Tag Archives: anti-Semitism

Empathy?: The Welsh Girl

14 Monday Nov 2022

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Review: The Welsh Girl, by Peter Ho Davies
Houghton Mifflin, 2007. 333 pp. $10

For Esther Evans, seventeen, June 1944 in Cilgwyn, her village in North Wales, brings sights and sounds of the wider world she dreams of: BBC broadcasts, radio performers from London, English soldiers building an encampment. Living with her sheep-farmer father, who’s a Welsh nationalist, and an ill-tempered young evacuee, Esther has little to excite her except her job at the pub, where she rubs elbows with “foreigners,” including the English corporal with whom she’s stepping out. Don’t tell Dad.

Meanwhile, Karsten Simmering is taken prisoner defending a Normandy beachhead on D-Day. He doesn’t know what to think of himself for surrendering; his fellow prisoners, neck-deep in admiration for the Führer and certain of final victory, shame him for it, conveniently forgetting that they too put their hands up.

You know that Esther and Karsten are destined to cross paths, so you can guess that the encampment being built is for prisoners of war. Their relationship is an intriguing premise, and Davies shapes it well, conveying alliances and resentments with subtlety and aplomb, whether in Cilgwyn or the prison camp. He also colors his narrative with wistfulness, desire for escape, and search for a comfortable, fitting definition for the word nation, which several of his characters seem to lack.

Rudolf Hess, 1933, unknown photographer (courtesy German Federal Archives via Wikimedia Commons; public domain)

I do question how Karsten speaks such fluent English. I also dislike the unmentionable trope that changes Esther’s path, both for itself and its predictability and borrowed from a humorless Victorian novelist (the offending work even rates a mention). But at least Davies makes it his own.

A chief attraction here is the prose, as with this vivid, emotion-laden description of Karsten’s barracks at the camp:

The hut stinks of men, of sweat and feet and damp wool and arseholes, and he rolls over to catch the sporadic scent of the sea. He can make out the smell of the damp trees on wet days, or of dry heather on fine ones. . . .The evenings, once it gets too gloomy to play football, once the dusk deepens and the white dots of sheep on the hillside vanish, are a slow, anxious prelude to this confinement. It makes him feel like a punished child . . . sent to bed early, and he dreads the winter when the days will get shorter and they’ll be locked in even earlier.

Unfortunately, Davies buries the Esther-Karsten narrative under a subplot connected to it only vaguely through the nation-belonging theme, an infelicitous addition at best. The novel begins with Joseph Rotheram, a British intelligence officer of German birth, assigned to observe and question the infamous Rudolf Hess. Hess, Hitler’s righthand man until 1940, when he flew an airplane to England, has spent four years under heavy guard. The Allies contemplate war-crimes trials, at which Hess would be a star defendant. Yet he claims amnesia, and no questioner can penetrate that mask.

Rotheram hates his assignment, especially for the reason he’s there: he’s considered Jewish, an identity he hotly (and accurately) denies, since his mother is Christian. But his superiors insist on saying he is, and they suppose that Hess will detect his “race” and react, whereupon they’ll have their prisoner in a bind. What an anti-Semitic trope, heightened when Rotheram’s officer comrades speak as if he has no country, only a tribe.

Davies knows how to set a scene, and he’s imagined a couple notable confrontations between Rotheram and Hess, especially during a screening of Triumph of the Will, Leni Riefenstahl’s infamous propaganda film. It’s like Hamlet’s play within a play, hoping to catch the conscience of the king.

But to wade into anti-Semitic tropes requires insight, and Davies’s narrative suggests he knows little or nothing about Jews or Judaism. Rotheram’s Jewish only to the extent that others think he is and scorn him for it; he has no thoughts about that identity or his family’s past, other than rejecting it. You might as well say the Welsh characters are Welsh only because the English make bigoted jokes about them.

Toward the novel’s end, Rotheram starts thinking like his anti-Semitic superiors: “The Jews, he knew, had no homeland, yearned for one, and yet as much as he understood it to be a source of their victimization, it seemed at once such pure freedom to be without a country.” I suspect Davies has no idea his character appears to find liberation in thousands of years of expulsion, enforced statelessness, expropriation, and murder, justified by the slander that Jews owe allegiance to no country.

A critic quoted on the jacket flap praises Davies’s “all-encompassing empathy.” Not quite.

To my fellow historical novelists, please: If you must write about the Holocaust, make sure you treat your Jewish characters as full people. Please don’t deploy them like paperweights to keep themes or plot points from blowing away. Tropes and stereotypes hurt.

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

Holocaust Superwoman: The World That We Knew

22 Monday Aug 2022

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Review: The World That We Knew, by Alice Hoffman
Simon & Schuster, 2019. 365 pp. $28

In spring 1941, those Jews still left in Berlin live from hand to mouth, managing each day as best they can. But Hanni Kohn, who recognizes her end is near, determines that her twelve-year-old daughter, Lea, will escape. Hanni visits the household of a famous rabbi, seeking a miracle, but he’s not to be disturbed. It’s his seventeen-year-old daughter, Ettie, who agrees to help, and the task is most unusual and occult: to create a golem, who’ll protect Lea and see her to Paris, where she has distant cousins.

The golem, a centuries-old figure in Jewish mysticism and folklore, is a creature made of dust or clay with a human appearance, no soul or feeling, yet with physical powers craved by a people who live in peril. Sixteenth-century Prague provides a famous example of the legend, which Mitchell James Kaplan borrowed for his novel the Fifth Servant. But you can also link the golem to 1930s superheroes, fighters for freedom, and the rule of law in a world tearing itself apart.

Hoffman, however, has a slightly different game in mind:

The figure had cooled into the shape of a woman. She was tall, with long legs and a well-proportioned body. Her hair was flowing and dark, the color of damp soil. The form had been given ruach, the breath of bones, the life force that animates every creature on earth. Its lack of a soul would allow it to perceive the spiritual aspects of the world that no human could ever know or see. Good and evil appeared in their truest forms to a golem, death was easy to perceive and the spirits of the dead could be summoned.

Aptly named Ava, for she can speak to birds, she’s tasked with guiding Lea, Ettie, and her sister, Marta across the border, then to Paris. But Ava’s existence is an affront to God, and as such, must not outlast her usefulness. Once the war ends, she must die.

The narrative therefore relies on magical realism, Hoffman’s trademark, a genre I’ve never taken to. Yet The World That We Knew is a beautiful, passionate novel about life and death, love as miracle and sacrifice, and the nature of grief. It’s also a page-turner.

Just as the escape fails to go as planned for all parties involved, reaching Paris offers less shelter than the refugees hoped. After all, the Germans have invaded, and the French police vigorously help them round up Jews for deportation. Further, the cousins want no part of the refugees, though the younger son, Julien, falls for Lea.

Consequently, “no — and furthermore” abides in these pages, and though the increasing cast of characters has more than its fair share of luck, they suffer losses too. The realism has a magical component but also a satisfyingly hard edge.

Two women in Paris, June 1942, wearing the yellow star that marks them as Jews (courtesy German Federal Archive,
Bild 183-N0619-506, via Wikimedia Commons; public domain)

At times, the expository storytelling style bothers me, in which Hoffman explains the action. I want to be allowed closer, to be shown what’s happening. Similarly, the historical passages that teach the Holocaust in France sit wrong; they read like lectures and occasionally err in surpassing the knowledge people had at the time, particularly the precise destination of the trains full of deportees and what would happen to them once they got there.

Nevertheless, I understand Hoffman’s temptation to impart this information. I grew up conversant with the Holocaust, partly because my parents came of age during the war, an exposure that today’s generations lack. The author apparently wishes to redress that.

Fortunately, around the time the refugees leave Paris, the narrative kicks into a higher gear, and when it does, the storytelling shifts as well, showing more and explaining less. My favorite character is Ava, who comes to appreciate what life is, why humans cling to it, and its advantages and disadvantages. I like her transformation from unfeeling clay to sensibility very much. With evil pervading the world, it takes courage even to see what’s worthwhile, let alone to act accordingly, the problem the human characters face.

But that issue touches Ava too, in her own way, not least in her relationship with a heron, with whom she dances when his migration flight brings him through France. Also, she has a skill that comes in handy: her ability to perceive the black-robed angel of death, Azriel, as he hovers, waiting his chance to inscribe a victim’s name, a ledger in his hands. This image will stay with me; I think it comes from folklore.

As my regular readers know, I’m particular about Holocaust novels and won’t touch those in which Jews seem mere historical artifacts, depicted for narrative convenience. I’m pleased to say that The World That We Knew swept me away for its moral evocations, characterizations, and sheer imagination.

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

Manipulated and Discarded: The Peculiarities

18 Monday Apr 2022

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Review: The Peculiarities, by David Liss
Tachyon, 2021. 325 pp. $18

London, 1899. Thomas Thresher, twenty-three, nominal scion of the noted banking family of that name, should consider himself fortunate, with a bright future to look forward to. But Thomas feels no hope for anything, present or future. His cruel, tyrannical brother, Walter, the bank’s governor, insists that Thomas serve as a clerk, performing pointless tasks, from which he learns nothing, nor is he meant to, a Dickensian touch. Further, Walter demands that he marry a young woman he’s never seen — a Jewess, no less, an idea that repels him.

But Thomas finds it hard to feel sorry for himself, or to feel much of anything, because Walter has manipulated him all his life and discarded him as worthless — except to do his bidding, as with the strange marriage, for no reason Thomas can fathom. He’s allowed no will or character of his own, and you can see the effects.

What’s more, London itself has changed. Violent fogs that slither like giant, amorphous reptiles bludgeon people to death. Thomas has seen this, but there are other horrors he’s only read about:

The more lurid newspapers published stories of vampires and werewolves, of women giving birth to rabbits, and houses rendered uninhabitable by ghosts. He has read of people possessed by spirits and living men whose own spirits have become trapped in horses, in furnishings, in articles of clothing. There are horrible transformations and mutilations. Things that should not be, if these stories are to be believed, have become not quite commonplace but hardly rare.
Thomas read it all with a fair amount of skepticism until the first leaf sprouted below his right nipple.

These abnormalities and others go by the name of Peculiarities, and in stereotypical British fashion, nobody talks about them. Nobody in polite society, anyway, for the worst afflictions beset the lower classes predominantly, a concept Thomas is loath to accept when his purported fiancée, Esther Feldstein, tells him so.

But you know that Thomas must take her seriously, sooner or later, not least because the bank seems implicated in some way — the impenetrable institution, a Dickensian theme. At the same time, he can accomplish nothing unless he takes himself seriously too, a difficult task when he has been ground under his family’s heel.

His progression makes terrific reading; I’m reminded again of Dickens, say, Pip in Great Expectations. You don’t often see a thriller with such an intricate, forceful character arc, let alone a story that also has enough “no — and furthermore” energy to power a small city. Plenty happens in The Peculiarities, but this is a character-driven novel that explores every emotional transition, and that’s why you care.

Kabbala, a mystical belief system within Judaism, figures in The Peculiarities. Here, a kabbalistic representation of the Tree of Life (courtesy Thomazzo, via Wikimedia Commons; public domain)

The story invokes magic, as you might have guessed, and the plot revolves around the power it confers. But though characters attempt to cast spells, the magic here, as Liss states in the text and repeats in an afterword, doesn’t operate in defiance of natural laws. Rather, it depends on natural laws “previously hidden or generally unknown.” The distinction will become clearer if you read the novel, which I recommend, but I’ll give you one hint. Thomas was on the way toward becoming a first-rate mathematician at Trinity College, Cambridge, until Walter forced him to quit his studies. The skill comes in handy.

Note too the context of the so-called Peculiarities. That the London fog has become deadly violent, instead of the passive killer known to history, suggests environmental disaster writ large. That it attacks poor neighborhoods more often than others reflects a fact reckoned with today but not during the Victorian Age, and that Thomas at first refuses to accept the evidence rings all too true.

How ironic that he’s turning into a tree, as though the forests are taking vengeance for human depredation. And the births of “rabbit children” represent two themes, natal defects from industrial poisons and the attack on reproductive rights. Surely, Liss intends to criticize capitalism in its unbridled state—consider that the central institution here is Thresher’s Bank.

At once a coming-of-age story, a thriller, and historical fantasy, The Peculiarities has much to offer. The plot twists like an eel, sometimes in melodramatic fashion, with one incredible revelation after another. But the prose is beautiful and lucid, and the characters never strike attitudes, as they might in a full-fledged melodrama. Esther proves more than a match for Thomas, one of several friends with whom he never would have bothered had he not been afflicted and chosen to embark on a journey of discovery.

My regular readers know I avoid historical fantasy, but such is my admiration for Liss’s previous books, most notably A Conspiracy of Paper (capitalism, again), that I grabbed this novel off the shelf. The results confirm my trust, and I suspect they will earn yours.

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

Does the Threat Exist, Or Is It Paranoia?: The Vixen

14 Monday Mar 2022

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Review: The Vixen, by Francine Prose
Harper, 2021. 316 pp. $26

In June 1953, the federal government executes Julius and Ethel Rosenberg for giving atomic weapons secrets to the Soviets. Probably few families take the news harder than the Putnams, a Coney Island family, Jewish despite the name. Simon, the only child, worries about his mother, who grew up with Ethel and suffers debilitating migraines, possibly because of the political and cultural atmosphere.

With Joseph McCarthy riding high and roughshod over civil liberties, due process, and common decency, conformity means safety. You never know who will attack you, or why, only that suspicion, fear, and paranoia have gripped country. That’s enough to give any sober citizen headaches.

Young Simon wangles an entry-level job at a Manhattan publisher through a family connection. His assignment is to go through the “slush pile,” unsolicited submissions, and write rejection letters for them. Presumably, he’ll start to learn the business that way.

One manuscript, however, has been marked for greatness, and Simon is to edit it. Titled The Vixen, the Patriot, and the Fanatic, the novel portrays a thinly disguised Ethel Rosenberg as a sex-crazed Soviet agent who does her best to seduce her all-American nemesis and destroy the nation at the same time. Naturally, Simon’s appalled, doubly so when his boss swears him to secrecy and confides that The Vixen will save the company, known for producing literary masterpieces but now on the brink of financial ruin.

The photograph taken of Ethel Rosenberg on her arrest, August 1950 (courtesy National Archives and Records Administration, via Wikimedia Commons; public domain)

Prose’s novel, a trenchant satire about power, truth telling, and the 1950s reads like a psychological thriller once it gets going, with obvious yet unstated parallels to the present day. Our hero never knows what’s true or not, or what consequences the lies might have. And his life is based on lies. As a Jew at a white-shoe firm, he’s trying to pass. His boss, Warren Landry, a charismatic, narcissistic, vicious bully and womanizer, repels Simon to the core, yet the younger man envies the elder for his power and sense of command. Warren also offers drama and force, commodities that Simon can only wish he understood:

Standing in my doorway with his arms braced against both sides, Warren was partly backlit by the low-wattage bulbs in the corridor. He had a Scrooge-like obsession keeping our electric bills low. His white hair haloed him like a Renaissance apostle, and the costly wool of his dark gray suit gave off a pale luminescent shimmer. He was a few years older than my parents, but he belonged to another species that defied middle age to stay handsome, vital, irresistible to women. I spent my first paychecks on a new suit and tie, cheaper versions of Warren’s, or what I imagined Warren would wear if the world we knew ended and he no longer had any money.

In that larger-than-life atmosphere of deceit and power plays, Simon knows he’s out of his depth, yet can’t help himself. The author of the book he’s supposed to edit, the beautiful, seductive Anya Partridge, lives in a low-security mental-health facility, which tells him something but not enough. She also seems to wish to do everything except talk about her book.

Consequently, the ground under Simon’s feet constantly shifts, and whenever he tries to find out the truth, his informants talk out of both sides of their mouths. He wants to do the right thing, whatever that is, yet to keep his job, all while trying to look as though he knows what he’s doing. After all, everyone else seems to.

I wish that Simon were less of a nebbish, that brand of ineffectuality that makes you want to shake him. Also, at times, it’s hard to know whether the novel intends parody or realism, particularly concerning his lustful interests, which seem rather easily engaged, even repellent. Warren, however, is all too real and gives me shivers; I used to work for a publisher who shared a few of his character traits and political views. What a horrible time of my life.

Without giving anything away, I can tell you that Prose has re-created an era when the most outlandish theories gained credence, and intelligent, thoughtful people had to wonder who was minding the store, and to what end. I’m sure she intends that as a window on our current mess. Maybe too she’s asking how it is that the Rosenbergs were called traitors and executed, whereas the insurgents who stormed the capital a year ago are somehow judged either garden-variety vandals or heroes exercising their constitutional rights.

The Vixen stretches credibility in a few places but remains a compelling, provocative novel. Take a look.

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

Deception’s Toll: An Unlikely Spy

22 Monday Nov 2021

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Review: An Unlikely Spy, by Rebecca Starford
Ecco, 2021. 338 pp. $28

Evelyn Varley has made something of herself, she thinks. It’s late 1939, and the girl from the wrong side of the tracks in Lewes, East Sussex, has come a long way since she won a scholarship to a prestigious boarding school, then Oxford, where she took Firsts in German and literature. Along the way, she befriended Sally Wesley, a girl from a wealthy family that practically adopted Evelyn, showering her with the warmth, hospitality, excursions, gifts, and spirited conversation she never received at home. And when war breaks out, Sally’s father recommends Evelyn to a friend in government, and presto! she gets a job with the War Office.

At first, that means typing and filing, nothing glamorous, and her office is situated in an old prison, to boot. But eventually, MI5 recruits her to infiltrate an organization of British Nazis. Appalled by their views, especially their violent anti-Semitism, Evelyn nevertheless steels herself to the task, unaware that she will have to choose between her conscience, loyalty to country, and her lifelong friends.

The Olympia Exhibition Centre, London, where a British Union of Fascists meeting in 1934 turned violent, costing the movement support. At its height, the BUF boasted more than 50,000 members. (Courtesy Kenneth Allen, via Wikimedia Commons; public domain)

Character-driven thrillers are unusual in themselves, and this one’s terrific. Don’t be put off by the opening, a somewhat confusing section that takes place after the war. I think the author wants you to know that something shocking has happened, to hold your interest, after which the novel goes into Evelyn’s back story. It’s a prologue by another name, and I understand why Starford takes this approach, but it feels clumsy in parts, not at all like the rest of the book. The narrative sorts itself out soon enough, though, and you see how Evelyn unwittingly trains for her future career.

At her boarding school, as the poor girl, she’s the “charity case,” the butt of vicious hazing. Sally rescues her somewhat, being an outsider too, a connection I find a little hard to believe. But if it’s a false note, it’s the only one. Evelyn succeeds socially on her own where Sally doesn’t, by copying their tormentors and earning their acceptance. The price she pays is steep, however — forgetting who she is, learning her new friends’ contempt for her origins, and hiding behind a dissembling heart. Years later:

Sometimes, as Evelyn lay in her bed upstairs, she was wracked by loneliness. She loved her parents, but now she could see them for their true selves, free from the burnish of childish idolatry or just plain youthful ignorance. She knew her father belittled her because he couldn’t face the idea of her one day looking down on him, and she recognized how meager her mother’s existence had become, counting out her shillings at the bakery and going without new clothes or books or an outing to a restaurant, refusing any activity that she deemed indulgent. Evelyn was embarrassed by this puritan denial of even the smallest forms of pleasure. She didn’t want her life to be a mere transaction; she wanted to feel the workings of experience deep in her bones. She knew her parents sensed this change in her, but since she could never tell them about what really happened at school, she had to live with the knowledge that they believed she had actually become this person and was not merely wearing a disguise.

Consequently, she’s got the makeup of a perfect operative, capable of assuming a necessary guise, belonging nowhere, therefore adaptable. But once again, she pays an extortionate price for the thrill of being useful, the knowledge that she’s standing up for her beliefs, which leads her to deceive people, including herself.

What a brilliant portrayal, the better for Evelyn’s hesitations and insecurities. So often, spies in fiction have ice water for blood and seldom make mistakes, only bad bets because they’ve been misled or have no choice. Evelyn’s a different sort altogether, struggling not to engage emotionally, wondering every second if she’s overplayed her hand, and unsure what she’s accomplished, if anything. Unlike many in her trade, she shies away from damaging anyone, unaware that she’s done it despite herself. Sally’s fiancé, a handsome, thoughtless brute, thinks of pain as an “accolade,” Evelyn believes, “something to be earned, and something to be inflicted.” She despises him but has yet to learn how the manipulations she’s assigned to perform work the same way. The reader senses what she doesn’t.

Starford has a gift for active physical description that evokes feelings — there are some truly lovely passages —and she’s at her best among the British Nazis. Their rallies, riots, harangues, and even their quiet dinner parties curdle the blood. Their belief beyond all persuasion that Jews have destroyed their lives and run the world has never gone out of style, so that the historical feels like now. I can’t help think that the author has intended a tacit comparison to alt-right conspiracy theorists, no matter what human target they favor.

This chilling, moving novel, at once character-driven and a page-turner, deserves attention.

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

For Whose Glory?: Cathedral

21 Monday Jun 2021

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Review: Cathedral, by Ben Hopkins
Europa, 2021. 618 pp. $28

In 1229, nineteen-year-old Reichard Schäffer’s father dies, leaving him the head of the family in a quiet, out-of-the-way sheep herding village. Deciding that serfdom and sheep no longer suit him, the boy, known as Rettich, leaves his village with his younger brother, Emmerich, for Hagenburg, the (fictional) Alsatian town that gleams like a marvel in their eyes. It’s anything but, of course, but both boys will understand its depths and complexities in time, though from very different perspectives.

Right off, Rettich seeks to buy their freedom so that they may remain city-dwellers, a reminder that in thirteenth-century Europe, birth determines not only who you are and what profession you may follow, but where you may live. What Rettich desires is nothing less than revolutionary, and people who hear his plan shake their heads. But one person who listens is Meir Rosenheim, the Jewish moneylender, to whom the Schäffers appeal for the ready coin they need. Serfs normally wouldn’t prove worthy debtors, but Meir perceives something in them that decides him to take a chance, and besides, Emmerich’s remarkable capacity to calculate intrigues him. Rettich gets his money; the boys buy their freedom; and Emmerich has a job with the house of Rosenheim.

Théophile Schuler’s reimagining, in 1850, of the construction of the western wall of the Strasbourg cathedral, late thirteenth century (courtesy Musées de la Ville de Strasbourg, Cabinet des Estampes et des Dessins, via Wikimedia Commons; public domain)

From such small beginnings great things emerge. Rettich, a gifted woodcarver, earns an apprenticeship to the stonecutters working on the Hagenburg Cathedral, very much in its infancy. Emmerich learns how to handle money and proves himself an astute businessman. From them, and the many characters that come in contact with them, spins a beautifully imagined tale of greed, politics, skullduggery, sex, bigotry, and piety, often in mystical terms. As this order of importance implies, for most of Hagenburg, building a cathedral is a religious enterprise in name only. Rettich is an exception.

But he can’t say so, at least not in the way he would like, because nobody would listen. As an artist, he believes in reproducing figures from nature, a heretical notion, especially when it comes to cathedral artwork. He does find an outlet for discussion with an architect, a true visionary, whose views are equally controversial. But change is in the air. Witness Emmerich, who learns banking—though it’s not called that—and the power that money wields in politics, when noblemen are perennially short of cash. They fear and despise him but know he’s absolutely necessary.

Both brothers embody a strain of the coming Renaissance that no one foresees—and so does their sister, Grete. She marries up, to a struggling merchant in town, of whom she quickly proves the equal. Naturally, that makes him uncomfortable, but the results speak for themselves. And Grete thinks large. She works toward the day when money will allow people of her social class—her new, acquired social class–to have a say in how things get done, elbowing her way among the aristocracy. This avant-garde feminist attempts to break several barriers, and the manner in which she goes about it makes all three siblings’ stories compelling.

Inwardly, outwardly, and sometimes both, these characters and others act with great daring. Those among the large cast who can afford to—and a few who shouldn’t—speak their minds freely, which lends the narrative zest and fire. The novel’s resident cynic is Eugenius von Zabern, a church canon and the bishop’s secretary, who has the unenviable task of finding money to build the cathedral:

The world needs clerks and lawyers in the same way as it needs leprosy, plagues, earthquakes. Without them, life would be a colourless stroll toward death. But here they are, proliferating and multiplying over the face of our earth, and taking ever more prominent positions in the chambers of power. In the olden days, virtuous rulers would surround their thrones with the flower of chivalry, but today the leaders of our world are ringed by advisers, counsellors, clerks and Jews.
I should know. I am one of this new cursèd class of quill-scratching, shadow-skulking literati. . .

Reading such prose is one delight of Cathedral, and though there’s a lot of it, I find nothing extraneous. Scenes move smartly, and the dialogue clips along, perhaps testament to Hopkins’s career as a screenwriter and director. I also admire his grasp of historical detail. Whether describing Hagenburg (a character in itself), the glimmers of change and how people react to it, or endemic belief in conspiracy theories, especially about heretics or Jews, Hopkins renders time and place with complete authority. I defy anyone to start this book and put it down.

Cathedral is a masterpiece.

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

Dislocated Souls: Exile Music

20 Monday Jul 2020

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Review: Exile Music, by Jennifer Steil
Viking, 2020. 432 pp. $27

As the 1930s progress, Orly Zingel’s family watches the Austria of their birth turn into an unrecognizable monster, hostile to Jews like them. As a ten-year-old, Orly can’t readily understand how people she’s known all her life, who’ve smiled at her and been friendly, can turn away, call her hateful names, or threaten to have her arrested. Her parents, accomplished professional musicians, are banned from performing.

Anneliese, her closest — only — friend, who lives in the same Vienna apartment building, swears that she’ll stick by Orly, always. That’s a given, for the two are like sisters, absorbed in and devoted to one another. But Anneliese’s parents, who’ve always treated Orly as a favorite niece or even a daughter, now call her filth.

Booted out of the building they own, the Zingels are pushed into a ghetto, and they try to leave Austria. Orly’s older brother, Willi, flees Vienna, hoping to reach Switzerland, and the rest of the family lives in uncertainty about his fate. Her father attempts to obtain exit visas, but the only open doors lead to Shanghai, Dominican Republic, or Bolivia. Father joins the long line snaking from the Bolivian consulate and struggles not to lose hope, especially when the SS sends its thugs to beat and intimidate the would-be emigrants. That’s yet another brutality that Orly can’t understand; if the government wants Jews to leave the country, why put so many obstacles in the way?

La Paz, Bolivia, in winter 2008, with Mt. Illimani in the background (courtesy Mark Goble, via Wikimedia Commons)

From the title and cover illustration, you’ll know that the Zingels eventually reach Bolivia; they settle in La Paz. But in this patient, discursive narrative, there’s plenty of “no — and furthermore” to go around. If you’re wondering how these sophisticated refugees will cope with life in the Andes, their humiliation, emotional losses, and dislocation, Exile Music has plenty to offer.

But besides the expected themes of trauma, culture shock, loss, and chances for regrowth, which the author does a beautiful job exploring in a well-delineated context, she delves into much else. You’ll get such issues as what religion and identity mean; what constitutes “home”; how music and poetry, purveyors of metaphor, may offer hope through connection; and whether revenge and justice coincide.

That’s a lot to put in one novel, but everything belongs. Where the story pushes briefly into the spirit realm, I get impatient, because I don’t believe in that. But Steil ties that theme to Orly’s identity — this is a coming-of-age novel, after all — so it makes sense, and what the author includes about local customs provides a fascinating window on a culture I’ve never read about before.

Throughout, the narrative grounds itself in physical detail, so, for example, you see Austrian anti-Semitism and nationalist fervor merge with ever-increasing strength before your eyes. Orly’s experience, though specific and individual, conveys a general atmosphere with terrifying power. The occasional crowd scene packs a wallop too, as with Kristallnacht or here, the Anschluss, the day German troops took over Austria in March 1938:

A tram swept by, its roof displaying a massive swastika. Across the street I could see a curly-haired girl who used to be in my class; my former math teacher; the waiter from the coffeehaus at the end of the block, their arms all flying upward. They threw flowers at the soldiers, blew kisses as they marched past, cheering the death of our country.

Since by this time, Orly is not allowed to attend school or go to a coffeehaus, you implicitly understand her horror, fear, and deep-seated loneliness.

Steil also portrays the friendship between Orly and Anneliese with tenderness and even passion; it’s more than a little erotic. The girls create, and tell each other stories about, a mythic kingdom where predators have no place and enemies can gain no entry. It’s a lovely touch, and their fantasy won’t change life in the street, but it does give them hope.

Orly’s parents need to come through more clearly; too often, they seem more like attitudes and behaviors than fully fledged characters. But overall, I highly recommend Exile Music, which conveys both the Jewish and émigré experience with a sure hand — and worlds else besides.

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

Shame: Paris Never Leaves You

06 Monday Jul 2020

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Review: Paris Never Leaves You, by Ellen Feldman
St. Martin’s, 2020. 347 pp. $18

Ten years after Paris was liberated, Charlotte Foret lives in New York but is still in chains. No one’s threatening her anymore; she has her beloved daughter, Vivi, now fourteen; and a career as an editor at a prestigious publishing house, Gibbon & Field. Her boss, Horace Field, is also her landlord, for the Forets live in his East Side brownstone.

Further, Horace and his wife, Hannah, sponsored Charlotte and Vivi to come to the United States after their internment at Drancy, the camp in the Paris suburbs that was a way-station to Auschwitz. Charlotte loves her job and is grateful for the apartment and the sponsorship, but the arrangement feels more than a little awkward, especially since Hannah, a psychoanalyst, has plenty of parenting advice to give, though she herself is childless.

As the novel opens, these threads threaten to unravel, first via a letter from Bogotá that she can’t bear to read. (Melodramatic, but okay, I’ll bite.) More plausibly, Vivi asks about her heritage, specifically about her father, killed in the war, and what it means to be Jewish.

But Charlotte has always said that it took Hitler to make her a Jew, and she wants no part of such explorations. Charlotte’s so adamant, so resolutely opposed to reflection on or discussion of her past — their past, for Vivi lived through the war too — that you have to wonder whether psychoanalyst Hannah has a point. Charlotte’s not only too tightly wrapped, she’s a lousy mother, forbidding her child to discover her identity. To all and sundry, however, Charlotte says, with truth, You weren’t there, so you don’t know.

Even now, in her dreams, she heard Vivi crying, not the childish whimpers and sobs of temporary discomfort but a shrieking rage born of an empty belly, and chilled-through bones, and the agony of rashes and bites and festering sores. Sometimes the crying in the dream was so loud that it wrenched her awake, and she sprang out of bed before she realized the sound was only in her head.

But Charlotte’s memory of Vivi’s sufferings is by no means the whole truth. Paris Never Leaves You excels as a moral tale, for Charlotte’s secret feels so shameful to her that she believes — with reason — that to confess it would make her a pariah. Specifics here would spoil the suspense; once more, I advise against reading the jacket flap, clever and subtle though it is.

Feldman brings alive Paris under the Occupation, as she does New York publishing, some scenes of which are positively delicious. In Charlotte and Horace, she’s created two memorable characters, and the dialogue between them crackles like a moral duel, full of challenge and riposte. Horace wants, nay, demands that Charlotte think and reflect on who she is and what she believes, and as a result, the novel pushes the reader to do the same. That’s what Paris Never Leaves You has to offer.

But, if you’re like me, you’ll have to overlook several flaws, starting with the bland title, which sounds like the compromise offspring of a deadlocked editorial meeting, and the cover, which says nothing except, “See, here’s the Eiffel Tower, so guess where this story takes place?”

More seriously, a key aspect of Charlotte’s secret seems historically implausible, despite what the author maintains in an afterword. I don’t believe the circumstances permitting the premise could have existed for so long, if at all. And even if you take Feldman at her word, there’s Vivi, who’s too sweet, calm, and reasonable for fourteen, and who bears nary a psychological scratch from her wartime early childhood. No nightmares, no tics, no fears, just perfectly adjusted.

As for psychological thinking, I’m tired of reading about dictatorial, heartless psychoanalysts, especially those who sleep with their analysands. It’s also unnecessary, here. Feldman didn’t have to make Hannah an expert—it takes no letters after your name to know that teenagers are trying to figure out who they are–and Hannah’s involvement in Charlotte’s life, particularly her friendship with Vivi, give her standing to sound off.

It’s also odd that nobody, not even Horace, asks Charlotte how she can feel so intensely about literature, an art that lives within reflection and self-examination, yet refuse to look at herself. To do so, of course, would reveal the exact cause of her shame, and though Feldman derives tension from that secret, Charlotte can’t even think about what she has to hide, or the reader will know. That contrivance makes me ask whether Charlotte could have spelled out the secret in interior narrative early on, which would invite the reader deeper into her dilemma, a more generous approach, and perhaps a more genuine characterization.

Still, I think the moral framework stands out, and Paris Never Leaves You may be worth your time because of it.

Disclaimer: I obtained my reading copy of this book from the publisher, through my work for Historical Novels Review, where this post appeared in shorter, different form.

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.

Fission in Two Parts: Hannah’s War

09 Monday Mar 2020

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Review: Hannah’s War, by Jan Eliasberg
Little, Brown, 2020. 301 pp. $17

In April 1945, U.S. intelligence has uncovered a security leak at Los Alamos, New Mexico, where the Manhattan Project is building the atomic bomb. Suspicion falls most heavily on the scientists who’ve circulated a petition demanding ethical constraints on the weapon they’ve worked to invent, whose destructive power remains theoretical. What’s more, one signatory has just sent a telegram to her German counterparts in Europe, presumably to convey military secrets.

Said scientist, the only woman at Los Alamos with a high security clearance, is Dr. Hannah Weiss, an Austrian-Jewish physicist. She’s beautiful, brilliant, and tough to corner, a job that falls to Jack Delaney, superspy and seasoned interrogator. He has seventy-two hours to find out what, if anything, Hannah has told her friends in Germany.

Eliasberg tells this story in two narratives. With the Los Alamos story, she seamlessly integrates Hannah’s prewar work at the prestigious Kaiser Wilhelm Institute in Berlin, where, despite her exceptional gifts, she’s consigned to a basement laboratory, her findings ignored. “Jewish science” can possess no truth in Nazi Germany. Eliasberg says that she has based Hannah on Lise Meitner, who received no credit for discovering nuclear fission, because Otto Hahn, with whom she had worked closely, left her name off the paper they published in 1939 so that their research would be taken seriously. Further, at his Nobel address in 1944, he conveniently omitted mentioning her. That in itself is a story, and though the novel follows a different path from her actual life, the Berlin narrative raises similar historical issues and derives tension from them.

Unfortunately, the Los Alamos sections don’t measure up. To be fair, Eliasberg, a screenwriter, keeps the pages turning rapidly throughout, and her dialog punches hard. When Jack and Hannah square off, the verbal jousting sets off sparks. Better yet, the cat-and-mouse contest does more than furnish the necessities of thrillerdom; the interrogation covers questions of science and morality, the power of life and death, responsibility to individuals versus society at large. I also believe the re-creation of Los Alamos, with its hard partying, personal rivalries, and the tension and desperation of discovery with the world’s future at stake.

But I don’t accept the premise. They’re too quick in Los Alamos to slap handcuffs on Hannah and string her up, the stated justification for which runs as follows: Why would a Jewish refugee collaborate with the enemy? Because she must have slept with that enemy. I’m sure such sexist, anti-Semitic logic had its followers; General Leslie Groves, who commanded the Los Alamos installation, was a nasty piece of work, bigoted and ambitious, as the author portrays him here. But that army or intelligence brass would rush to try Hannah before a military tribunal, threatening to hang her before you can say, “Albert Einstein,” stretches credulity. They would certainly have done more to figure out which secrets she’d passed, and what they were worth.

Are her friends working for Germany or the Soviets? The narrative waffles, and faced with that vagueness, the American spymasters plan to kill off famous German scientists right and left, a hasty, perplexing verdict. It’s also puzzling how, even in April 1945, everyone assumes the European conflict will go on forever, ignoring how Germany was in its last gasps.

In reality, battles still took place, but the Reich posed a greater threat to its citizens judged defeatist than its foreign enemies, and was certainly in no condition to develop or deliver an atomic weapon. Yet, somehow, the Los Alamos scientists greet the news of Germany’s collapse as a surprise.

With the exception of Groves, the army and intelligence characters feel flat, and the way they strut and shout gives the impression that they’re trying not to admit how empty and wrongheaded they are. Even Jack, who receives more authorial care, strikes me as a stock character, the rough, tough guy with the usual manly trappings, who needs the right woman to let him be vulnerable. His role in the novel’s resolution, a clumsy, predictable section, wraps the story briskly but, like the rest of the Los Alamos plot, remains forgettable.

Compare that to the Berlin narrative. As before, surprises and twists abound, but the people seem natural, deeper, more complex. Special kudos to Eliasberg for creating characters whose Jewishness feels real, not a matter of convenience, as evidence of which they spend time and effort trying to practice their faith and cope with anti-Semitic decrees. But the non-Jewish scientists who believe they have their handlers by the tail, only to find out the opposite, make an impression too. As a result, the tension feels higher here than in the other narrative, even though the bomb hasn’t been built yet, and the threats against Hannah are only potential.

Given all that, would the Lise Meitner/Hannah Weiss narrative have made a thriller by itself? It’s a great story, that’s for sure, the gripping part of Hannah’s War.

Disclaimer: I obtained my reading copy of this book from the publisher via an independent publicist, in return for an honest review.