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

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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Miller makes Homer pertinent to women facing 21st-century monsters.

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CIRCE

A retelling of ancient Greek lore gives exhilarating voice to a witch.

“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.

Miller makes Homer pertinent to women facing 21st-century monsters.

Pub Date: April 10, 2018

ISBN: 978-0-316-55634-7

Page Count: 400

Publisher: Little, Brown

Review Posted Online: Jan. 23, 2018

Kirkus Reviews Issue: Feb. 1, 2018

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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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