Tag Archives: coming-of-age novel

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.

Ménage à Trois: Love Is Blind

14 Monday Jan 2019

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Review: Love Is Blind, by William Boyd
Knopf, 2018. 369 pp. $27

Brodie Moncur is one of those fictional characters you wish you knew in real life. A Scotsman entering his twenties in the nineteenth century’s final decade, Brodie has spent six years tuning pianos for an Edinburgh concern, Channon and Co. He knows all there is to know about his craft but much less of the world than he would like, so when his boss chooses him to manage a showroom in Paris, Brodie jumps at the chance. With his bag of tools and the knowledge in his head, he can go anywhere. But to make his break, he must stand up to his narcissistic, tyrannical father, who keeps the army of Brodie’s siblings in thrall—Brodie’s the first to leave and by no means the youngest. Nobody, least of all Brodie himself, expects him ever to return; as Boyd often does, he shows that anticipated emotional transition through the natural world:

Brodie had been fishing this small river since he could remember — Callum [his brother] also. They knew every bend and pool, every potential crossing point, every placid, midge-hovered eddy. It had a calming effect on him… memories skittered through his mind, came and went like butterflies or sun dapples beneath breeze-shifted branches; he saw himself as a little boy with his first rod, remembered the charge and thrill of his first catch. Maybe this small river and its wilderness should be ‘home’ to him, he thought, not the manse or the village. He should carefully store the memories of this day and recall it whenever he felt lonely or homesick.

But, as the title suggests, this novel isn’t just a coming-of-age story. A creative thinker, in Paris Brodie devises a scheme whereby a celebrated pianist will use a Channon exclusively and thus publicize the brand. The idea works, but with consequences that will change Brodie’s life; John Kilbarron, “the Irish Liszt,” signs on, sweeping Brodie into his mercurial, if fading, orbit. One moon encircling planet Kilbarron is Russian soprano Lika Blum, his mistress, for whom Brodie falls, hard. Another moon is the pianist’s boorish, mistrustful brother, Malachi, who worships John and acts as his business manager. To no surprise, life gets very complicated. It also travels to different places, and one of the pleasures of this novel is how Boyd describes them all.

Some tools of the trade: rubber mutes and a tuning hammer (courtesy Onascout via Wikimedia Commons)

Brodie’s character appeals, in part, because he takes his many losses without an ounce of self-pity, while enjoying happiness to the fullest. He draws people to him wherever he goes, and his love for and understanding of pianos makes his work a fascinating art. The scenes in which he repairs or tunes these magnificent instruments make wonderful reading, a behind-the-scenes glimpse of a virtuoso’s necessary assistant that no one ever meets.

Brodie trusts people easily, perhaps too much so — strange, given his corrupt, vicious father — and suffers for it. His ingenuity bears fruit, but others seem destined to appropriate it. Accordingly, bad things do happen to him; one theme of Love Is Blind is how quickly happiness and contentment can dissolve. Still, those reversals have to do with others’ weakness, not his, so at times, I wonder whether he’s a little too good to be true. His sole major flaw seems to be vengefulness, but you have to push him very hard before he unleashes it, testament to his patience.

The more obvious weak link is Malachi, whose antagonism has no apparent root except a self -sacrificial brother worship, which Boyd explains but never explores. As an antagonist, Malachi is satisfyingly tireless, but after a while, he becomes more of a device than a person. I wish Lika came into closer focus as well, for she seems a passionate, seductive, willing beauty, perhaps too convenient for Brodie by half. He’s the star of the show, and what you think about that fact or the man himself will decide whether Love Is Blind is for you.

Despite these drawbacks, though, I like this novel, and I think Brodie’s story makes for beautiful, poignant reading.

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

The Vanity of Masochism: Mrs. Osmond

05 Monday Feb 2018

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Review: Mrs. Osmond, by John Banville
Knopf, 2017. 369 pp. $27

Isabel Osmond (née Archer) has disobeyed her husband, Gilbert, something she’s never done before. Against his will, she’s left their home in Rome to visit her dying cousin in England. After the funeral, friends urge Isabel not to return to Gilbert — a remarkable notion for the 1880s – whose cruelty and deceit have ruined any hope of happiness.

Readers of The Portrait of a Lady, the Henry James masterpiece, will recognize the situation and characters. They will also know that Isabel wouldn’t dream of taking flight from her lawfully wedded husband. But Banville has set his imagination to work, and he finds much meat in what an American-born woman of the Victorian Age would do if she discovered that her vicious husband had married her only for her money.

To pen a sequel to Henry James requires a bold, confident hand and a finely perceptive eye. Only a writer as experienced and gifted as Banville would even attempt it, and he succeeds brilliantly. Not only has he captured the Jamesian style, the discursive loop-the-loop sentences that end dead center in observed truth; like the master, Banville derives intense feeling from a gesture or an inflection of voice. As with the original, what’s left between the lines often means more than what is said. Where modern authors interrupt their narratives to reveal their characters’ inner lives (if they bother), for James, there isn’t anything but inner life. For readers who expect a faster-moving story, his approach may be an acquired taste. But he creates tension through deep emotional connection; so too with Banville and Mrs. Osmond.

Letting her eyes close, Isabel dipped into the dark behind her lids as if into the mossy coolness of a forest pool. Yet she could not linger long, for in that darkness she was sure to meet the padding, yellow-eyed, implacable creature that was her conscience. Strange: she it was who had been wronged, grievously wronged, by her husband, and by a woman whom she considered, if not her ally, then not her enemy either, yet it was she herself who felt the shame of the thing.

But to call this novel imitation James hardly does it justice. Where James expounds on the loss of innocence, a favorite theme, especially regarding Americans residing in Europe, Banville emphasizes Isabel’s masochism, so deep and relished that it amounts to vanity. There are stretches in Mrs. Osmond in which I wanted to hit her over the head, because I detest masochism and dislike literary characters who don’t struggle against it the way I’d want them to. But Isabel’s excessive sense of duty is also painful, since Gilbert Osmond must rank among the most odious husbands in literature. He’d never stoop to physical violence or even profanity, never raises his voice, and would consider it gauche and beneath him to be drunk. Yet he pulverizes everyone around him through fifty shades of disdain, many of which require no words.

Consequently, Isabel’s physical journey from London back to Rome takes second place to her inner travels. She believes she must confront Gilbert, a task that requires steeling herself and gathering information, but while she’s doing that, she tries to figure out who she is and what she wants and deserves. Naturally, she goes back and forth, because when you have spent your life as a doormat, even the experience of being cheated and lied to in the worst possible way doesn’t necessarily qualify you to stand up for yourself. Nevertheless, when Gilbert and she finally do meet, it doesn’t go as either of them expects.

I’m not the type to read modern takes on Jane Austen or Conan Doyle, but I made an exception with Mrs. Osmond and am glad I did. We’ve all known someone like Isabel, and it makes no difference that this version of her comes from the nineteenth century. You need not have read The Portrait of a Lady to enjoy it– Banville seems to assume no knowledge of it—but I appreciated the sequel more for having done so.

Disclaimer: I obtained my reading copy of this book from the publisher via Historical Novels Review, which published this post in shorter, different form.

Homage to Tom Jones: The Foundling Boy

29 Monday Jun 2015

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With this post, I’m starting a summer schedule, in which I’ll review one book a week.

Review: The Foundling Boy, by Michel Déon
Translated from the French by Julian Evans
Gallic, 2013 [Gallimard, 1975] 415 pp. $16

Halfway through this poignant, often hilarious tale, the protagonist, Jean Arnaud, comes across a truth I wish I’d taken to heart at age seventeen, as he does:

There was, then, no shame in being young, not the way adults wanted to make you believe, saying every time you advanced the slightest opinion, ‘Wait till you’ve grown up a little. . . . When you’ve done what we did, then you can speak.’ . . . [I]t was no crime to make mistakes, to give in to your enthusiasms, to be happy or unhappy because a girl made you suffer.

Jean imbibes this lesson after reading Stendhal, who’d have enjoyed the young man’s amorous adventures and the gentle irony with which Déon tells of his growing up. But this picaresque novel also harks back to Henry Fielding’s rollicking eighteenth-century masterpiece, Tom Jones. Both begin with a foundling child of mysterious origins who fits no societal niche and will have to make his fortune through his gifts of character, which turn out to be considerable.

However, The Foundling Boy takes place in France between the world wars, not eighteenth-century England, and the particular atmosphere in which people try to recover from old wounds offers a perfect forum in which to observe how people enjoy life (or don’t). In this, the novel has a distinctly French sensibility, by which I mean that the characters who succeed are those who know better than to take themselves too seriously. I think this notion is what the French, at their best, have given Western civilization.

Once the basket bearing a newborn infant is left on a doorstep belonging to a childless couple, caretakers of a Norman estate, there’s little plot to speak of. But don’t worry. Episode quickly follows episode, and Jean gets into scrape after scrape, portrayed with wit, charm, and keen observation. Most of the story takes place in Normandy and Provence, so if you like France, or can imagine or have experienced the pleasures of either place–cider and ancient greenery in one; warm colors and aromatic herbs in the other–you’ll like this book.

Postcard of Marseilles, 1920s (Courtesy Travel and Tourism Provence).

Postcard of Marseilles, 1920s (Courtesy Travel and Tourism Provence).

Sometimes, the omniscient narrator takes time out to tell you who’s important to remember, and who isn’t, as if Déon were your mentor. The role fits, for practically everybody wants to mold Jean to his or her own purposes–for his own good, of course. His adoptive father wants him to be a gardener, like himself, and to stay close to home; a con man tries to teach him to be a con man, and roam the world; and Ernst, a German youth he meets on a bicycle trip to Italy, insists that fascism offers the only useful, honest path in life.

All this is ripe for satire, and Déon doesn’t miss a trick. Especially as a young boy, Jean has no experience with which to filter out the useful advice from noise or what, to the reader, appears the counselor’s self-interest. Jean’s not weak–far from it–just green, but that constantly gets him into trouble. And as he navigates through his difficulties, what’s personal to Jean is also political and social commentary about 1930s Europe, though he doesn’t always know that. For instance, he can’t figure out why Ernst, who seems to laugh a lot and be good-natured, should take himself and his country so seriously, especially to spout hateful, vaguely frightening ideas from a book called Mein Kampf. Jean’s puzzlement reflects a common attitude of the time, one explanation for why so many Europeans underestimated Hitler.

Originally published in 1975, The Foundling Boy is a classic in France, though only recently translated into English, as with its sequel, The Foundling’s War. Déon belongs to the Academie Française, but he’s now also part of my personal pantheon: a great writer I’d never heard of.

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

Lies and More Lies: When the World Was Young

08 Monday Jun 2015

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Review: When the World Was Young, by Elizabeth Gaffney
Random House, 2015. 298 pp. $26

You’d think that V-J Day would bring young Wallace “Wally” Baker a boatload of joy. The war that’s lasted half her life is finally over; her father, a naval officer in the South Pacific, will come home; and maybe the government will end rationing, so that her mother’s chocolate pound cake won’t be such a luxury anymore.

75 Montague Street, Brooklyn Heights, a century-old building (Courtesy Joe Mabel, via Wikimedia Commons).

75 Montague Street, Brooklyn Heights, a century-old building (Courtesy Joe Mabel, via Wikimedia Commons).

But in this moving, beautifully written coming-of-age novel, that day of victory brings Wally heartache, which the adults around her do nothing to assuage, let alone recognize. The grand, ancestral brownstone in Brooklyn Heights, where she lives with her mother and maternal grandparents, offers material comfort, but that’s about all Wally can be thankful for. Stella, her mother, is distant, beautiful, selfish, and neglectful; Wally desperately needs the attention she can never have. To be fair, Stella has suffered tragic losses, including the deaths of a fiancé and a child, and she’s emotionally fragile.

Yet Stella doesn’t entirely realize that her surviving child has a claim on her. And though Wally never wants for good food or clothes or the Wonder Woman comic books she loves, no one in the family sees her as anything but a reflection of themselves. Only when she displeases them do they notice her, usually to punish her for asking questions about secrets they wish to hide, or for speaking her mind. She doesn’t even have a choice about what name she goes by. Wallace is her middle name, inherited from Stella, and Stella refuses to call her any other, as if her daughter were merely a diminutive of herself.

The only adult who cares for Wally is Loretta, the black maid of all work, whose son, Ham, is Wally’s inseparable companion. Wally picks up Ham’s passion for studying ants (an activity with which Gaffney reflects the action, in apt, extended metaphors). More than that, Wally finds in him the affection, praise, shared spirit of adventure, and listener she gets nowhere else. Loretta would be glad to help, but she has white employers to please. She’s not about to answer Wally’s dangerous questions, nor tell her that Ham’s friendship, though genuine, has been sponsored by Stella’s mother in the form of wages. So Loretta does what she can, which is to keep Wally well fed and safe.

The narrative jumps around confusingly in its efforts to stitch the events that precede V-J to that day and its aftermath. Nevertheless, you can see Wally’s slow, insistent progress toward glimpses of ugly truths–race prejudice, adult hypocrisy, betrayals, and class snobbery. Gaffney does a brilliant job filtering Wally’s observations through a painful, endearing, true-to-life naivety that often leads the girl to wild misinterpretations. For instance, she imagines that Mr. Niederman, a mathematician who boards with her family, must be a spy or somehow dangerous. She keeps trying to make what she learns about him fit into her exciting fantasy, missing the more prosaic threat that the reader understands long before she does.

I admire how Gaffney stretches her range with this novel, very different from the sprawling, gritty Metropolis (which I also liked). She shows with When the World Was Young that she can realize subtle scenes on a small stage, a talent I admire. However, like Metropolis, When the World Was Young has its melodramatic moments, which play worse on that smaller stage. Again like its predecessor, When the World Was Young sometimes adopts the knowing tone of portent that I so dislike (“this would be the last time she did blah, blah, blah”), and which undermines the tension rather than heighten it.

But my greatest objection is how the story resolves. Toward the end, three important characters reverse themselves, which I don’t believe, and what’s more, they do it in a twinkling, while the narrative tells the reader how they feel. I wonder whether the author wanted a quick, redemptive finish, instead of staying with the heart-breaking dilemma she’d so carefully crafted.

Still, I recommend When the World Was Young, an excellent novel about the loss of innocence.

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