A promising idea swamped by the excesses of postmodernism: the random plundering of history and an irritating air of...
British journalist Eyre makes her fiction debut with the tale of a 17th-century beauty’s dangerous quest for eternal youth.
Venetia Stanley and her husband, Sir Kenelm Digby, are actual historical figures, as are Antoon Van Dyck, Ben Jonson and a host of others from across the centuries who caper through Eyre’s postmodern mashup. Andy Warhol discerns unhappiness in Van Dyck’s portrait of the couple; supermodel Naomi Campbell is among those whose cautionary tales of disastrous beauty treatments lead Kenelm, deeply steeped in the mysteries of alchemy, to deny his beloved wife’s request that he mix her a potion to restore her youthful freshness. So instead she goes to Lancelot Choice, whose Viper Wine soon bleaches away her age spots and plumps up her skin. But the potion is dangerously addictive and leads Venetia to new treatments that leave her face grotesquely swollen, its muscles almost immobilized. The allusion to Botox is clearly intentional, as are a flock of ghostly comments heard by Kenelm toward the end that suggest women through the ages are obsessed with their looks. Dressing up this less-than-breathtaking insight with the jarring spectacle of Kenelm quoting David Bowie and Neil Armstrong is not very plausibly justified by the revelation that “to [Kenelm], time was circular, and alchemical Wisdom was a golden chain.” Eyre has clearly done a great deal of research, but it’s mostly employed in eye-crossingly dull passages detailing Kenelm’s esoteric studies. There are some sharply drawn characters, but too many of them are like the earthy Mary Tree, who strides into the story with promising vigor only to meander in and out of the increasingly self-indulgent narrative until she's finally shoehorned in one last time to make the author’s very obvious final point.
A promising idea swamped by the excesses of postmodernism: the random plundering of history and an irritating air of knowingness.Pub Date: April 14, 2015
ISBN: 978-0-553-41935-1
Page Count: 448
Publisher: Hogarth
Review Posted Online: Jan. 17, 2015
Kirkus Reviews Issue: Feb. 1, 2015
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
The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...
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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