Interesting history, but the writing is pedantic.
A historical novel of sorts, blending fact and fiction, set in the last days of the Third Reich.
At the heart of the story are the Loerber siblings—Manni, Franzi, Ziggy and Sebastian—who before the war have a famous cabaret act, the Flying Magical Loerber Brothers. After a prologue set in 1933, in which McNally shows us their act, the narrative skips to the spring of 1945. Hitler is living in a fantasy world in which he gives orders to divisions that no longer exist, and Albert Speer and Heinrich Himmler are jockeying for position to be the next Reichsführer and thus to try to leverage an inevitable defeat into the most favorable terms for Germany. During the war the Loerber brothers have scattered, and Sebastian has in fact disappeared for the past 11 years. Manni becomes a chauffeur for Speer as Speer surreptitiously visits the industrial areas of Germany, which Hitler has decreed should be destroyed. Speer’s task is to convince the captains of industry to preserve the factories so Germany can be guaranteed some kind of economic future. Along the way we meet Wolfgang Lüth, leader of U-boat crews (one crew member is Ziggy, who improbably becomes part of Lüth’s staff and who wins a Knight’s Cross); Admiral Karl Dönitz; and even postwar Cold warriors George Ball, Paul Nitze and John Kenneth Galbraith. Most of the Loerbers have turned to spying, and Sebastian has even aligned himself with the Blood of Israel, a secretive group that ultimately promotes postwar settlement in Palestine. We see here some Nazis in denial, especially Himmler, who, on being shown pictures from Bergen-Belsen, questions, “ ‘Am I to blame for the excesses of my subordinates?’ ” The title refers to Speer’s grandiose plans for a Germany of “vast plazas and boulevards…gigantic ministries and monuments,” a vision ironically undermined by the grim realities of the spring of 1945.
Interesting history, but the writing is pedantic.Pub Date: Sept. 9, 2008
ISBN: 978-1-4165-5882-8
Page Count: 384
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2008
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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