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THE PARTING GIFT

A beautiful novel whose only fault is ending too soon.

A novel about sexuality, acceptance, and Middle Eastern culture.

National Jewish Book Award winner Fallenberg’s (When We Dance on Water, 2011, etc.) most recent novel starts when an unnamed narrator decides to write a letter to Adam, his old college friend, who's sitting across the room from him. Months before, the narrator arrived at Adam’s doorstep in a "middling city of America," providing no explanation as to why, how, or for how long. Launching into a 100-plus-page letter, the narrator explains the events that led up to his arrival. The narrator was visiting Tel Aviv with his friends when he met Uzi, a spice merchant whose smell was “meaty, truly pungent and ripe.” Compelled by the pheromones Uzi was releasing, the narrator decides to leave his friends and stay with Uzi. Immediately, the two engage in an animalistic, uncontrollably sexual relationship: “We were a mess, a heaving, sweating, panting, quivering mess.” Uzi, the typically macho laborer, welcomes the narrator into his home, to the surprise of his family, namely his ex-wife, who lives across the property. But homosexuality, however stigmatized it may be in Israel, doesn’t seem to be that important to Uzi’s family—their main concern is why now. Uzi and the narrator lead a typical life from then on, with the narrator spearheading the expansion of Uzi’s spice business. Everything is going well until Ibrahim, the son of Uzi’s friend, arrives for an apprenticeship. Filled with jealousy and resentment, the narrator progressively loses his mind. Fallenberg’s story is one of heartbreak in which guilt and feelings of inadequacy ultimately cause his characters’ downfalls. Written entirely in the form of a letter to Adam, the story is magnetic, drawing readers in from the first crotch-grab to the last goodbye. But more important, this is a complicated study of the ways in which religious heritage—from codes of honor to familial expectations—interacts with business and acceptance, family and lovers, and self-realization.

A beautiful novel whose only fault is ending too soon.

Pub Date: Sept. 4, 2018

ISBN: 978-1-59051-943-1

Page Count: 256

Publisher: Other Press

Review Posted Online: July 16, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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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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WE WERE THE LUCKY ONES

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

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