Readers of the first four volumes will enjoy this conclusion. Others who are interested should read these feel-good books in...
The fifth volume in the Walk series brings it to a pedestrian close.
Followers of the series know that Alan Christoffersen is walking across America to mend his broken heart after his wife’s death. Starting in Seattle, his goal is Key West. When he reaches Jacksonville, Florida, news arrives of a dire family emergency, so he flies home to deal with it. Afterward, he returns to his walk, during which he mulls over the meaning of life and occasionally trades wisdom with strangers. One of them says Christoffersen is “like most of humanity, looking for something that’s ultimately not worth finding.” But Christoffersen disagrees. He's looking for hope. This last leg of his journey is about 500 miles of straight line, which pretty much describes the plot. Every day he walks 20 miles, give or take a few, and every day he says what he eats and whom he meets. Fine. This is a journal, after all. But there are no surprises, mysteries, twists, setbacks or disasters except for the one beginning the tale. He deeply misses his wife, of course, and is now in love with a woman he’s never kissed and who's engaged to marry another man. Meanwhile, he claims to be “not wired for celibacy,” yet he calmly rebuffs the advances of two lusty sirens in a bar without even reporting a tingle below the belt. From his journal entries, Christoffersen appears to be a man without fault. No, he doesn’t compare himself to Jesus, but the metaphor is clear. After a rain, he realizes he's “walking on water,” but it’s no Sea of Galilee. Anyone can walk on water this shallow.
Readers of the first four volumes will enjoy this conclusion. Others who are interested should read these feel-good books in sequence, starting with The Walk.Pub Date: May 6, 2014
ISBN: 978-1-4516-2831-9
Page Count: 320
Publisher: Simon & Schuster
Review Posted Online: May 6, 2014
Kirkus Reviews Issue: May 15, 2014
These letters from some important executive Down Below, to one of the junior devils here on earth, whose job is to corrupt mortals, are witty and written in a breezy style seldom found in religious literature. The author quotes Luther, who said: "The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn." This the author does most successfully, for by presenting some of our modern and not-so-modern beliefs as emanating from the devil's headquarters, he succeeds in making his reader feel like an ass for ever having believed in such ideas. This kind of presentation gives the author a tremendous advantage over the reader, however, for the more timid reader may feel a sense of guilt after putting down this book. It is a clever book, and for the clever reader, rather than the too-earnest soul.
Pub Date: Jan. 1, 1942
ISBN: 0060652934
Page Count: 53
Publisher: Macmillan
Review Posted Online: Oct. 17, 2011
Kirkus Reviews Issue: June 15, 1943
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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