A novel that offers insight into the renowned author and his native land.
An early, epic novel by the late Nobel Prize winner, for completists steeped in knowledge of the author’s work and his native Portugal.
Though this novel won the City of Lisbon Prize upon publication in 1980 and has since been praised as both seminal stylistically and deeply personal, this translation represents its first publication in English, more than three decades later. And even fans of the fables and parables of Saramago (Blindness, 1998, etc.) will likely find the novel a mixed bag, with flashes of brilliance offset by stretches of tedium, amid oblique references to Portuguese politics and culture that brief footnotes can barely illuminate. The novel encompasses three generations of the agrarian peasant Mau Tempo family, treated little better than cattle by the landowners who employ them. “These men and women were born to work, like good to average livestock,” writes the author, whose own family origins were similar. At times, the narrative slips into first-person from different characters, at other times, it offers the perspective of an ant, and yet other times, the distinction between the ant’s view and a human’s might be obliterated. Similarly, the authorial presence is very much in evidence throughout, with a droll tone, though the lack of any progress over the course of decades and generations seems tragic. “[W]e’re so used to laughter turning into tears or a howl of rage so loud it could be heard in heaven, not that there is any heaven,” he writes, of a conspiratorial exploitation that finds the church and government in league with each other, supporting the status quo, exercising power over the powerless. Even the natural order can’t provide solace, since “nature displays remarkable callousness when creating her various creatures.” As in the American naturalism of Frank Norris and Stephen Crane more than a century ago, the characters are but cogs in a big, cold machine, born to die but supplying their own replacements before they do.
A novel that offers insight into the renowned author and his native land.Pub Date: Dec. 4, 2012
ISBN: 978-0-15-101325-8
Page Count: 384
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Sept. 24, 2012
Kirkus Reviews Issue: Oct. 15, 2012
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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