The fictional characters, so vivid in The Evidence Against Her (2001), have paled as they have aged, and even the passions...
The third installment of Dew’s portrait of the Scofield clan of Washburn, Ohio (The Truth of the Matter, 2005, etc.), focuses on the aging of matriarch Agnes.
When the novel opens in 1953, Agnes is in her early 50s, long widowed and living alone in the big old Scofield manse, which she can barely maintain on her teacher’s salary. Now that her three older children, Claytor, Betts and Dwight (actually her much younger brother but raised as a son), are married and raising their own families with varying success, while the youngest, Howard, is about to marry, Agnes’s maternal interest does not stretch much beyond dutiful. She receives comically awkward overtures of affection from a clueless filmmaker intent on documenting daily life in Washburn. The fact that the filmmaker is tone-deaf to the nuances of the lives he follows is the novel’s best, slightly mean joke. Agnes’s real suitor is Sam Holloway. Her son-in-law Will’s business partner, Sam is considerably younger than Agnes but proves a perfectly companionable and practical mate. More passionate, though not by much, is alcoholic Claytor’s relationship with his Southern wife Lavinia, who eschews the prevalent Midwestern decorum, a combination of restraint and etiquette that she derides in a speech that gives the novel its title. Lavinia is the only source of energy among carefully self-controlled characters in a formal narrative that mirrors too closely the very midcentury, Middle American reserve being recorded. The second half of the novel passes in quick succession through the later ’50s and ’60s and into the early ’70s, recording births, illnesses, family gatherings and small crises but no serious drama. Most interesting are historical tidbits Dew drops in, from the polio epidemic of the ’50s to Wernher von Braun’s reaction to JFK’s death to the desegregation of Little Rock’s high school.
The fictional characters, so vivid in The Evidence Against Her (2001), have paled as they have aged, and even the passions of the younger generation are too muted to engage the reader.Pub Date: Jan. 6, 2011
ISBN: 978-0-316-88950-6
Page Count: 304
Publisher: Little, Brown
Review Posted Online: Oct. 13, 2010
Kirkus Reviews Issue: Nov. 1, 2010
BOOK REVIEW
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
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
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