Mosse’s prose has a gossamer quality well suited to the fantasy she spins.
Romantic spookery in a small village in southwest France in the 1920s, from Mosse (Sepulchre, 2008, etc.), co-founder of the Orange Prize for Fiction.
Freddie Watson is a man on a mission. Parchment manuscript in hand, he goes to a bookstore in Toulouse to find someone able to translate Occitan, the medieval language of the region, into English. From that moment unfolds a tale that had begun several years before, on which one winter’s night Freddie had found himself traveling through the remote area of Occitania. Freddie’s recent past had been characterized by melancholia, a condition created by his distant and unloving parents as well as by the death of his beloved older brother George the day before the first assault on the Somme. For five years after he received news of George’s death, Freddie tried to repress his grief, but he finally had a mental breakdown and was hospitalized. Even in 1928 he still feels traumatized by the war that had taken his brother away. When he finds himself stranded in a remote valley, he begins to enter briefly into the life of the village (appropriately called Nulle), which is about to celebrate the fête de St. Etienne, a fixture of communal life since medieval times. At the local Ostal he meets the inscrutable and mysterious Fabrissa, a lovely, delicate woman who seems to know more about Freddie’s loss than is humanly possible. Freddie is of course dazzled by this bewildering and bewitching woman, and the townspeople are mystified as well when Freddie tries to tell them about his encounter, for they know of no one named Fabrissa. A story eventually emerges about a village tragedy that had occurred in the 14th century, when Catharism was rampant in the area and the villagers had taken refuge in some local caves. Fabrissa—or her ghostly self—ultimately helps Freddie deal with his painful present and serves as a redemptive force in his life.
Mosse’s prose has a gossamer quality well suited to the fantasy she spins.Pub Date: Feb. 1, 2011
ISBN: 978-0-399-15715-8
Page Count: 288
Publisher: Putnam
Review Posted Online: Dec. 2, 2010
Kirkus Reviews Issue: Dec. 1, 2010
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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