An unflinching, nightmarish fable with plenty of smarts behind it.



A German family struggles for survival in the Venezuelan jungle after World War II, in a story thick with bloodshed and allegory.

Erich, the narrator of the second novel by Krol (Callisto, 2009), is a 16-year-old boy forced to grow up fast. His father died on the Russian front, and with no prospects in a decimated Nazi Germany, his mother opts to uproot Erich and his younger brother Zeppi and move to Venezuela. There she marries her brother-in-law Klaus. It’s purely a marriage of convenience (Klaus is a former SS officer eager to obscure his work in the concentration camps), and as if to punish the family for its inauthenticity, their plane crashes into a river deep in the jungle. They’re soon discovered by the Yayomi, a tribe that welcomes them thanks only to Gerhard Wentzler, a German researcher who’s been living with the natives while the Nazis laid waste to Europe. Wentzler soothes the Yayomi by saying the new arrivals are nonthreatening “dolphin people,” but, this being a story of culture clashes, the strategy doesn’t last long. Krol’s twist on lost-in-nature stories like Life of Pi and The Mosquito Coast is to emphasize Erich’s pubescent obsession with sex, manliness and authority, along with his immaturity (he clings to his dad’s Iron Cross, not to mention his anti-Semitism). That makes for a sometimes unseemly amount of detail about bodily functions, as Krol details the tribe’s bathroom behavior and Erich’s intimate relationship with a young native woman; moreover, Zeppi turns out to be a hermaphrodite, and terrifyingly bloodthirsty creatures lurk in the river. But Krol is admirably determined to explore the pure primal essence of each of his characters, and however off-putting some plot points might be, his writing is sharp, capturing the emotional zigzagging of his adolescent narrator without losing his grip on the plot. With the theme of anti-Semitism slowly becoming more amplified as the story moves along, Krol expertly turns his adventure story into a pointed commentary on the nature of tribal hatred.

An unflinching, nightmarish fable with plenty of smarts behind it.

Pub Date: Nov. 17, 2009

ISBN: 978-0-06-167296-5

Page Count: 384

Publisher: Perennial/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 2009

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Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.


In this follow-up to the widely read The Tattooist of Auschwitz (2018), a young concentration camp survivor is sentenced to 15 years’ hard labor in a Russian gulag.

The novel begins with the liberation of Auschwitz by Soviet troops in 1945. In the camp, 16-year-old Cecilia "Cilka" Klein—one of the Jewish prisoners introduced in Tattooist—was forced to become the mistress of two Nazi commandants. The Russians accuse her of collaborating—they also think she might be a spy—and send her to the Vorkuta Gulag in Siberia. There, another nightmarish scenario unfolds: Cilka, now 18, and the other women in her hut are routinely raped at night by criminal-class prisoners with special “privileges”; by day, the near-starving women haul coal from the local mines in frigid weather. The narrative is intercut with Cilka’s grim memories of Auschwitz as well as her happier recollections of life with her parents and sister before the war. At Vorkuta, her lot improves when she starts work as a nurse trainee at the camp hospital under the supervision of a sympathetic woman doctor who tries to protect her. Cilka also begins to feel the stirrings of romantic love for Alexandr, a fellow prisoner. Though believing she is cursed, Cilka shows great courage and fortitude throughout: Indeed, her ability to endure trauma—as well her heroism in ministering to the sick and wounded—almost defies credulity. The novel is ostensibly based on a true story, but a central element in the book—Cilka’s sexual relationship with the SS officers—has been challenged by the Auschwitz Memorial Research Center and by the real Cilka’s stepson, who says it is false. As in Tattooist, the writing itself is workmanlike at best and often overwrought.

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-26570-8

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Oct. 28, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be...


Some very nice, very smart African-Americans are plunged into netherworlds of malevolent sorcery in the waning days of Jim Crow—as if Jim Crow alone wasn’t enough of a curse to begin with.

In the northern U.S. of the mid-1950s, as depicted in this merrily macabre pastiche by Ruff (The Mirage, 2012, etc.), Driving While Black is an even more perilous proposition than it is now. Ask Atticus Turner, an African-American Korean War veteran and science-fiction buff, who is compelled to face an all-too-customary gauntlet of racist highway patrolmen and hostile white roadside hamlets en route from his South Side Chicago home to a remote Massachusetts village in search of his curmudgeonly father, Montrose, who was lured away by a young white “sharp dresser” driving a silver Cadillac with tinted windows. At least Atticus isn’t alone; his uncle George, who puts out annual editions of The Safe Negro Travel Guide, is splitting driving duties in his Packard station wagon “with inlaid birch trim and side paneling.” Also along for the ride is Atticus’ childhood friend Letitia Dandridge, another sci-fi fan, whose family lived in the same neighborhood as the Turners. It turns out this road trip is merely the beginning of a series of bizarre chimerical adventures ensnaring both the Turner and Dandridge clans in ancient rituals, arcane magical texts, alternate universes, and transmogrifying potions, all of which bears some resemblance to the supernatural visions of H.P. Lovecraft and other gothic dream makers of the past. Ruff’s ripping yarns often pile on contrivances and overextend the narratives in the grand manner of pulp storytelling, but the reinvented mythos here seems to have aroused in him a newfound empathy and engagement with his characters.

If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be doing triple axels in his grave at the way his imagination has been so impudently shaken and stirred.

Pub Date: Feb. 16, 2016

ISBN: 978-0-06-229206-3

Page Count: 432

Publisher: Harper/HarperCollins

Review Posted Online: Nov. 4, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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