A spellbinding portrait of what it means to be human in an inhuman world.

THE WORLD THAT WE KNEW

In this tale of a young German Jewish girl under the protection of a golem—a magical creature of Jewish myth created from mud and water—Hoffman (The Rules of Magic, 2017, etc.) employs her signature lyricism to express the agony of the Holocaust with a depth seldom equaled in more seemingly realistic accounts.

The golem, named Ava, comes into being in 1941 Berlin. Recently made a widow by the Gestapo and desperate to get her 12-year-old daughter, Lea, out of Germany, Hanni Kohn hires Ettie, a rabbi’s adolescent daughter who has witnessed her father creating a golem, to make a female creature who must obey Hanni by protecting Lea at all costs. Ettie uses Hanni’s payment to escape on the same train toward France as Lea and Ava, but the two human girls’ lives take different paths. Ettie, who has always chafed at the limits placed on her gender, becomes a Resistance fighter set on avenging her younger sister’s killing by Nazis. Lea, under Ava’s supernatural care, escapes the worst ravages of the war, staying first with distant cousins in Paris (already under Gestapo rule), where she falls in love with her hosts' 14-year-old son, Julien; then in a convent school hiding Jewish girls in the Rhone Valley; then in a forest village not far from where Ettie has partnered in her Resistance activities with Julien’s older brother. While Lea’s experiences toughen and mature her, Ettie never stops mourning her sister but finds something like love with a gentle gentile doctor who has his own heartbreaking backstory. In fact, everyone in the large cast of supporting human characters—as well as the talking heron that is Ava’s love interest and Azriel, the Angel of Death—becomes vividly real, but Ava the golem is the heart of the book. Representing both fierce maternal love and the will to survive, she forces Lea and Ettie to examine their capacities to make ethical choices and to love despite impossible circumstances.

A spellbinding portrait of what it means to be human in an inhuman world.

Pub Date: Sept. 24, 2019

ISBN: 978-1-5011-3757-0

Page Count: 384

Publisher: Simon & Schuster

Review Posted Online: July 1, 2019

Kirkus Reviews Issue: July 15, 2019

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The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...

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THE TATTOOIST OF AUSCHWITZ

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 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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Romance and melodrama mix uneasily with mass murder.

THE WINTER GUEST

An 18-year-old Polish girl falls in love, swoons over a first kiss, dreams of marriage—and, oh yes, we are in the middle of the Holocaust.

Jenoff (The Ambassador’s Daughter, 2013, etc.) weaves a tale of fevered teenage love in a time of horrors in the early 1940s, as the Nazis invade Poland and herd Jews into ghettos and concentration camps. A prologue set in 2013, narrated by a resident of the Westchester Senior Center, provides an intriguing setup. A woman and a policeman visit the resident and ask if she came from a small Polish village. Their purpose is unclear until they mention bones recently found there: “And we think you might know something about them.” The book proceeds in the third person, told from the points of view mostly of teenage Helena, who comes upon an injured young Jewish-American soldier, and sometimes of her twin, Ruth, who is not as adventurous as Helena but is very competitive with her. Their father is dead, their mother is dying in a hospital, and they are raising their three younger siblings amid danger and hardship. The romance between Helena and Sam, the soldier, is often conveyed in overheated language that doesn’t sit well with the era’s tragic events: “There had been an intensity to his embrace that said he was barely able to contain himself, that he also wanted more.” Jenoff, clearly on the side of tolerance, slips in a simplified historical framework for the uninformed. But she also feeds stereotypes, having Helena note that Sam has “a slight arch to his nose” and a dark complexion that “would make him suspect as a Jew immediately.” Clichés also pop up during the increasingly complex plot: “But even if they stood in place, the world around them would not.”

Romance and melodrama mix uneasily with mass murder.

Pub Date: Aug. 26, 2014

ISBN: 978-0-7783-1596-4

Page Count: 352

Publisher: Harlequin MIRA

Review Posted Online: July 1, 2014

Kirkus Reviews Issue: July 15, 2014

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