There’s no doubt about Behrens’ talent, but the tragic romance at the novel’s center doesn't equal the power of his sobering...

CARRY ME

Behrens (The O’Briens, 2011, etc.) again casts his searching eye over the interaction of history and personal destiny, following two families from Edwardian England to Nazi Germany.

Billy Lange and Karin Weinbrenner are born a year apart on the Isle of Wight, at the summer home maintained year-round by Billy’s parents for Karin’s wealthy German-Jewish father. This accident of geography gives Billy and Karin British passports and a means of escape when, three decades later, they are lovers in Germany watching with horrified disbelief as the Nazis make racist street violence an everyday event. Billy’s narrative of that grim year, 1938, begins immediately following his account of his birth and alternates with the chronicle of his deepening relationship with Karin as the two grow up. Their idyllic childhood is shattered by World War I. Billy’s father, the son of a German sea captain, is arrested as a spy and interned, then deported in 1919. Behrens quietly makes the point that brutality and xenophobia are regrettably universal human traits, though their manifestation in Nazi thugs is more apocalyptic than the routine cruelty of British bureaucrats. Baron von Weinbrenner, his Isle of Wight residence now confiscated, provides refuge and employment for the Langes at his estate outside Frankfurt. Behrens’ sensitive insights into the human heart are evident in his characterizations. The baron, an old-school patriot who insists to the end that “Germany was his country, not [the Nazis’],” is particularly poignant, but Billy’s stinging self-portrait of an honorable man not quite brave enough to raise his voice against the growing madness is also powerful and disturbing. Regrettably, free-spirited Karin is more schematic, as is the uninteresting obsession with the Winnetou novels of Karl May that takes her and Billy to wintry New Mexico for a denouement that feels overly staged, though unquestionably sad.

There’s no doubt about Behrens’ talent, but the tragic romance at the novel’s center doesn't equal the power of his sobering meditations on the fragility of human decency.

Pub Date: Feb. 23, 2016

ISBN: 978-1-101-87049-5

Page Count: 464

Publisher: Pantheon

Review Posted Online: Dec. 7, 2015

Kirkus Reviews Issue: Dec. 15, 2015

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Miller makes Homer pertinent to women facing 21st-century monsters.

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CIRCE

A retelling of ancient Greek lore gives exhilarating voice to a witch.

“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.

Miller makes Homer pertinent to women facing 21st-century monsters.

Pub Date: April 10, 2018

ISBN: 978-0-316-55634-7

Page Count: 400

Publisher: Little, Brown

Review Posted Online: Jan. 23, 2018

Kirkus Reviews Issue: Feb. 1, 2018

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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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THE TATTOOIST OF AUSCHWITZ

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 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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