A cleareyed, unsentimental, yet romantic treatment of a clandestine romance.
Amid the waning days of World War II, Ingrid Bergman meets the dashing war photographer Robert Capa.
Poet and screenplay writer Greenhalgh’s (Coco Chanel and Igor Stravinsky, 2009, etc.) novel evokes a world of glamour and danger. Traveling from battle to battle, Robert Capa still grieves for his business partner and fiancee, Gerda Taro (nee Pohorylle), who died in Madrid documenting the Spanish Civil War. Alcohol and gambling, however, keep those feelings tamped down. The acclaimed star of Casablanca, For Whom the Bell Tolls and Gaslight, Bergman leads a quiet life in a chilly marriage to Petter Lindstrom. Lindstrom controls and criticizes Bergman’s every move, even pulling her home from her own Academy Award celebration. Invited to entertain the American troops in Europe, Bergman longs to escape, even though it means leaving her young daughter, Pia, behind. From across the lobby—crowded with the starlet’s admirers—of the Ritz Hotel in Paris, Capa glimpses Bergman’s radiantly beautiful face. Emboldened by his friend—future novelist Irwin Shaw—Capa invites Bergman to dinner, and she surprisingly accepts, setting in motion a whirlwind affair. As in any romantic film, they linger at cafes, dance cheek to cheek, stroll along the Tuileries Garden, steal kisses behind her chaperone’s back and stormily declare their love impossible. After all, Capa thrives on the adrenaline rush of covering war zones, and eventually, Bergman will have to return home. But if their affair becomes public, she may have little to return home to, for a disgraced Bergman is an unemployed Bergman. Greenhalgh sometimes awkwardly shifts between first-person narration, revealing Capa’s thoughts, and third-person narration, speculating on Bergman’s. The magnitude of the liaison, however, doesn’t daunt him; he captures it just as a besotted photographer might capture a starlet’s true gaze.
A cleareyed, unsentimental, yet romantic treatment of a clandestine romance.Pub Date: March 18, 2014
ISBN: 978-1-250-03496-0
Page Count: 272
Publisher: St. Martin's
Review Posted Online: Jan. 21, 2014
Kirkus Reviews Issue: Feb. 1, 2014
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...
Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.
At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.Pub Date: Aug. 2, 2016
ISBN: 978-1-5011-1036-8
Page Count: 320
Publisher: Atria
Review Posted Online: May 30, 2016
Kirkus Reviews Issue: June 15, 2016
SEEN & HEARD
SEEN & HEARD
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
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