THE NAVIGATION LOG

Name: THE NAVIGATION LOG
Author: Martin Corrick
ISBN: 0-375-50812-0

by Martin Corrick ‧ RELEASE DATE: April 29, 2003

A little too pat and intermittently predictable to qualify for Masterpiece Theater. But the BBC should be quick to snap it...

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An immensely readable debut, a kind of British Rich Man, Poor Man, set during the early days of the Battle of Britain.

Twin brothers William and Tom Anderson, who will prove quite different temperamentally, are born in 1918 to the sound of armistice bells ringing in the end of WWI. In brief chapters summarizing events of succeeding years, we observe the boys’ childhood through early manhood—often through the eyes of their gossipy neighbors, widowed Marigold Jennings and spinster “Miss Betty.” Corrick overuses this catty pair, though once in a while their pseudoaphoristic observations strike home (e.g., “Devotion is no basis for marriage,” a perverse truism illustrated by the boys’ incompatible parents). Through 1939, we watch William turn scholarly and “poetic” (with a taste for Tennyson), while Tom surrenders himself to the poetry of aviation. The bulk of the tale covers the year 1940, as Tom becomes a Spitfire pilot hopefully pursuing an elusive woman flyer. William, meanwhile, marries an older woman doctor and secures a teaching position at Liberty Hall, a progressive school for preadolescents run by a Panglossian, Blake-quoting obsessive and eccentric neatly named Masterman (“My pedagogic aim is the abolition of irrational belief”). Parallel scenes (often too brief to fully register) detail Tom’s fateful progression toward an airfight over the English Channel, and the mock-Chaucerian “pilgrimage” to Canterbury undertaken by Masterman and company when Liberty Hall is commandeered by the British Army. The introduction of such marginally involved, though thematically crucial, characters as rescued Polish refugee Janosz Pasenik intensifies the skillfully tangled separate stories, which dovetail toward a satisfying close, in a momentarily peaceful churchyard echoing with complex images of death and rebirth.

A little too pat and intermittently predictable to qualify for Masterpiece Theater. But the BBC should be quick to snap it up.

Pub Date: April 29, 2003

ISBN: 0-375-50812-0

Page Count: 304

Publisher: Random House

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2003

Categories:

HISTORICAL FICTION | GENERAL FICTION

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WE WERE THE LUCKY ONES

by Georgia Hunter ‧ RELEASE DATE: Feb. 14, 2017

Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.

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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

Categories:

RELIGIOUS FICTION | HISTORICAL FICTION

- BOOK TO SCREEN
Hulu’s ‘We Were the Lucky Ones’ Adds To Cast

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MAGIC HOUR

by Kristin Hannah ‧ RELEASE DATE: March 1, 2006

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

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Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.