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ALMOST NEVER

Sada writes lustily and with comic brio about Demetrio’s dilemma—but this is definitely not a book for the kiddies.

Sada starts his novel with the word “Sex” and ends it with “Sheer relief,” and in between we find almost every variation on the theme.

Demetrio Sordo is an agronomist in Mexico in 1945, and he has an unbridled need to unleash his prodigious sexual appetite, especially when it comes to Mireya, a gorgeous prostitute with whom he falls half in love—and fully in lust. Because his job is rather boring, he finds he’s energized only when he’s visiting Mireya at the brothel. She fulfills his every sexual desire, and at first these consummations seem to provide Demetrio with a provisional, albeit carnal, happiness. But Demetrio’s sexual idyll is interrupted when he attends a wedding in northern Mexico and meets a very different kind of woman, the virginal Renata, who’s closely watched by her mother. Demetrio falls in love with Renata but finds his courtship abruptly truncated when he kisses (or “licks”) her hand, a sign of disrespect according to Renata’s madre. Then begins Demetrio’s dance between purity and desire, for while he wants Renata, he also wallows in sensuality with Mireya. When he finally makes up with Renata’s mother, she sets the date of the wedding a year away, primarily to make Demetrio suffer so that he will appreciate the special quality—let’s call it primness—of her daughter. The novel culminates with the long-delayed consummation of Demetrio’s wedding and honeymoon.

Sada writes lustily and with comic brio about Demetrio’s dilemma—but this is definitely not a book for the kiddies.   

Pub Date: April 10, 2012

ISBN: 978-1-55597-609-5

Page Count: 344

Publisher: Graywolf

Review Posted Online: Feb. 19, 2012

Kirkus Reviews Issue: March 1, 2012

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RULES OF CIVILITY

An elegant, pithy performance by a first-time novelist who couldn’t seem more familiar with his characters or territory.

Manhattan in the late 1930s is the setting for this saga of a bright, attractive and ambitious young woman whose relationships with her insecure roommate and the privileged Adonis they meet in a jazz club are never the same after an auto accident.

Towles' buzzed-about first novel is an affectionate return to the post–Jazz Age years, and the literary style that grew out of it (though seasoned with expletives). Brooklyn girl Katey Kontent and her boardinghouse mate, Midwestern beauty Eve Ross, are expert flirts who become an instant, inseparable threesome with mysterious young banker Tinker Grey. With him, they hit all the hot nightspots and consume much alcohol. After a milk truck mauls his roadster with the women in it, permanently scarring Eve, the guilt-ridden Tinker devotes himself to her, though he and she both know he has stronger feelings for Katey. Strong-willed Katey works her way up the career ladder, from secretarial job on Wall Street to publisher’s assistant at Condé Nast, forging friendships with society types and not allowing social niceties to stand in her way. Eve and Tinker grow apart, and then Kate, belatedly seeing Tinker for what he is, sadly gives up on him. Named after George Washington's book of moral and social codes, this novel documents with breezy intelligence and impeccable reserve the machinations of wealth and power at an historical moment that in some ways seems not so different from the current one. Tinker, echoing Gatsby, is permanently adrift. The novel is a bit light on plot, relying perhaps too much on description. But the characters are beautifully drawn, the dialogue is sharp and Towles avoids the period nostalgia and sentimentality to which a lesser writer might succumb.

An elegant, pithy performance by a first-time novelist who couldn’t seem more familiar with his characters or territory.

Pub Date: July 25, 2011

ISBN: 978-0-670-02269-4

Page Count: 352

Publisher: Viking

Review Posted Online: May 19, 2011

Kirkus Reviews Issue: June 1, 2011

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THE TATTOOIST OF AUSCHWITZ

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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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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