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PHINEAS AT BAY

An expert and gracefully executed follow-up to Trollope’s Palliser series.

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A political novel presents a detailed reinvigoration of a beloved Trollope-an character.

Phineas Finn is the eponymous hero of two novels in Anthony Trollope’s Palliser series, a political epic set in the 19th century. In the first book, the personable and dashing young Irishman heads to Victorian London to train as a lawyer and inveigles his way into high society. By the close of the second volume, Finn is weary after unsuccessfully standing for Parliament and enduring a grueling murder trial. Wirenius’ (First Amendment, First Principles, 2000) offering picks up the story in the 1890s, two decades after Trollope brought Finn’s tale to a close. Finn is appointed as counsel for Ifor Powlett-Jones, a Welsh miner charged with, among other things, criminal mischief, rioting, and assault after striking his foreman during a fracas following an explosion in a mine. The case becomes of further interest to the hero when he realizes that the mine is owned by William McScuttle, a significant figure in the Liberal Party, of which Finn himself is a member. In terms of his political standing, Finn appears to be disillusioned and drifting, looked on by members of his own party as an outsider. Wirenius captures a moment in a rapidly evolving political world as Finn becomes increasingly involved with the newly established Labour Party. The hero’s shifting sensibilities form only part of an intricately embroidered narrative that describes the social machinations—including the dangerous liaisons—that provide a backdrop to the political scene. At one point in the story, Finn even finds “himself dragged into a duel.” Trollope’s political novels were fueled by his skillful use of detailed characterization to create a realistic social world animated by a large cast of individually distinguishable personalities. In this intriguing tale, Wirenius displays similarly acute powers of observation. This is exemplified by his elegant description of the social standing of a prominent socialist: “The Right Honourable John Oswald Theobald Phineas Standish—Lord Chiltern, in Society—was in a position that would have excited the disapprobation of his relatives and friends, knew it, and, flushed with emotion, did not care.” The author adopts an appropriately clipped evaluative tenor—which was employed by Trollope—to strip the character to his essence in the space of a sentence. Such is Wirenius’ stylistic understanding of Trollope that it is entirely possible to finish reading the 19th-century Phineas Redux and begin the contemporary elaboration in smooth transition. This is in no small part due to Wirenius’ depth of research, which he discusses in his afterword. The author has a profound knowledge of how Trollope writes—from the way he borrows characters from other authors to his tendency to keep the “dates of his novels vague.” Readers not up to speed with the Palliser series would benefit from perusing Trollope, although Wirenius’ thoroughly plausible tale can be read as a stand-alone novel. Fans of Trollope will surely delight in reuniting with their old favorite Finn, even if it is to form their own conclusions on how he compares to the master’s original rendering.

An expert and gracefully executed follow-up to Trollope’s Palliser series.

Pub Date: July 16, 2014

ISBN: 978-1-4991-7732-9

Page Count: 522

Publisher: CreateSpace

Review Posted Online: March 6, 2019

Kirkus Reviews Issue: April 15, 2019

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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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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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