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OVERKILL

THE VATICAN TRIAL OF PIERRE TEILHARD DE CHARDIN, SJ

An ambitious but somewhat confusing graphic novel that seeks to vindicate Teilhard’s works.

De Terra explores the work and reputation of controversial French Jesuit priest and paleontologist Pierre Teilhard de Chardin (1881-1955) in this debut graphic novel.

Teilhard was a divisive figure even in his own lifetime. His radical concepts of “hominization” (“the process leading to reflective life in mankind”), “noogenesis” (“the evolution of consciousness”), and “Omega” (“the point at which the universe will ultimately center upon itself and the climax of evolution”) were influential in the New Age movement, but his views on original sin led to his censure by the Vatican. With this graphic novel, de Terra presents the life of Teilhard, who died in 1955 during his de facto exile in the United States, as well as a fictional, posthumous trial at the Vatican in 2009. In the latter, the deceased Teilhard is charged with heresy and violations of canon law by conservatives who feel that his teachings may cause a schism in the church the likes of which haven’t been seen since the Reformation. Teilhard’s defenders are a pair of Jesuit priests named O’Malley and Azcona who are tasked with reconciling his teachings with Catholic orthodoxy. The story uses flashbacks of various moments in Teilhard’s life—including his experiences in World War I and his work studying Peking Man—and of other revolutionary figures in the history of the church to supplement a theological argument of great consequence, not only for the reputation of Teilhard, but also for the direction of the Catholic Church in its third millennium. The author’s father, Helmut de Terra, was a friend of Teilhard’s, and Helmut’s first wife, Rhoda, served as Teilhard’s assistant for the last years of his life. De Terra bases this graphic novel on their accounts as well as on Teilhard’s prolific letters and publications, and he pieces together scenes using direct quotes and invented dialogue. He keeps the biographical sections intriguing, although readers may wish that he had taken more time in the early pages to explain Teilhard’s concepts and what made them controversial. Instead, he merely presents scene after scene of Vatican rebuffs. The trial itself often lags as various ill-defined priests debate points of theology, and readers may never be quite sure about the stakes of the argument at hand. Additionally, the book’s blending of fact and fiction will do a disservice to many readers, as it often will be quite difficult for them to know which events actually happened and which have been invented by the author. De Terra also exaggerates the cultural influence of Teilhard, comparing him to Martin Luther and placing him on the cover of Time magazine and on T-shirts. The book’s art by Villafuerte is perhaps its greatest selling point, as the page layouts and visual pacing do much to make each spread compelling and digestible. The glossy, full-color pages make this a handsome volume even if the content isn’t quite as thrilling as it might appear on first glance.

An ambitious but somewhat confusing graphic novel that seeks to vindicate Teilhard’s works.

Pub Date: Aug. 3, 2017

ISBN: 978-0-692-63885-9

Page Count: 260

Publisher: BookBaby

Review Posted Online: Aug. 3, 2017

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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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