A real-life modernist relationship is revived with commitment if not quite enough conviction.

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NEVER ANYONE BUT YOU

An intense clandestine love affair between two Frenchwomen during the first half of the 20th century spans art and literature, war and imprisonment, madness and devotion.

In his 10th novel, British writer Thomson (Katherine Carlyle, 2015, etc.) traces the intertwined biographies of two historical challengers of convention: Suzanne Malherbe, aka Marcel Moore, and Lucie Schwob, aka Claude Cahun. Their teenage attraction, which blossomed into adult love, was shielded by the fact that Suzanne’s widowed mother and Lucie’s divorced father fell in love and married, transforming the women into stepsisters. The daughter of a schizophrenic mother, Claude is impulsive and volatile, anorexic, sometimes suicidal, a cross-dresser who explores creativity in various forms, including acting and writing. Marcel, an illustrator and photographer, is the more grounded, less wayward of the two. After growing up in Nantes, the two women move to Paris in 1920, where they mingle with Dadaists, surrealists, and the avant-garde. Dalí makes an appearance, as do Hemingway, André Breton, and others. A sequence of holidays spent in the Channel Isles leads to a decision to move there in 1937, but the Nazi occupation in 1940 destroys the women’s idyllic life. For the next four years, Claude and Marcel perform their own acts of resistance, printing and distributing subversive leaflets, but their semi-creative actions lead to dark consequences when the Germans arrest, interrogate, and imprison them for months. It’s the war experiences of Claude and Marcel and their circle that strike the most memorable, penetrating note in this loosely spun account of bohemian choices. Thomson approaches the women’s story with poetic empathy, yet the result can seem scant and oddly paced, swooping in for consequential moments, then jumping ahead without connection. The effect is both beguiling and detached.

A real-life modernist relationship is revived with commitment if not quite enough conviction.

Pub Date: June 5, 2018

ISBN: 978-1-59051-913-4

Page Count: 368

Publisher: Other Press

Review Posted Online: March 20, 2018

Kirkus Reviews Issue: April 1, 2018

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An exuberant comic opera set to the music of life.

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DEACON KING KONG

The versatile and accomplished McBride (Five Carat Soul, 2017, etc.) returns with a dark urban farce crowded with misjudged signals, crippling sorrows, and unexpected epiphanies.

It's September 1969, just after Apollo 11 and Woodstock. In a season of such events, it’s just as improbable that in front of 16 witnesses occupying the crowded plaza of a Brooklyn housing project one afternoon, a hobbling, dyspeptic, and boozy old church deacon named Cuffy Jasper "Sportcoat" Lambkin should pull out a .45-caliber Luger pistol and shoot off an ear belonging to the neighborhood’s most dangerous drug dealer. The 19-year-old victim’s name is Deems Clemens, and Sportcoat had coached him to be “the best baseball player the projects had ever seen” before he became “a poison-selling murderous meathead.” Everybody in the project presumes that Sportcoat is now destined to violently join his late wife, Hettie, in the great beyond. But all kinds of seemingly disconnected people keep getting in destiny's way, whether it’s Sportcoat’s friend Pork Sausage or Potts, a world-weary but scrupulous white policeman who’s hoping to find Sportcoat fast enough to protect him from not only Deems’ vengeance, but the malevolent designs of neighborhood kingpin Butch Moon. All their destines are somehow intertwined with those of Thomas “The Elephant” Elefante, a powerful but lonely Mafia don who’s got one eye trained on the chaos set off by the shooting and another on a mysterious quest set in motion by a stranger from his crime-boss father’s past. There are also an assortment of salsa musicians, a gentle Nation of Islam convert named Soup, and even a tribe of voracious red ants that somehow immigrated to the neighborhood from Colombia and hung around for generations, all of which seems like too much stuff for any one book to handle. But as he's already shown in The Good Lord Bird (2013), McBride has a flair for fashioning comedy whose buoyant outrageousness barely conceals both a steely command of big and small narrative elements and a river-deep supply of humane intelligence.

An exuberant comic opera set to the music of life.

Pub Date: March 3, 2020

ISBN: 978-0-7352-1672-3

Page Count: 384

Publisher: Riverhead

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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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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