Another crowd-pleasing, if somewhat wooden, tale of steely heroism and stiff-upper-lip bravado from the prolific Higgins. Returning to the WWII settings that he knows so well, Higgins (The President’s Daughter, 1997, etc.) puts a pair of identical twin flyboys, one American, one German, on opposite sides of the war. The story begins in 1997 in Cold Harbour, a lonely Cornish village—and once a secret spy base—where the real Higgins and his real wife Denise find themselves after surviving a crash-landing in the English Channel. There, Zee Aeland, a crusty innkeeper, turns emotional when he glimpses Higgins’s teddy bear Tarquin, which the author purchased in an antique shop. Aeland tells him that Tarquin’s original owner was dashing Jack Kelso, a wealthy, thrill-seeking American vet who fought for the British before the US entered the war. Recovering from a crash- landing of his own in France, Kelso met and married his hospital nurse, the impoverished German baroness Elsa von Halder, who later—after her husband insisted on returning to the States—gave birth to twin sons Max and Harry. Because he was ten minutes older, Max also became the new Baron von Halder. Then, in 1930, Jack died, and took Max to his ancestral homeland, while Harry stayed in Boston with his rich grandfather, brooding, and finally taking Tarquin with him to fight for Finland against invading Russians. By page 60, Harry has joined the RAF (as a Finn!), and Max, a.k.a. “The Black Baron,” is clicking his boots among the Nazis. Using the two boys to show that ineffable daring, chivalric nonchalance, and the ability to execute a flawless Immelmann turn can transcend political borders and ideologies (both Max and Elsa rapidly develop sour opinions about Hitler). Women, spies, tyrants and combat buddies come and go, but teddy bears, brotherly love, and a tearjerker conclusion win out. An old-fashioned, sentimental ode to chivalric virtue and family values: Not as suspenseful as Higgins’s best, but well grounded in historical detail, lightened by amusing encounters with Hitler, Himmler, and other factual fiends. (Book-of-the-Month Club main selection)
Pub Date: May 11, 1998
ISBN: 0-399-14376-9
Page Count: 328
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1998
While Liv’s more pedestrian story is less romantic than Sophie’s and far less nuanced, Moyes is a born storyteller who makes...
The newest novel by Moyes (Me Before You, 2012, etc.) shares its title with a fictional painting that serves as catalyst in linking two love stories, one set in occupied France during World War I, the other in 21st-century London.
In a French village in 1916, Sophie is helping the family while her husband, Édouard, an artist who studied with Matisse, is off fighting. Sophie’s pluck in standing up to the new German kommandant in the village draws his interest. An art lover, he also notices Édouard's portrait of Sophie, which captures her essence (and the kommandant's adoration). Arranging to dine regularly at Sophie’s inn with his men, he begins a cat-and-mouse courtship. She resists. But learning that Édouard is being held in a particularly harsh “reprisal” camp, she must decide what she will sacrifice for Édouard’s freedom. The rich portrayals of Sophie, her family and neighbors hauntingly capture wartime’s gray morality. Cut to 2006 and a different moral puzzle. Thirty-two-year-old widow Liv has been struggling financially and emotionally since her husband David’s sudden death. She meets Paul in a bar after her purse is stolen. The divorced father is the first man she’s been drawn to since she was widowed. They spend a glorious night together, but after noticing Édouard's portrait of Sophie on Liv’s wall, he rushes away with no explanation. In fact, Paul is as smitten as Liv, but his career is finding and returning stolen art to the rightful owners. Usually the artwork was confiscated by Germans during World War II, not WWI, but Édouard's descendants recently hired him to find this very painting. Liv is not about to part with it; David bought it on their honeymoon because the portrait reminded him of Liv. In love, Liv and Paul soon find themselves on opposite sides of a legal battle.
While Liv’s more pedestrian story is less romantic than Sophie’s and far less nuanced, Moyes is a born storyteller who makes it impossible not to care about her heroines.Pub Date: Aug. 20, 2013
ISBN: 978-0-670-02661-6
Page Count: 384
Publisher: Pamela Dorman/Viking
Review Posted Online: July 17, 2013
Kirkus Reviews Issue: Aug. 1, 2013
Constructed with delicacy, lyricism, and care, Hertmans’ novel still feels occasionally static.
A Christian woman and a Jewish man fall in love in medieval France.
In 1088, a Christian girl of Norman descent falls in love with the son of a rabbi. They run away together, to disastrous effect: Her father sends knights after them, and though they flee to a small southern village where they spend a few happy years, their budding family is soon decimated by a violent wave of First Crusaders on their way to Jerusalem. The girl, whose name becomes Hamoutal when she converts to Judaism, winds up roaming the world. Hertmans’ (War and Turpentine, 2016, etc.) latest novel is based on a true story: The Cairo Genizah, a trove of medieval manuscripts preserved in an Egyptian synagogue, contained an account of Hamoutal’s plight. Hamoutal makes up about half of Hertmans’ novel; the other half is consumed by Hertmans’ own interest in her story. Whenever he can, he follows her journey: from Rouen, where she grew up, to Monieux, where she and David Todros—her Jewish husband—made a brief life for themselves, and all the way to Cairo, and back. “Knowing her life story and its tragic end,” Hertmans writes, “I wish I could warn her of what lies ahead.” The book has a quiet intimacy to it, and in his descriptions of landscape and travel, Hertmans’ prose is frequently lovely. In Narbonne, where David’s family lived, Hertmans describes “the cool of the paving stones in the late morning, the sound of doves’ wings flapping in the immaculate air.” But despite the drama of Hamoutal’s story, there is a static quality to the book, particularly in the sections where Hertmans describes his own travels. It’s an odd contradiction: Hertmans himself moves quickly through the world, but his book doesn’t quite move quickly enough.
Constructed with delicacy, lyricism, and care, Hertmans’ novel still feels occasionally static.Pub Date: Feb. 4, 2020
ISBN: 978-1-5247-4708-4
Page Count: 304
Publisher: Pantheon
Review Posted Online: Oct. 13, 2019
Kirkus Reviews Issue: Nov. 1, 2019
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