A tender, enlightening debut that, urban setting aside, reads like a comedy of provincial manners.
A gentle evocation of love and faith in Jerusalem’s Orthodox community.
There are peevish singles in the “City of Peace,” a small crowd of Orthodox thirty- and forty-somethings, smart and independent to a fault, whose recreational hours are made up of long-drawn-out flirtations with the Torah. It’s enough to drive a matchmaker up the Weeping Wall. Especially Tsippi, who emerged from Treblinka with an extraordinary motive for making matches (“Every couple she brought together—saliva in Hitler’s stupefied face”). Her chief frustration is Beth, a never-been-kissed American who walks away from a string of favorable dates with Akiva, a sensitive house-painter plagued by violent twitches and spasms. King then seems, like a Jewish Jane Austen, to insinuate into the tale a rakish rival for Beth’s halfhearted affection. But Beth and Binyamin don’t hit it off; the latter, a cynical artist who adds Jewish symbols to his canvases in order to increase sales, finds in every potential mate an intolerable aesthetic flaw. The hyper-virginal and hyper-intellectual Beth becomes a Bridget Jones in reverse, obsessing over her nability to desire a man; she breaks down, buys sexy tangerine panties, makes a play for Akiva. Meanwhile, Tsippi and fellow matchmaker Judy begin to find their own marriages wanting; each discovering, largely through renewed interest in Torah studies, a fervent rekindling of the hearth. Much of the story’s strength rises from King’s generous description of Jerusalem, from fig and acacia trees to synagogues and tomb factories. Especially of interest are the numerous passages involving the characters’ performance of Orthodox rituals and their deep pokings-about into theology. Their religious principles keep the tale on the straight and narrow path of 19th-century literature: there’s no sex here, though Akiva does caress Beth’s shoe with obvious yearning while sitting in the park.
A tender, enlightening debut that, urban setting aside, reads like a comedy of provincial manners.Pub Date: Aug. 1, 2003
ISBN: 0-312-30915-5
Page Count: 256
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2003
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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