Tag Archives: 1941

Trauma and Post-Trauma: Death at Greenway

30 Monday May 2022

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Review: Death at Greenway, by Lori Rader-Day
Morrow, 2021. 414 pp. $28

Bridget Kelly, a nineteen-year-old nurse-in-training, has been dismissed from a London hospital, probably an unusual occurrence to begin with. Worse, this is April 1941, wartime, and with nurses in such short supply, you just know Bridget must have messed up horribly. In her parting words, the nurse matron has harangued Bridget for coldness, arrogance, inability to concentrate, and more besides. Whew.

But Matron has given her one last chance: to accompany a group of young children to Devon, where they’re to be evacuated for the war’s duration, presumably safe from the bombs hitting London daily. The country house that will be their billet belongs to Agatha Christie, a fact of no consequence to Bridget, who doesn’t read stories — they hit her in the gut, literally.

Agatha Christie, Dame of the British Empire, in 1958; photo of a plaque (courtesy Torre Abbey.jpg: Violetriga, via Wikimedia Commons)

Rather, she’s wondering how to manage ten children, a chore that scares her, and for which she thinks she has no aptitude. Meanwhile, she’s reeling from the deaths of her mother and younger siblings from a German bomb, so the sight of any child can be dangerous for her.

When she first sets eyes on her charges-to-be at the train station, her heart sinks, because she has imagined older children, easier to care for:

The children were tots, baby fat in their knees below shorts and skirts, socks pulled up or sliding, shoes scuffed or untied. They had tags affixed to their coats and child-sized gas masks in paper cases and straps around their necks. They wore caps or hats or bonnets and flung them to the ground in a tantrum. Those who were carried by their mums kicked to be let down. Two were infants, dear God.

But Bridget has one hope, a fellow nurse to share the load — until that nurse, who claims also to be named Bridget Kelly, doesn’t seem to know the first thing about children, the human body, or caring for anyone else’s needs. For that matter, as Bridget discovers, few people or things she runs across are as they seem. No sooner have they arrived in Devon than she has her doubts about the house staff, the people leading the evacuation, and the local characters, whose intense suspicion of outsiders may have a darker side.

Her skepticism is often warranted, but as Matron’s criticisms ring repeatedly in her ears, you begin to wonder just what was going on there. For instance, is Bridget really arrogant? Hardly; she’s too self-effacing by half. She only seems withdrawn, because when circumstances call for intense emotion, her post-traumatic stress kicks in, manifesting itself as the aforementioned hits to the gut. And that, of course, she can’t reveal.

But that’s only for starters. As she tries to settle in, an intruder or two stalks the property, precious food supplies go missing, and, eventually, a dead body washes up on shore. Connected events, or coincidental?

Mysteries and thrillers generally go by the moniker of plot-driven, but not Death at Greenway. This one’s character all the way, and it’s masterful. You get the nurses, the staff, the neighbors, the atmosphere, the house, the PTSD, and they all move the story. Aside from Bridget and her nursing colleague, I single out the local doctor, who’s too handsome by half and sensitive to feelings but somehow off, and an artist living on the property who’s got a battleship-sized sense of entitlement.

Rader-Day peels back layer upon layer of mystery, misunderstanding, and “no — and furthermore.” If the narrative proceeds more gradually than in other mysteries — the dead body, for instance, doesn’t show up until page 115 – the tension nevertheless keeps you riveted.

How? The author shows you Bridget beneath the skin and the fear, isolation, and resentment everyone breathes with each inhalation, which marks them and makes for potent drama. I admire that kind of storytelling, which doesn’t need a man with a gun to raise the stakes. This narrative may seem “quiet” for a mystery, to use a publishing buzzword that no two people define the same way. Gentle reader, don’t be deterred.

I’ve also never read as gripping or accurate a description of post-traumatic stress, unless it was in Daniel Mason’s fine novel, The Winter Soldier — and he’s a psychiatrist. Moreover, Rader-Day captures the underside of Britain’s so-called finest hour, portraying less-than-heroic behaviors, reminiscent of Lissa Evans’s novels, though without the irony or humor. Here in Devon, they’re playing for keeps.

For those who like Agatha Christie — I don’t particularly — the setting will appeal as well. And just in case you’re thinking from what I’ve said that the mystery must take second place to the characterization and somehow muddle its way through, let me assure you that the plot goes through as many twists and turns as the seaside Devon roadways.

Death at Greenway is a fine mystery and a brilliant re-creation of the British home front, worth your time in both respects.

Disclaimer: I obtained my reading copy of this book from the public library.

Love’s Pretty Confusing: The Blue Star

05 Monday Oct 2020

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Review: The Blue Star, by Tony Earley
Little, Brown, 2008. 304 pp. $15

Autumn 1941 sees Jim Glass begin his senior year of high school in Aliceville, a tiny town in rural North Carolina. Though aware of war that has yet to involve the United States, and therefore him, he’s more focused on his love life. Having recently broken up with Norma Harris, the prettiest girl in the school, because she’s a know-it-all and won’t kiss him, Jim falls hard for Chrissie Steppe, part Cherokee and wholly mature for her age, which Jim isn’t.

Alfred T. Palmer’s May 1942 photo of a U.S. Marine Corps motor detachment, New River, North Carolina (courtesy Farm Security Administration or Office of War Information, via Wikimedia Commons; public domain)

She’s also the girlfriend of Bucky, a boy who graduated the previous year and joined the Navy. Bucky’s father employs Chrissie’s family, which, in his case, also means he controls them. By all accounts, Bucky takes after his father, though with a little more polish. Jim knows him as a selfish former baseball teammate, and rumor has it Bucky assumes Chrissie to be his property; her feelings don’t matter.

The Blue Star is a sequel to the delightful, warm-hearted Jim the Boy, which depicts the protagonist at age ten, trying to understand the father who died the week before he was born. The boy’s three unmarried uncles do their best to teach him life lessons and spring him, when they can, from the shackles of his overprotective, widowed mother.

In The Blue Star, they’re much the same, not taking themselves too seriously and attempting to pass that attitude onto Jim, with mixed success. Love is one thing a mentor can talk about all he likes; it’s the boy himself who’s got to get a grip on that slippery, elusive dynamite. Mama doesn’t make it any easier. She was certain that her beloved only child would marry Norma — apparently, in these parts, teenage romance is an immediate prelude to marriage — and can’t stop meddling to save her life.

As he did in Jim the Boy, Earley sets his scenes and emotional challenges in effortless, evocative prose. Consider this moment in history class, where Jim, who sits right behind Chrissie, ignores what their teacher’s saying about the explorations of the conquistadors:

He studied instead, with a scholar’s single-minded intensity, the way the light reflected off Chrissie’s black hair. The day before, Jim had noticed that when the sun hit it just right, it sparkled with the deep colors of a prism hanging in the window of a science class. . . . He studied it so closely that his eyes slipped out of focus and the scale of the room swelled in an instant and became immense around him; he felt suddenly microscopic, a tiny creature swimming in a drop of pond water. At that moment Chrissie’s hair seemed to take on an infinite depth; it became a warm, rich space into which it suddenly seemed possible to fall and become lost.

Physical attraction becomes scientific and heroic at the same time, a search for unheard- of riches.

Jim worries about Bucky and his nasty, irascible father, but makes his pitch anyway. He has the sense to ask questions rather than blather about himself or preen, but he often blunders. He doesn’t always know which questions can hurt, or why, or how they sound to a girl who’s shunned for her race and her poverty. Earley’s approach to race in both novels bears a subtle touch; social barriers are so obvious, they need no explanation. Consequently, Jim, from a comfortable white family that insists on outward respect for all (yet still obeys societal rules without question), has never encountered the pressures Chrissie faces daily, nor has he even imagined them.

To his credit, however, when someone points out that if he married Chrissie, his children would be one-quarter Cherokee, he retorts that it doesn’t matter — they’d be half Chrissie’s. And when Chrissie and Jim click in funny, poignant flights of fancy, he’s subsequently bewildered to find their connection appears to have indelible limits. He believes with all his heart that Chrissie cares for him; why isn’t that enough?

Early captures youthful love in all its pains and awkwardness. Reading it, I winced in recognition several times, and I imagine others would too. Earley doesn’t protect his hero — Jim can be pigheaded, jealous, and selfish — but he has a good heart. True to life, he learns most when he can see past his self-regard, which, among other instances, makes him realize there’s more to Norma than he knew.

Bucky’s posting to Hawaii, this place called Pearl Harbor, feels portentous. Even so, Earley redeems the clunky plot device, for the emotional effects move his characters in unexpected ways, further proof that “no — and furthermore” need not rest on a plot point. The inner journeys of these characters, major or minor, count for everything.

The Blue Star is a marvelously colorful yet understated exploration of love, duty, sex, social prejudice, and what it means for a boy to become a man. I heartily recommend it, as with its predecessor, Jim the Boy.

Disclaimer: I obtained my reading copy of this book from the public library.

Music in the Silence: The Yellow Bird Sings

22 Monday Jun 2020

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Review: The Yellow Bird Sings, by Jennifer Rosner
Flatiron, 2020. 294 pp. $26

During the summer of 1941, fortune chews up and spits out the Chodorów family, Jews living in a rural Polish town. The Germans arrest most of Róża’s relatives and shoot her husband, Natan. Barely escaping with her five-year-old daughter, Shira, she throws herself on the mercies of Henryk and Krystyna Wiśniewski, Christian neighbors who are very frightened themselves. But their reluctance is just half the problem. The only hiding place they can offer is the barn, unfortunately sited near a busy road, and the Wiśniewskis have their own children, naturally curious, liable to blurt out the secret to the wrong people, as young children are.

But very young children, like Shira, don’t keep quiet at all, and Róża’s at her wits’ end to entertain her daughter in complete silence. She spins a tale about a girl forbidden to make a sound, and how a yellow bird sings for her, all that’s in her head. Since Róża’s a musician — her whole family was musical — she’s not surprised that Shira has notes weaving through her mind like a constant, melodic tapestry. Soon she realizes that Shira may even be a prodigy. What a powerful image: This innocent child, who loves music and has a rare talent for it, can’t understand that if she opens her mouth to sing, there are evil men who will kill her or betray her to the killers.
What’s more, even to have hidden safely that long has resulted from pure happenstance — and lust. At first, Henryk told Róża that mother and child could hide for one night only. But his decision changes, because Krystyna takes a shine to little Shira, and Henryk takes Róża nightly, climbing up the ladder to the loft and using her. Though the Wiśniewskis are risking their lives to shelter two Jews, what they’re giving and what they’re taking become blurry. I like that moral ambiguity, one hallmark of The Yellow Bird Sings.

Another hallmark is the constant tension over small events — soldiers passing on the road, the Wiśniewski boys’ attempt to explore the barn, Shira’s difficulty remaining quiet. But the real test comes when the Germans tell Henryk that they’re requisitioning the barn; Róża and Shira must now flee, immediately. Do they try to go together through the forest? Or does Róża give Shira up to the nuns at the local orphanage, who’ve agreed to take her? Much follows from that decision, of course.

Rosner’s vivid prose conveys the physical claustrophobia, life lived inside the head:

Does Shira truly remember her father, gray speckled and musky, his embrace warm and soft but not like her mama’s, or is she making him up, mixing him up with her visions and dreams? A star-backed violin at his bearded chin, notes undulating like a tuning fork come to pierce her mother’s heart. The dancing stopped short, the violin boxed and buried after he didn’t return. Upon waking, she thought that if she could just lie with an ear to the ground, she might hear her father’s notes floating up through the rooted earth.

I also like how the narrative resists earnestness and gives nearly all the characters recognizable flaws as well as virtues. If anyone’s idealized, it’s Shira — I wish she had faults not explicable by her ordeal or forgivable for her age. Throughout, she remains a victim, so you feel sympathy for that; but victimhood wears thin, skating close to pity, less compelling than Róża’s portrayal, for instance. In the main, however, The Yellow Bird Sings protects nobody, least of all the Germans and their many fellow anti-Semites among the Poles; no whitewash, here.

Holocaust stories about children are legion, but this one stands out, all the more as a debut novel.

Disclaimer: I obtained my reading copy of this book through my work for Historical Novels Review.

A Moral Tale Without a Compass: Once a Midwife

03 Monday Dec 2018

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Review: Once a Midwife, by Patricia Harman
Morrow, 2018. 487 pp. $17

Patience Hester, midwife of Liberty, West Virginia, senses the state of the world in November 1941 with terrible foreboding. Her husband, Daniel, a veterinarian and veteran of the First World War, has said that if war comes again to the United States, he will refuse to go. As healers, the Hesters’ moral predicament offers a compelling premise; add Patience’s past as a political activist for liberal causes and her distaste for Nazi Germany, and Harman has drawn her battle lines.

I wish I could tell you that Once a Midwife takes off from this promising platform, delivering a meaningful narrative that explores conscience and convenience. Unfortunately, directly or by implication, the novel lets just about everyone off the hook, which results in a moral tale lacking the requisite compass. Evil boils away until the dregs belong only to the local KKK or the SS assassins of Eastern European killing fields. Racism? Not here; the African-American characters may receive a cold look or two, but most everyone else is the soul of tolerance. Somehow, the Holocaust has become public knowledge in rural West Virginia a year before anywhere else, and, even more miraculously, nobody in Liberty voices prejudice against Jews, even at a meeting of America First, an organization notorious for anti-Semitism. Consequently, the bad guys are the few, irredeemable Them, whereas the good guys are Us. And since everyone’s the same underneath, why can’t we all live in peace and harmony?

Asking that all-important question in December 1941 might be a bit late, but, in any case, the people in this novel aren’t flexible enough to grapple with it. Patience tells the reader and other characters what she feels, referring to facts from her past or current events, announcements that turn a potential person into a headline. Daniel’s even less convincing, for he sounds alternately like a whiny adolescent and a holier-than-thou prophet. Rather than show why he’s a pacifist or have him struggle with his beliefs, Harman has him recite potted history that could have come from a seventh-grade textbook; when pressed, he tells generic stories about his war service. So he’s a talking head who’s got glib, half-baked answers for everything, not a deep-thinking man of conscience. But he’s not alone, for characters in Once a Midwife seldom talk to each other. They talk at each other, usually to dump information—and boy, are they misinformed.

I firmly believe that historical novelists should have poetic license, and that the writing and presentation matter ten times more than research. Still, I need to believe that the author has some sense of what facts she’s changing and why, whereas here, I question Harman’s grasp of the era, its events, and especially its timeline. The war seems to serve merely as a cauldron to dish up convenient plot points. Meanwhile, the premise contains enough untapped conflict to fill a novel by itself.

For instance, why doesn’t Patience — or anyone — ask Daniel whether, as a veterinarian serving a farm population, he’d try to get a deferment for an exempt profession, especially given his age? He might not listen, because he refuses even to register for the draft, but so much the better—another point of conflict with his beleaguered, overwhelmed wife, more room for him to show (not explain) his principles. Also, Daniel’s situation might have changed when, a year after Pearl Harbor, Selective Service lowered the age of draft liability to thirty-eight, a fact that the narrative doesn’t mention but a circumstance that offers another possible iteration of the same conflict.

But these moral complexities, which should be the novel’s strength, wind up resolving themselves. At several points, Patience wonders whether her husband’s a weakling or has taken dubious positions, for which she hates him for short bursts, invariably snapping out of it. It’s as though the narrative prevents the characters from getting too upset with one another—a common flaw in feel-good novels, but unfortunately, Harman pushes this into the realm of cluelessness. She evokes the hurtful, ignorant trope that divides Germany into a basically decent but cowed majority and a tiny sliver guilty of all evil, a morally simplistic position that denies history and insults the victims.

Worse, Harman underlines the (studiously low-level) bigotry, rampant jingoism, small-mindedness, and government propaganda visible in Liberty; weighs that against Axis lies and brutalities; and implies that it’s a wash. I must confess I nearly lost it when a group of German POWs recently arrived to West Virginia sing a Christmas carol and in this way prove their basic humanity to Patience’s satisfaction. With little hesitation–and even less thought to what they might have done–she gives a pass to men who’ve bloodied and terrorized half of Europe. Where’s the moral sense in that?

Disclaimer: I obtained my reading copy of this book from the publisher in exchange for an honest review.

No Heroes Need Apply: A Boy in Winter

16 Monday Oct 2017

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Review: A Boy in Winter, by Rachel Seiffert
Pantheon, 2017. 242 pp. $26

Ukraine, autumn 1941, and the German invasion of Russia is now several months old. At first light, two young boys flee across their small town, trying to reach the schoolmaster’s house, in hopes he can tell them where to hide, whom to trust, assuming the rumors are true. But before they can get there, the Germans’ trucks roll in, and the boys must escape the unexpected trap.

The trucks’ arrival wakes Otto Pohl, a Wehrmacht engineer building a road through this forested, often marshy countryside, so that the invading forces may be efficiently supplied and reinforced. Otto’s a good sort, a conscientious man who believes the war to be criminal, which is why he volunteered to build a road in the Eastern wilderness, thinking that as army service went, he’d never be forced to see or do anything he’d hate himself for. He’s about to be proven wrong.

The Germans round up every Jew in town and drive them into a brick works, where they’re forced to stand, awaiting what they believe is transport further East. No one in town much cares; the victims are only Jews. What they do care about is the strict curfew the Germans have imposed and the constant threat of search and seizure. Nevertheless, Yasia, the teenage daughter of a prosperous farmer, decides to risk trying to reach her boyfriend, a deserter from the Red Army, now working for the invaders. She too sees more than she wanted.

Murder of Jews by SS paramilitaries, Invanhorod, Ukraine, 1942. This photo was taken by a German soldier serving in the East; a member of the Polish Resistance working in the Warsaw post office intercepted it for future documentation. (Courtesy Wikimedia Commons via Historical Archives, Warsaw; public domain)

Three things distinguish A Boy in Winter from the average Holocaust novel. The first is a refreshing lack of earnestness. Nobody makes any speeches about right or wrong to condemn or embrace anti-Semitism or the German regime. In fact, the characters say very little, though their thoughts, gestures, and actions speak loudly.

The characterizations, the second key asset, are so strong and nuanced — even the SS commandant — that you understand why things happen the way they do. There are no heroes here, only powerless people trying to balance fear and suspicion against their will to get by and see another day. A great many evils can happen through that calculus, but Seiffert is much more interested in showing them than in criticizing. And by focusing on the very small picture rather than the large one, she has much to say about both. For instance, why are the two boys the only ones who try to run away? Why is Yasia the only onlooker not to keep her head down? The answers lie in character, not plot manipulation, but more than that, you can’t read this novel without plugging yourself in place of these characters and wondering what you would do.

The third way A Boy in Winter succeeds is in its moral compass, which points not to redemption but the possibility of some small mercy. An overdetermined authorial urge for redemption has marred many an otherwise fine book, and, since it’s a Christian concept, I like it even less in a Holocaust novel. By reaching for less heavenly attributes — for what’s only a glimmer in this world of mortals — Seiffert achieves more.

To do so, she writes in spare, elegant prose, precisely fitting her spare, elegant narrative. Consider this flashback passage about Yankel, the elder boy who runs away (and the title character), through the eyes of his father, Ephraim. Yankel loves to look at photographs of his uncle Jaakov, Ephraim’s brother, who emigrated to Palestine:

He asked more about Jaakov as he got older, wanting more often to hear the stories of his travels and his olive trees, or even just to see his photo… And though Yankel sat with it quietly, content with his own thoughts, never saying very much, Ephraim saw — not without pain — the admiration in his son’s gaze. He began to feel, too, how his eldest’s eyes measured him, silently: the narrow walls of his workshop, the fastidious labour in the lenses he ground there, the tiny screws he tightened to hold them in their wire frames. The scope of his life was meagre, seen against his brother-in-law’s.

Not only is this a beautiful, evocative passage, revealing in a physical sense the rift between father and son, you understand why Ephraim is anxious to follow the Germans’ orders, whereas Yankel has no hesitation disobeying them. How Yankel got to be that way is of course very important, but Seiffert brings you there, just as she brings you everywhere else you need to go.

A Boy in Winter is a sublime, powerful, brilliant novel, among the finest about its subject that I’ve ever read.

Disclaimer: I obtained my reading copy of this book from the public library.

We’ll Always Have Paris: A Hero of France

26 Monday Jun 2017

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Review: A Hero of France, by Alan Furst
Random House, 2016. 234 pp. $27

If you’ve read any of Furst’s fourteen books, the time and place will be familiar: Paris, 1941, the City of Light under a blackout imposed by the German Occupation. It’s early spring, so America has yet to declare war, and Britain fights alone against German power at its high-water mark. Trying to strike back at the German hinterland, British bombers overfly French territory, and many don’t make it home. Consequently, increasing numbers of British airmen are parachuting into Occupied territory, and the nascent Resistance does its best to keep them out of German hands and send them to safety in neutral Spain.

German troops parade down the Champs Elysée, Paris, 1940 (courtesy Bundesarchiv via Wikimedia Commons)

One such Resistance cell operates in Paris, under a man code-named Mathieu. Like the setting, he too is typical Furst–worldly, mature, resourceful, committed, without swagger, doing what he does because he thinks someone has to, refusing to judge those of his countrymen who want no part of it. Oh, and did I say that beautiful women find him irresistible? Many things are rationed in Furst’s Europe, but sex isn’t.

Naturally, the occupiers and their French toadies do their best to crack the Resistance. But luckily for Mathieu and his operatives, the Occupation is new enough so that the German Army and the French police undertake the counterespionage; the Gestapo remains largely in the wings. As a result, the bad guys aren’t as vicious and uncompromising as they might be, especially since many of the French contingent would rather not arrest their countrymen. The real danger lies in ordinary civilians looking to make money by informing, and they can be persistent.

Mathieu . . . saw what was indeed a strange-looking man, or, rather, a strange-looking boy, barely in his twenties. Standing at the bar and drinking a glass of wine, he had dark skin and dark eyes, wore a buttoned-up overcoat that was both much too tight and much too long, a hat with a wide, flat brim and a low crown, also flat, to which he’d added a bow tie that might once have belonged to a café waiter. With a pencil line of a mustache that traced his upper lip, he struck Mathieu as a boy dressed up to play his father.

But this guy, though dangerous, isn’t the real threat. The real threat is a German police inspector imported from Hamburg to crack the Resistance cells operating out of Paris, and he’s got people working for him who are much smarter than anyone Mathieu has come up against.

Furst moves his story rapidly, and, as always, his narrative represents the definition of “no; and furthermore.” Plans backfire thanks to inattention or nerves or plain bad luck. What I like about A Hero of France is that whatever heroism you see is of the quiet variety and seemingly more genuine for it. The narrative also gives the bad guys their due; of the several minor characters who come through clearly, the German police inspector and his chief mole stand out for me.

Furst’s trademark atmospheric descriptions are in full force too. You feel the blackout, the tension in the streets, a divided nation about to discover that when it comes to privation, they ain’t seen nothin’ yet. Furst suggests the political struggle between the Resistance and its British contacts–we won’t call them allies–and the pressures under which the French administration tries to remain intact. With equal, admirable economy, he makes a key historical point, that the British were so desperate for air crews that they sent escaped fliers back into the air. (This contrasted with subsequent American policy, which grounded escapees on the logic that they might be recognized if recaptured, compromising them and anyone who had helped them.)

All this is fine. But I still pine for Furst’s earliest works, which felt fresher, more fleshed out, and more gripping. They were also much longer. Maybe that kind of book is passé or unprofitable or un-something. But A Hero of France has tons of narrators, few of whom come alive, and, despite the “no; and furthermore,” inconvenient circumstances sometimes resolve themselves in ways they wouldn’t have in earlier books. If Furst is trying to suggest that he can do this because it’s only spring 1941, and the very, very bad guys aren’t in charge yet, I’m not buying.

Paris is Paris, and we can always have that, as Humphrey Bogart told Ingrid Bergman in Casablanca. But certain things can be too familiar and leave us wanting more.

Disclaimer: I obtained my reading copy of this book from the public library.