This drama of nuclear dawn fails to launch.
A story of wartime romance amid the moral quandaries of the Manhattan Project.
Kiernan is known for tackling big topics—the depredations of war (The Baker’s Secret, 2017, etc.) and scientific overreach (The Curiosity, 2013)—and this novel attempts to follow suit. When Brenda Dubie, a talented, conservatory-bound organist, meets Charlie Fish, she’s not impressed by the gangling math whiz despite his Harvard degree. Their accounts of what ensues alternate: hers in first person, at times looking back from the vantage point of an old woman, and his, in third person. Charlie is working on top-secret wartime projects at the University of Chicago, but his superiors are also not impressed by him—he's banished to a basement, where he, and we, learns far more than we’d ever hoped to about the niceties of soldering electrical circuits. Egged on by a mother who regrets her own shrewish behavior now that her husband and son are off to war, Brenda cautiously embarks on a courtship with Charlie. But as Brenda strives to suppress her spunkiness in order to support a vision of masculinity that doesn't even appear to be Charlie’s priority, Charlie is sent to New Mexico. Turns out all that soldering instilled just the detonation know-how required for the nascent A-bomb, aka The Gadget. Charlie, kind and humane, hates the idea of being, in effect, the Trigger (his nickname) for civilization’s potential destruction. His internal conflict is far more interesting than the romance. Brenda’s retrospective musings reveal a long marriage to Charlie. Kiernan overcompensates for that loss of suspense, interposing obstacles in the path of true love—a half-hearted detour with a handsome airman on Brenda’s part—but they’re mostly snits and misunderstandings that aren’t believably characteristic of either protagonist. Kiernan’s view of American women’s roles in World War II seems outdated even for that time. Contemporaneous accounts of the homefront belie his apparent supposition that all women did was pine for manly, battle-hardened men.
This drama of nuclear dawn fails to launch.Pub Date: May 5, 2020
ISBN: 978-0-06-287844-1
Page Count: 464
Publisher: Morrow/HarperCollins
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
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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