
Review Posted Online: July 16, 2018
Kirkus Reviews Issue: Aug. 1, 2018
BOOK REVIEW
BOOK REVIEW
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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