A lucid history of the Jewish experience after World War II, but unsatisfying as a fictional tale of real people in the...
In this historically panoramic drama, the horror of the holocaust permanently binds and alters the lives of two German boys.
Leo Bergner is a young Jewish boy whose otherwise quiet middle-class upbringing is ruptured by the rise of the Third Reich. After fleeing his native Germany in order to escape the persecution that envelops his parents, Leo matures into a committed Zionist, becoming a British officer to defend Israel against its anti-Semitic adversaries, Nazi and Arab alike. Leo’s childhood piano teacher, Bruno Franzmann, follows a different trajectory: He works for the Nazis as an administrator at a concentration camp. A wave of consequence washes over all who sided with the Fuhrer when it becomes clear that Allied Powers will prevail, so Bruno decamps for Buenos Aires. There he hopes to begin a criminal enterprise centered on bribing former Nazis bent on concealing their identities. The narrative leads the reader to the final crescendo, their reunion: Now a well-heeled banker, Leo discovers a vast financial conspiracy that facilitated the looting of Jewish property during the war, which draws him into Bruno’s nefarious dealings. Maitland-Lewis’ tale is scrupulously researched, saturated with rich historical detail. His account often deftly depicts both the gradual unfurling of Nazi atrocities and the psychological trauma thrust upon so many Jews as a result. While Leo struggles with the pathos of a fractured identity—his German nationality pitted against his Jewish religion—Bruno abandons all sense of allegiance to his own narrowly conceived self-interest. Problematically, such an ambitious psychodrama requires deeply textured characters and a nuanced exploration of their motives, which Maitland-Lewis doesn’t fully offer. A few developments don’t add up—Bruno’s growth from a morally divested Nazi collaborator to anti-Nazi compatriot or hardnosed Leo’s sympathy for him. The story seems to be designed as a moral parable, but the lesson isn’t quite clear.
A lucid history of the Jewish experience after World War II, but unsatisfying as a fictional tale of real people in the throes of moral crisis.Pub Date: Nov. 30, 2011
ISBN: 78-0983259633
Page Count: 334
Publisher: Glyd-Evans Press
Review Posted Online: March 5, 2012
Review Program: Kirkus Indie
Briskly written soap with down-to-earth types, mostly without the lachrymose contrivances of Hannah’s previous titles...
Sisters in and out of love.
Meghann Dontess is a high-powered matrimonial lawyer in Seattle who prefers sex with strangers to emotional intimacy: a strategy bound to backfire sooner or later, warns her tough-talking shrink. It’s advice Meghann decides to ignore, along with the memories of her difficult childhood, neglectful mother, and younger sister. Though she managed to reunite Claire with Sam Cavenaugh (her father but not Meghann’s) when her mother abandoned both girls long ago, Meghann still feels guilty that her sister’s life doesn’t measure up, at least on her terms. Never married, Claire ekes out a living running a country campground with her dad and is raising her six-year-old daughter on her own. When she falls in love for the first time with an up-and-coming country musician, Meghann is appalled: Bobby Austin is a three-time loser at marriage—how on earth can Claire be so blind? Bobby’s blunt explanation doesn’t exactly satisfy the concerned big sister, who busies herself planning Claire’s dream wedding anyway. And, to relieve the stress, she beds various guys she picks up in bars, including Dr. Joe Wyatt, a neurosurgeon turned homeless drifter after the demise of his beloved wife Diane (whom he euthanized). When Claire’s awful headache turns out to be a kind of brain tumor known among neurologists as a “terminator,” Joe rallies. Turns out that Claire had befriended his wife on her deathbed, and now in turn he must try to save her. Is it too late? Will Meghann find true love at last?
Briskly written soap with down-to-earth types, mostly without the lachrymose contrivances of Hannah’s previous titles (Distant Shores, 2002, etc.). Kudos for skipping the snifflefest this time around.Pub Date: May 1, 2003
ISBN: 0-345-45073-6
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: April 1, 2003
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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