A well-drawn exploration of the untold stories of A Christmas Carol.

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The Life and Times of Bob Cratchit

A BACKGROUND STORY TO CHARLES DICKENS' A CHRISTMAS CAROL

A pastiche novel dramatizing the life of the harried clerk from Charles Dickens’ beloved 1843 novella.

Distler’s debut is a lean, surprisingly muscular reimagining of Dickens’ work from the narrative focal point of Bob Cratchit, the clerk in the firm of Scrooge & Marley who defended Ebenezer Scrooge’s outrageous behavior. The author fills in a brief back story, showing Cratchit as hailing from Bristol, England, and seeking his fortune in London. He eventually clerks for Scrooge and Jacob Marley for 15 shillings a week as he begins a family and watches it grow larger and happier. That joy is starkly countered by the atmosphere in the office, where he must deal with his miserly, inhuman masters, both of whom Distler subtly and intelligently brings to life—Scrooge as the colder and more implacably intellectual of the two (only warming for an instant when remembering his late sister) and Marley as the louder, more volatile one. The latter is prone to rages that are intriguingly prompted, in part, by his awareness of his wandering attention and focus. During one of these tirades, he actually strikes Cratchit—and later shortly but earnestly apologizes; Scrooge offers momentary sympathy but then orders him back to work. (Cratchit’s reflexive “Your servant, Mr. Scrooge” is met throughout the book with growled variations on “Yes, yes, you are, and best you don’t forget it!”) Distler indulges in a less-than-successful supernatural plotline that parallels the goings-on in A Christmas Carol. However, her evocation of Victorian London is superb, and her portrayals of Scrooge and Marley simultaneously humanize them and underscore their bitter savagery. Likewise, the story’s most pleasing innovation is in how it adds nuance to Dickens’ fairly one-dimensional version of Cratchit. Distler wonderfully details the clerk’s work tedium, his home life, and even the mundane details of a filthy, bustling London in this intriguing companion to an immortal classic.

A well-drawn exploration of the untold stories of A Christmas Carol.

Pub Date: May 15, 2015

ISBN: 978-1-4849-3235-3

Page Count: 212

Publisher: CreateSpace

Review Posted Online: Aug. 6, 2015

Kirkus Reviews Issue: Oct. 1, 2015

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An exuberant comic opera set to the music of life.

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DEACON KING KONG

The versatile and accomplished McBride (Five Carat Soul, 2017, etc.) returns with a dark urban farce crowded with misjudged signals, crippling sorrows, and unexpected epiphanies.

It's September 1969, just after Apollo 11 and Woodstock. In a season of such events, it’s just as improbable that in front of 16 witnesses occupying the crowded plaza of a Brooklyn housing project one afternoon, a hobbling, dyspeptic, and boozy old church deacon named Cuffy Jasper "Sportcoat" Lambkin should pull out a .45-caliber Luger pistol and shoot off an ear belonging to the neighborhood’s most dangerous drug dealer. The 19-year-old victim’s name is Deems Clemens, and Sportcoat had coached him to be “the best baseball player the projects had ever seen” before he became “a poison-selling murderous meathead.” Everybody in the project presumes that Sportcoat is now destined to violently join his late wife, Hettie, in the great beyond. But all kinds of seemingly disconnected people keep getting in destiny's way, whether it’s Sportcoat’s friend Pork Sausage or Potts, a world-weary but scrupulous White policeman who’s hoping to find Sportcoat fast enough to protect him from not only Deems’ vengeance, but the malevolent designs of neighborhood kingpin Butch Moon. All their destines are somehow intertwined with those of Thomas “The Elephant” Elefante, a powerful but lonely Mafia don who’s got one eye trained on the chaos set off by the shooting and another on a mysterious quest set in motion by a stranger from his crime-boss father’s past. There are also an assortment of salsa musicians, a gentle Nation of Islam convert named Soup, and even a tribe of voracious red ants that somehow immigrated to the neighborhood from Colombia and hung around for generations, all of which seems like too much stuff for any one book to handle. But as he's already shown in The Good Lord Bird (2013), McBride has a flair for fashioning comedy whose buoyant outrageousness barely conceals both a steely command of big and small narrative elements and a river-deep supply of humane intelligence.

An exuberant comic opera set to the music of life.

Pub Date: March 3, 2020

ISBN: 978-0-7352-1672-3

Page Count: 384

Publisher: Riverhead

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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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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