A tour de force of provocative ideas—about art, love, Jewish identity, survivor’s guilt, the fluidity of time and so much...
In this resolutely ambitious novel from Winer (The Color Midnight Made, 2002), a present-day art critic’s attempt to understand his dead wife and her brilliant Native-American artist-lover intertwines with the fate of an equally brilliant Jewish artist in 1930s Vienna.
Daniel’s wife Aleksandra, a photographer, has leapt to her death in New York City beside the painter Benjamin Wind, whom Daniel has glowingly reviewed. Daniel was particularly impressed by Benjamin’s most recent work: floating sculptural pairings of all sorts of couples, their eyes closed. Distraught with grief and guilt, Daniel tries to makes sense both of Aleksandra and Benjamin’s deaths and their affair. At Benjamin’s funeral he meets Max. The elderly Jewish man claims Benjamin was not a Blackfoot Indian but his grandson. Meanwhile, parallel chapters set in Vienna before World War II introduce a young boy named Josef who discovers his genius at creating ketubots, Jewish marriage contracts in which he captures the spirit of the betrothed. As the Nazis crack down, Josef’s friend Max arranges Josef’s marriage to Hannah, who has a visa to emigrate to Palestine. To Max’s jealous distress, Hannah and Josef fall in love and have a baby, Herman, before they can escape Vienna. Josef and Max end up in a concentration camp together. Enroute to her own imprisonment, Hannah drops Herman out a train window. Josef perishes, but after the war Max finds Herman for Hannah and they emigrate to America as a family. Sensing his parents’ deceit, Herman rebels against his heritage and adopts a Blackfoot identity he passes on to his son Benjamin. Now Max asks Daniel to take Hannah, who is hiding in a nunnery, the ketubot Josef made for her in the camp shortly before his death. Daniel realizes that it inspired Benjamin’s artistic masterpiece. Winer overrides the pitfalls of potential melodrama with a quiet sense of authority and an artist’s eye.
A tour de force of provocative ideas—about art, love, Jewish identity, survivor’s guilt, the fluidity of time and so much else—expressed through emotionally riveting characters.Pub Date: Oct. 26, 2010
ISBN: 978-0-8050-9178-6
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Aug. 16, 2010
Kirkus Reviews Issue: Sept. 1, 2010
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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