Rollicking historical that’s certain to get the top shelf at the Harvard Co-Op.
The sequel to Back Bay (1979) gives the Michener treatment to our richest university as antiquities dealer and Harvard alumnus Peter Fallon hunts for a copy of a lost Shakespeare play.
Martin (Citizen Washington, 1999, etc.) uses the fortunes and foibles of the Wedge family, whose offspring have attended Harvard from its beginning, to show that, despite numerous curriculum changes, more than a few ignoble alumni, and some embarrassing controversies, Harvard really has fostered American self-determination and generosity of spirit. The generosity takes the form of paying for some, if not all, of the education of any student Harvard wants to admit, and, in the case of the fictional Wedge family, protecting the only surviving copy of Love’s Labors Won,” which Shakespeare himself gave to his friend, Stratford butcher, innkeeper, and book collector Robert Harvard, as a “talisman of good fortune.” John takes the play, with his collection of books, to New England, where his library and his financial bequest begin the university that bears his name. Stolen from the library by the college’s sadistic and corrupt first master, the play is retrieved by plucky Isaac Wedge, an impoverished student who hides it because of the 17th-century Puritan animosity to theater. The play is never far from later generations of the Wedge family, which has at least one child always attending Harvard through its history. Martin intercuts the historical scenes (we meet everyone from a stuttering Cotton Mather to a blustering Joseph Kennedy) with standard thriller high-jinks involving Fallon, who uses his alumni connections both for business and pleasure. Fallon is attempting to ensure his son’s acceptance to the college when a descendant of Isaac Wedge hints of a very valuable book once in his family’s possession. Fallon hooks up with his conveniently divorced old flame, finds himself pursued by organized crime thugs—and the chase is on.
Rollicking historical that’s certain to get the top shelf at the Harvard Co-Op.Pub Date: Oct. 29, 2003
ISBN: 0-446-53084-0
Page Count: 582
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2003
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
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