The battlefield and hospital scenes convey Lemaitre’s mastery of imagery, but his characters—Edouard in particular—fail to...
The battlefields of World War I give birth to two different, but related, schemes to swindle grieving French families out of their money.
It’s November 1918, and word is that an armistice is nigh: French soldiers on the battlefield are keenly aware that they may be going home. Thus it's with great dismay that Albert Maillard finds himself back in the fight following the shooting of two soldiers, "an old man and a kid," who were sent on a reconnaissance mission by Lt. Henri d'Aulney-Pradelle. When Albert comes across their bodies in the ensuing battle, he realizes the officer shot his own men in the back to restart the fighting, but before he can tell anyone, he finds himself buried alive after d'Aulney-Pradelle pushes him into a shell crater that then collapses on him. That's when he meets fellow soldier Edouard Pericourt, who digs him out and resuscitates him and who is then wounded himself when he catches a piece of shrapnel in the face. The shrapnel wound is terrible—it "ripped away his lower jaw; below his nose is a gaping void"—but Edouard, the artistic son of a rich man, refuses to allow any type of reconstructive surgery. He lets his family think he's dead so they won't have to see him with his terrible injury. Albert keeps him alive and, when he's released from the hospital, stays with him out of a sense of duty. Together, the two men concoct a scam to support themselves by selling war memorials they don't intend to build, while d'Aulney-Pradelle, who has married Edouard’s sister, Madeleine, becomes involved in another scam to rebury French soldiers in undersized coffins. Lemaitre’s tale is carefully researched, and most of the story’s value lies in its historical authenticity. The book is much too long and often repetitive, and the character of Edouard is both bizarre and unsympathetic: Lemaitre never establishes a reason why he would refuse further medical intervention.
The battlefield and hospital scenes convey Lemaitre’s mastery of imagery, but his characters—Edouard in particular—fail to arouse much empathy in readers.Pub Date: Sept. 22, 2015
ISBN: 978-1-62365-903-5
Page Count: 448
Publisher: MacLehose Press
Review Posted Online: June 29, 2015
Kirkus Reviews Issue: July 15, 2015
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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
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