Period melodrama that will appeal to those who enjoy art or are receptive to a new take on Nazi Germany.

READ REVIEW

FUGITIVE COLORS

Barr’s take on early Nazi Germany provides a different perspective in this foray into the pre–World War II period.

Julian moves to Paris after escaping a past that has repressed his artistic identity. It is 1932, and the promising young art student has won acceptance to a famed art school in the City of Light. On his first day, he meets three other young artists who help shape his destiny. René is the handsome son of one of the city’s most important art gallery proprietors; Adrienne is René’s beautiful girlfriend, stolen from Felix, the son of a wealthy German nobleman. Like Julian, all three are Jewish artists in a changing Europe during the early days of Hitler’s ascension to power. The four become fast friends until a stunning model named Charlotte is introduced to the group. Both René and Felix fall for the vacuous artist’s model, while Julian pines for Adrienne. When Felix’s father forces his son to return to Germany to take his rightful place as his father’s successor, Felix begs René and Julian to come with him. Julian, forewarned of the growing antagonism toward the Jews, doesn’t want to go, but René convinces him and brings along Charlotte, with whom he is now having an affair. The three men and Charlotte become caught up in the rapid changes taking effect in Nazi Germany. Barr paints a vivid picture of the era and the effects Hitler’s interest in art had on both artists and Europe in general, and she has an eye for recreating the ambience of Paris in that era. But some of her characters tend to wax a bit over-the-top, while René and Julian behave like they are cast members of a horror movie who, despite knowing their actions are self-destructive, keep tempting fate and make the reader want to shout, “What are you thinking?”

Period melodrama that will appeal to those who enjoy art or are receptive to a new take on Nazi Germany.

Pub Date: Oct. 1, 2013

ISBN: 978-1-61145-894-7

Page Count: 400

Publisher: Arcade

Review Posted Online: July 7, 2013

Kirkus Reviews Issue: July 15, 2013

Did you like this book?

No Comments Yet

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

CILKA'S JOURNEY

In this follow-up to the widely read The Tattooist of Auschwitz (2018), a young concentration camp survivor is sentenced to 15 years’ hard labor in a Russian gulag.

The novel begins with the liberation of Auschwitz by Soviet troops in 1945. In the camp, 16-year-old Cecilia "Cilka" Klein—one of the Jewish prisoners introduced in Tattooist—was forced to become the mistress of two Nazi commandants. The Russians accuse her of collaborating—they also think she might be a spy—and send her to the Vorkuta Gulag in Siberia. There, another nightmarish scenario unfolds: Cilka, now 18, and the other women in her hut are routinely raped at night by criminal-class prisoners with special “privileges”; by day, the near-starving women haul coal from the local mines in frigid weather. The narrative is intercut with Cilka’s grim memories of Auschwitz as well as her happier recollections of life with her parents and sister before the war. At Vorkuta, her lot improves when she starts work as a nurse trainee at the camp hospital under the supervision of a sympathetic woman doctor who tries to protect her. Cilka also begins to feel the stirrings of romantic love for Alexandr, a fellow prisoner. Though believing she is cursed, Cilka shows great courage and fortitude throughout: Indeed, her ability to endure trauma—as well her heroism in ministering to the sick and wounded—almost defies credulity. The novel is ostensibly based on a true story, but a central element in the book—Cilka’s sexual relationship with the SS officers—has been challenged by the Auschwitz Memorial Research Center and by the real Cilka’s stepson, who says it is false. As in Tattooist, the writing itself is workmanlike at best and often overwrought.

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-26570-8

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Oct. 28, 2019

Kirkus Reviews Issue: Nov. 15, 2019

Did you like this book?

No Comments Yet

If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be...

LOVECRAFT COUNTRY

Some very nice, very smart African-Americans are plunged into netherworlds of malevolent sorcery in the waning days of Jim Crow—as if Jim Crow alone wasn’t enough of a curse to begin with.

In the northern U.S. of the mid-1950s, as depicted in this merrily macabre pastiche by Ruff (The Mirage, 2012, etc.), Driving While Black is an even more perilous proposition than it is now. Ask Atticus Turner, an African-American Korean War veteran and science-fiction buff, who is compelled to face an all-too-customary gauntlet of racist highway patrolmen and hostile white roadside hamlets en route from his South Side Chicago home to a remote Massachusetts village in search of his curmudgeonly father, Montrose, who was lured away by a young white “sharp dresser” driving a silver Cadillac with tinted windows. At least Atticus isn’t alone; his uncle George, who puts out annual editions of The Safe Negro Travel Guide, is splitting driving duties in his Packard station wagon “with inlaid birch trim and side paneling.” Also along for the ride is Atticus’ childhood friend Letitia Dandridge, another sci-fi fan, whose family lived in the same neighborhood as the Turners. It turns out this road trip is merely the beginning of a series of bizarre chimerical adventures ensnaring both the Turner and Dandridge clans in ancient rituals, arcane magical texts, alternate universes, and transmogrifying potions, all of which bears some resemblance to the supernatural visions of H.P. Lovecraft and other gothic dream makers of the past. Ruff’s ripping yarns often pile on contrivances and overextend the narratives in the grand manner of pulp storytelling, but the reinvented mythos here seems to have aroused in him a newfound empathy and engagement with his characters.

If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be doing triple axels in his grave at the way his imagination has been so impudently shaken and stirred.

Pub Date: Feb. 16, 2016

ISBN: 978-0-06-229206-3

Page Count: 432

Publisher: Harper/HarperCollins

Review Posted Online: Nov. 4, 2015

Kirkus Reviews Issue: Nov. 15, 2015

Did you like this book?

more