Grass as lucid, sardonic, and unsparing as always.
Nobelist Grass (Too Far Afield, 2000, etc.) ponders guilt and memory in an unsettling tale that draws from a forgotten maritime disaster.
When a Russian submarine torpedoed the Wilhelm Gustloff on January 30, 1945, narrator Paul Pokriefke was still in his unmarried teenaged mother’s womb. Thousands went down with the ship, but Tulla Pokriefke was rescued and gave birth on a torpedo boat. Resettled in East Germany, she endlessly recalls that fatal day and badgers her son to write it all down for future generations. Paul eventually opts for life as a hack journalist and slips into West Berlin. In the story’s present, he is under orders from his employer to unravel the chain of events that led from Wilhelm Gustloff’s enthusiastic proselytizing for the Nazi party in Switzerland to his assassination in 1936 by Jewish medical student David Frankfurter, his apotheosis as a fascist martyr (the cruise ship named after him provided National Socialist vacations for the masses), and his rediscovery in the 1990s on a neofascist Web site created by Paul’s son Konrad. Estranged from his divorced parents, Konrad has fallen under the influence of Tulla, an implacable survivor á la Mother Courage, who gives her alienated grandson the computer that enables him to communicate with others seeking to rewrite Germany’s past. He forms a combative yet oddly jocular online relationship with “David,” who offers unwelcome reminders of the Nazi regime’s genocidal underpinnings. Their real-life meeting provides the grim climax of a narrative that views fascist hate-mongering, Stalinist lies, capitalist corruption, and the eternal failures of parents with the same angry disdain. Mitigating humor comes from Paul’s decision to “sneak up on time in a crabwalk, seeming to go backward but actually scuttling sideways,” often teasing the reader by veering off at climactic moments to ratchet up the tension before coming to his bleak conclusion: “Never will it end.”
Grass as lucid, sardonic, and unsparing as always.Pub Date: April 1, 2003
ISBN: 0-15-100764-0
Page Count: 240
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2003
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.
An ambitious scientific experiment wreaks horrendous toll in the Booker-winning British author’s disturbingly eloquent sixth novel (after When We Were Orphans, 2000).
Ishiguro’s narrator, identified only as Kath(y) H., speaks to us as a 31-year-old social worker of sorts, who’s completing her tenure as a “carer,” prior to becoming herself one of the “donors” whom she visits at various “recovery centers.” The setting is “England, late 1990s”—more than two decades after Kath was raised at a rural private school (Hailsham) whose students, all children of unspecified parentage, were sheltered, encouraged to develop their intellectual and especially artistic capabilities, and groomed to become donors. Visions of Brave New World and 1984 arise as Kath recalls in gradually and increasingly harrowing detail her friendships with fellow students Ruth and Tommy (the latter a sweet, though distractible boy prone to irrational temper tantrums), their “graduation” from Hailsham and years of comparative independence at a remote halfway house (the Cottages), the painful outcome of Ruth’s breakup with Tommy (whom Kath also loves), and the discovery the adult Kath and Tommy make when (while seeking a “deferral” from carer or donor status) they seek out Hailsham’s chastened “guardians” and receive confirmation of the limits long since placed on them. With perfect pacing and infinite subtlety, Ishiguro reveals exactly as much as we need to know about how efforts to regulate the future through genetic engineering create, control, then emotionlessly destroy very real, very human lives—without ever showing us the faces of the culpable, who have “tried to convince themselves. . . . That you were less than human, so it didn’t matter.” That this stunningly brilliant fiction echoes Caryl Churchill’s superb play A Number and Margaret Atwood’s celebrated dystopian novels in no way diminishes its originality and power.
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.Pub Date: April 11, 2005
ISBN: 1-4000-4339-5
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
BOOK REVIEW
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BOOK TO SCREEN
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