A sometimes-inaccessible collection; the metaphysical tales shine when they stick to allegory.
Rahal offers a collection of short stories and spiritual contemplations addressing God, creation, and the day-to-day distractions that distance people from these ideas.
In another galaxy, the company U-Dream Inc., develops photon-based computers—mind-reading machines that blur the lines between games and dreams and make any fantasy seem real. But NIAM, the artificial intelligence that U-Dream employs, has been infected with a virus that snares its users in a nightmarish world while stealing their memories. The only hope is the company’s specially trained group of operatives, who seek to reveal the falsehoods of NIAM’s parasitic fantasies and awaken those trapped. The collection’s eponymous story is accompanied by others depicting those who fail to challenge perceived truths, including “A Pit Stop,” which features a lone seeker trapped in a hellish, absurdist pit reminiscent of The Divine Comedy(“As you reflected on your situation, your ears picked up the reverberations of wailing howls and piercing shrieks. These seemed to come from the far depths of the tenebrous cavities of the pit”). The fantastical explorations of the concepts of God, creation, fear, and self-control focus on the importance of questioning those in power who maintain illusory systems around themselves and others. Along with these original stories are retellings of parables about figures both real and fictional, including Bar Daysan and Baba Yaga, as well as essays, letters, and a hymn. Rahal uses simple stories with straightforward morals, often set in timeless places, and the characters and settings are mostly archetypal, presented in an ethereal manner. The result is a collection of stories structured like basic, effective fables, which remains true even when the pieces follow SF plotting tropes (imagine Philip K. Dick as part of the oral tradition). In comparison, the sermon-like essays are at times overwhelming with the sheer number of ideas they introduce, although they still fit well in the collection by virtue of their shared themes.
A sometimes-inaccessible collection; the metaphysical tales shine when they stick to allegory.Pub Date: Jan. 4, 2023
ISBN: 9798765237205
Page Count: 174
Publisher: Balboa Press
Review Posted Online: Nov. 22, 2023
Review Program: Kirkus Indie
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
BOOK REVIEW
BOOK REVIEW
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
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