A suspenseful bridge to the final volume of a historical fiction series.
This second installment of a trilogy focuses on a musician in pre-World War II Germany.
Alejandra Stanford Morrison is a strong-willed woman with ambitions to become a symphony conductor, though it defies the gender expectations of the 1930s. When she learns of her acceptance into a prestigious conservatory in Berlin, her ecstasy is met with reluctance from her husband, Richard, who fears the extended separation between Alejandra and her family (which includes three children). But he eventually voices his support, leaving her in Germany with their Jewish friends Hannah and Ben Adelman. Part One chronicles their travels and musical training amid increasing political tensions in Germany and Austria. Meanwhile, Alejandra faces another kind of turmoil: finding a balance between her professional activities and her domestic life. But most of the drama centers on Alejandra thwarting the romantic advances of a new German friend named Anton Everhardt while trying to halt her own interest in him. After returning to her Minnesota home for a few peaceful years, she travels back to Europe upon learning of the disappearance of Ben and Hannah, and their son, Joseph. After enlisting the help of Anton to locate them, she soon finds her own life in peril as well as Anton’s and Richard’s. In the book’s first half, readers must wade through extensive musical and artistic commentary to follow a plot that overall lacks intensity. Fortunately, the momentum eventually accelerates with the emergence of more serious conflicts, finally leaving readers with a cliffhanger that should entice them to pick up the next volume. Calatayud-Stocks (A Song in My Heart, 2011) portrays her characters clearly, each with a unique voice and agenda, but they require more complexity to avoid becoming predictable and stagnant. In addition, the dialogue is sometimes stilted and too revealing (“I accept your generous gift, and I’m shocked, ecstatic, and bewildered”) and needs to be better supplemented with the characters’ actions and nonverbal cues. But even with these flaws, this novel raises stimulating questions regarding work/life balance and the entwinement of art and politics. And for culture enthusiasts, the author once again offers musical selections corresponding to each chapter.
A suspenseful bridge to the final volume of a historical fiction series.Pub Date: Aug. 5, 2018
ISBN: 978-0-9987319-3-3
Page Count: 428
Publisher: Calumet Editions
Review Posted Online: Aug. 7, 2018
Review Program: Kirkus Indie
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
The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...
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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