Don't expect a neatly structured plot, but the acute sense of time and place, coupled with a cast of characters drawn with...
Gloss (The Hearts of Horses, 2007, etc.) presents moviemaking as anything but glamorous in this fictional memoir by an aging artist recalling his year as a movie extra/stuntman in 1938 Hollywood.
In a matter-of-fact, laconic, utterly authentic-sounding voice, narrator Bud Frazer describes the year he tried breaking into movies, as well as his childhood on a hardscrabble Oregon ranch and, to a lesser extent, the years after he left Hollywood to become an artist. Part of Bud’s charm is his own distrust of his memories, so readers forgive the old man (and by extension Gloss) for Bud’s tendency to ramble and repeat himself. Four years after his undemonstrative but loving family was rocked by his younger sister’s accidental death, barely 19-year-old Bud was working as an itinerant ranch hand in Oregon when he decided to head to Hollywood and become a movie cowboy. On the long bus ride south, he sat beside Lily Shaw, whose ambition was to write screenplays. Almost from the start, Bud makes it clear that while he and Lily would never be more than friends, their friendship was crucial to him while they were in Hollywood and has remained important long since their paths diverged. Lily began a slow rise from secretary to reader to writer while Bud’s first job at a barn supplying horses for low-budget films segued into work as a cowboy stuntman. The elder Bud looks back and second-guesses choices he made as a kid. But even as he drank and partied with a fast crowd, he continued attending movies with Lily once a week. While Lily persevered past her disillusionment to become a successful writer, Bud’s experiences on movie sets—the novel is brimming with instances of brutality to horses and their riders—made him realize Hollywood was not for him, and he moved on.
Don't expect a neatly structured plot, but the acute sense of time and place, coupled with a cast of characters drawn with unsentimental but abiding affection, makes for a hypnotic read.Pub Date: Oct. 28, 2014
ISBN: 978-0-544-27929-2
Page Count: 336
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Aug. 27, 2014
Kirkus Reviews Issue: Aug. 15, 2014
PROFILES
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
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
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
bookshelf
