A thoughtful, earnest first novel: it doesn't take any risks but sticks faithfully to its affecting mark.

THE SPEED OF LIGHT

It’s hard not to like this lyrical, gently paced debut that confronts the terrible legacy carried by children of trauma and tragedy.

Paula Perel and her older brother Julian bear the anguish of their father's Holocaust memories in vastly different ways: Paula sublimates her personality by becoming a professional singer of lieder (although forbidden by her father to sing in German), while Julian, a grad student in physics, retreats into the antisocial and deafening silence of his eleven TV sets. Now orphaned and living on their own on two floors of a Berkeley apartment, Paula must leave on a Grand Tour to make a name for herself in Europe; she invites her cleaning lady, Sola Ordonio, to stay and keep an eye on her paranoid, solitary brother, who lives upstairs. Sola, a 30ish political refugee from an unnamed South American country where, years before, she witnessed the massacre of her family, brings Julian his lunch and picks up plates. Gradually, the sympathy between the two emotionally diffident characters grows. Rosner takes excruciating pains to weave the threads of her narrative in alternating points of view, and the slow-moving action back in forth in time is examined in many tireless facets. Rosner has an expert command of her material (she herself is the child of Holocaust survivors), from the Hungarian Jewish father's past as a Sonderkommando at Auschwitz and Sola's terrifying memories of witness to the nuances of opera singing. And everywhere poet Rosner exhibits her care in the use of language, such as the comparison of a piano, its cover closed and keys hidden, to a woman “ashamed to show her teeth when she smiles.”

A thoughtful, earnest first novel: it doesn't take any risks but sticks faithfully to its affecting mark.

Pub Date: Sept. 1, 2001

ISBN: 0-345-44224-5

Page Count: 304

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: June 15, 2001

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IF BEALE STREET COULD TALK

This new Baldwin novel is told by a 19-year-old black girl named Tish in a New York City ghetto about how she fell in love with a young black man, Fonny. He got framed on a rape charge and she got pregnant before they could marry and move into their loft; but Tish and her family Finance a trip to Puerto Rico to track down the rape victim and rescue Fonny, a sculptor with slanted eyes and treasured independence. The book is anomalous for the 1970's with its Raisin in the Sun wholesomeness. It is sometimes saccharine, but it possesses a genuinely sweet and free spirit too. Along with the reflex sprinkles of hate-whitey, there are powerful showdowns between the two black families, and a Frieze of people who — unlike Fonny's father — gave up and "congregated on the garbage heaps of their lives." The style wobbles as Tish mixes street talk with lyricism and polemic and a bogus kind of Young Adult hesitancy. Baldwin slips past the conflict between fighting the garbage heap and settling into a long-gone private chianti-chisel-and-garret idyll, as do Fonny and Tish and the baby. But Baldwin makes the affirmation of the humanity of black people which is all too missing in various kinds of Superfly and sub-fly novels.

Pub Date: May 24, 1974

ISBN: 0307275930

Page Count: -

Publisher: Dial Books

Review Posted Online: Sept. 16, 2011

Kirkus Reviews Issue: May 1, 1974

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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