A historically informative, gritty, and tender coming-of-age immigration saga.
Debut novelist Fischer takes readers to post–World War II Europe, where a young boy and his parents dream of immigrating to America.
Konrad Kemper, the engaging narrator of this tale, was born in Yugoslavia. During the Nazi occupation during the Second World War, Konrad’s father, Hans, was conscripted into the German army and wound up in an American prisoner-of-war camp. At war’s end, Konrad and his mother, Anni, were placed in one of Marshal Tito’s prison camps: “We…had lost our farm in Yugoslavia to Tito’s Communists. They equated German speakers with fascists although we had lived there for two centuries.” Now, Hans has been released and is working on a farm in Austria. Nine-year-old Konrad and his mother make a dangerous escape. In 1948, the family is reunited in Austria at the Straubling refugee camp. The town is flooded with physically and emotionally wounded people from all over Eastern Europe; there are few jobs to be had, and food is scarce. However, the Kempers have a far-reaching goal: One day, they aim to make it to the United States. While their campmates move on to Canada, Australia, and South America, the Kemper family acquires a small shack, working and waiting for American authorities to accept their visa application. Fischer leads readers through the family’s day-to-day struggle in Straubling in a voice that captures the innocence, vulnerability, and enthusiasm of a boy on the edge of leaving childhood. The prose is detailed, conjuring a visceral portrait of the postwar wreckage—the grime and smells of the refugee barracks, the ever present hunger, and people’s hope for something better in the New World. For example, while climbing through the American Army’s garbage dump, Konrad finds treasures—pencils, a spoon, a Classics Illustrated comic book, a batch of unused American Christmas cards. Insatiably curious and observant, he gradually develops an image of a United States filled with wonder, from the extravagance of disposable paper tissues to the miracle of “radios that let you see.”
A historically informative, gritty, and tender coming-of-age immigration saga.Pub Date: July 14, 2019
ISBN: 978-1-72831-684-0
Page Count: 190
Publisher: AuthorHouse
Review Posted Online: Sept. 13, 2019
Kirkus Reviews Issue: Dec. 1, 2019
Review Program: Kirkus Indie
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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
BOOK TO SCREEN
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