Tag Archives: commercial fiction

Every Commandment Broken: Conrad Monk and the Great Heathen Army

08 Monday Oct 2018

Posted by in Reviews and Columns

≈ 1 Comment

Tags

, , , , , , , , , , ,

Review: Conrad Monk and the Great Heathen Army, by Edoardo Albert
Endeavour Quill, 2018. 215 pp. £8

The narrator of this clever, funny picaresque set in ninth-century England tells you what’s what right away. A “vain dissimulator and crafty poltroon,” as he describes himself, Conrad has no use for compassion, empathy, selflessness, altruism, or physical discomfort and believes that bad luck immediately descends if he ever does anything remotely involving them. As it happens, though, Conrad is also a monk — don’t ask — which makes him a little different. Especially from his companion, Brother Odo, who actually takes his vows seriously and seems not to notice that Conrad has broken every commandment and a lot else.

The story begins in a pigsty, appropriately enough, where Conrad and Odo hide from Danish raiders sacking their monastery. In plotting how to escape imminent death or, at best, enslavement, Conrad persuades the credulous, trusting Odo that he has a plan, and no matter what it looks like, it’s for the best and hews strictly to Christian principles. As a consequence, though Odo has moments of doubt, he generally construes Conrad’s most craven acts as noble self-sacrifice, berating himself for not having done as well or for not having realized their true significance. Conrad, he believes, is a paragon of Christian virtue. This is often hilarious, and no matter how many times Conrad lies, appears to ally himself with the Danish invaders, or conspires to enrich himself at others’ expense, Odo sticks by him.

In less inventive hands, Conrad Monk could have been a one-joke story, growing tiresome quickly. Not here. Albert has created a protagonist infinitely skilled at falsehood, flattery, skulduggery, and shameless self-aggrandizement, who cheerfully admits to himself, nay, revels, in his character. And he needs to be that slippery, because “no-and furthermore” happens every other page. How does he escape the Danish warriors approaching the pigsty? Or the mad Saxon king who insists on dying a religious martyr, with Conrad alongside? I won’t tell you — and don’t read the jacket flap — but trust me, these evasions, like many others to follow, are ingenious.

The flap also pretends that Conrad Monk offers a “highly informative trip through the Anglo-Saxon world,” “painstakingly accurate depictions of history,” and “character-driven fiction.” I think even Conrad would blush at those claims. Albert has researched his ground thoroughly — no argument, there — and his descriptions, like the following of a feast, are very evocative:

But of course it dragged on and on, as these things do, with maudlin warriors staring into their cups and telling tearful tales of comrades lost and battles won, while the king’s scop went from telling the tale of Edmund’s heroic forebears through songs of war and dragon-haunted peace to drunken riddles and, finally, blessed incoherence, as his fingers missed the strings of the lyre and his tongue fought a losing battle with his ale-addled wits; he sank into a snoring heap by the fire, a sleep from which not even a volley of thrown bones could wake him.

But come on. Conrad Monk is about as plot-driven as it gets, and nobody will read it to learn about Anglo-Saxon culture, very little of which emerges in its pages anyway. Albert explains that he’s tried to follow historical sources when possible, and that’s commendable. But Conrad’s voice sounds indelibly modern, which is part of the fun, and if you ever ask, “Could his exploits really happen?,” you’re missing the point. Conrad Monk is a funny book. Humor as a theme or approach needs no defense, and dressing it up as something more serious only undermines the joke.

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

Mean Streets: The Devil’s Half Mile

01 Monday Oct 2018

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , , ,

Review: The Devil’s Half Mile, by Paddy Hirsch
Forge, 2018. 300 pp. $25

Justice (Justy) Flanagan, attorney at law, has returned to the Manhattan of his youth from Ireland, following his legal training and participation in the failed rebellion of 1798. He’s come to make his way in the world and to investigate his father’s suicide. But Justy, who found the body hanging from the rafters, has since learned more than most people care to hear about what violent death looks like, and the precise details he remembers from cutting his father down don’t square with his lessons in what we would call forensics. Moreover, given that his father was involved in an extremely risky financial speculation involving men far less scrupulous than himself, Justy reasonably concludes that motives for killing him abounded, as do suspects.

African Burial Ground, late 1700s, just north of Wall Street, Manhattan (courtesy preserveamerica.gov via Wikimedia Commons)

But Hirsch’s Manhattan in 1799 is a mucky, filthy place, and he’s not just talking about the condition of the streets. The language, Irish-American slang that fills a four-page glossary at the back, is pretty raw too. The title refers to Wall Street, a savage entity with no rules save caveat emptor, and where tempers are short, and memories, long. The stock exchange per se doesn’t exist yet, but trading happens in coffee houses, and a new one has risen specifically for that purpose. Hirsch wants you to read this portrayal, full of rich ruffians who detest even the thought of regulation (despite the Ponzi scheme that set off a catastrophic panic in 1792), so that you realize that little has changed.

This is where Hirsch excels. I find his portrayal of the city the most persuasive, gripping part of The Devil’s Half Mile. Whether depicting the racial tension between free blacks and Irish immigrants, the cut-and-thrust of corrupt finance, the gangs that act like private armies, the prostitution, common thievery, and violence that afflict all but the fortunate few, the squalor in which most people live, or the tiny enclaves of great wealth, the novel gives you New York in its gritty self:

Justy nodded farewell to his friend… He pushed his face into the gust of wind that carried the smell of the city down the hill to the docks. Woodsmoke from a thousand hearth fires, urine from the tanners’ shops, horse shit from the streets, sewage from the septic tanks, fresh blood from the abattoirs, rotting meat and produce from the tips. Bad breath, sour beer, raw spirits, stale sweat. It was like a pungent cloud rolling down the Broad Way to the water, a slap in the face of every newcomer who arrived in the city.
Justy smiled.
It was the smell of home.

Despite this vividness, however, the narrative of The Devil’s Half Mile has a mechanical feel that intrudes, though it’s not for want of plot points. There are plenty of twists and turns, right up to the end. Hirsch has apparently followed Raymond Chandler’s dictum that to restore flagging tension, send in a man with a gun. In this case, it’s more likely a corpse discovered or a knife fight, which gets predictable after a while. Even at that, Hirsch’s machinery might not matter, except that our hero, despite his powers of observation, remains remarkably dense about the obvious, such as the probable killers, the nature of the speculation that his father was involved in, or the mastermind behind all his troubles. Is it that he has to remain clueless until enough bodies fall? To his credit, Hirsch does the fight scenes well and is not squeamish about granting them their proper length, so if they’re a device, they’re a carefully polished one. However, like the grisly findings the sleuthing unearths, the spilling of blood requires emotional transitions from Justy — surprise, horror, the pain of treachery, or what have you — which zip past in clichéd language. His gut clenches, or his fist, a phrase announces that he has “raw feelings,” and the narrative moves on.

As such, Justy comes across as more shallow than he should, which is a shame. Hirsch tries to convey the depth to which violent fury possesses his protagonist, and how Justy’s physical skills may be useful in surviving, but not for living a satisfying life. It’s a worthy theme, especially when the author is after even bigger game; he wishes to connect the skill for violence with English prejudice against the Irish as savages fit only for doing dirty deeds or slaving at the docks. In that, The Devil’s Half Mile is a more ambitious book than it seems at first; but unfortunately, it never realizes its potential.

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

Occupation Confection: The Baker’s Secret

25 Monday Jun 2018

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , ,

Review: The Baker’s Secret, by Stephen P. Kiernan
Morrow, 2017. 308 pp. $27

By June 1944, the German Occupation weighs heavily on the Norman coastal village of Vergers. The Germans confiscate whatever food the villagers grow or catch, deport men of working age to their armaments factories, and delight in summary executions. One person they shoot is Ezra Kuchen, the baker; the villager who takes his death the hardest is his assistant, Emmanuelle, known as Emma.

Emma would never dream of joining the Resistance, whose activity she blames for other losses, and who believes the Allies will never invade, so what’s the point? But willy-nilly, Emma becomes the prime mover in a complicated barter arrangement whose weblike strands encompass the whole village, and which the Germans would certainly call resistance. Her treason centers around baking bread for the occupiers, which she cuts with enough straw to make extra loaves for neighbors in need. In each loaf, she carves a subtle V.

Each morning required every gram of Emma’s skills, all of her artifice, to bake loaves containing straw and have neither the Kommandant nor his officers notice. Yet this was only one of five hundred deceits, all conceived during the long strain of the occupation. She learned to sow a minefield and reap eggs. She could wander the hedgerows pulling a rickety cart, and the result would be maps. She could turn cheese into gasoline, a light bulb into tobacco, fuel into fish. She could catch, butcher, and divide among the villagers a pig that later every person who had tasted it would insist had never existed.

I like this part of the novel the best, and not only because of Emma’s ingenuity. Every fiber of her duplicity exists to satisfy someone else’s wants, which she at first resents, because they leave no room for her own. But over time, she realizes that throwing herself into feeding others gives her a reason to live despite her pessimism, and keeps her from dwelling on her repressed desires, which would drive her mad. When someone tells her to have hope, she snaps, “Can that be eaten? What does it taste like?” But since the novel opens on June 5, 1944, the reader knows what’s coming before she does.

Having written about military occupations and traveled Normandy, I was looking forward to The Baker’s Secret. (My fondest memory of the many French walking trails I’ve followed is of Calvados, where a group of local hikers pressed wine and food on me and told me how grateful they felt to Americans for having liberated them.) I gobbled up this confection of a novel in just about one sitting, which says something about its excellent pacing, but I felt hungry soon afterward. The story pleases, but, except for Emma, the characters have no depth, and the fable-like tone makes it hard to tell whether to take the narrative’s real tragedies seriously.

I took this photo in 2015, near the Norman village of Thury-Harcourt, an area that saw heavy fighting several weeks after the invasion.

One weak link is the German soldiery. Unlike the case with All the Light We Cannot See, to which this book will inevitably (and wrongly) be compared, Kiernan’s occupiers deal out plenty of brutality. But they’re stiff, utterly predictable marionettes who act like no soldiers I’ve ever read of or seen, let alone like the Wehrmacht. They are easily fooled, spout racial and political prejudices like windup toys, seem not to understand their own weaponry, and even invite Emma to a place where she can see their fortifications, which they then boast of to her. They’re not buffoons, exactly; more like a collection of bumbling neurotics with guns.

Just as the Germans are unreal enemies, the villagers are improbable, idealized good guys. They’re more like a foreigner’s idea of what French people must be like, with generic, styled modes of expression, attitudes, and descriptions. Further, I don’t believe that Vergers has a Jewish baker, that Ezra Kuchen is Jewish, or that the villagers would honor him in death so fervently. He’s a cliché, a blatant device, and, incidentally, the only villager to possess a last name, whose meaning (“cake”) is no subtler than anything else in this story. Kiernan tries hard to evoke Emma’s fear that someone in Vergers will betray her, but you know they won’t; they’re too righteous. Over time, a candidate presents himself, but he’s so roundly detested that you expect his duplicity rather than fear it.

I appreciate Kiernan’s attempt to show the cruelties perpetrated during the Occupation, and to portray the violence of the invasion as a decidedly mixed blessing for the people of Normandy. But The Baker’s Secret, though it has its poignant moments, teeters between cartoonish fable and skewed reality, and leaves me unsatisfied.

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

The Sussex Ghost: Lost Among the Living

18 Monday Jun 2018

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , ,

Review: Lost Among the Living, by Simone St. James
NAL, 2016. 318 pp. $15

For three years, Jo Manders has struggled with the loss of her husband, Alex, who flew for the RAF, and whose airplane crashed in German territory in 1918. The verdict of missing, presumed dead leaves her in limbo, which is painful enough. It also leaves her without a widow’s pension, which poses financial hardship, especially since she pays for the institution where her psychotic mother resides. (Her father, she never knew.) So when Alex’s aunt, Dottie Forsyth, offers Jo a position as a companion, the distraught young woman gets rid of nearly all Alex’s belongings and accepts.

Airco D.H. 9A, part of the infant RAF, ca. 1918 (courtesy WIkimedia Commons, public domain)

What she hasn’t reckoned on is how difficult Dottie is and how impossible to talk to. She calls Jo “Manders,” as if she were a servant rather than a relative by marriage, and denies any emotion, as if it were the influenza pandemic revisited. There’s also the matter of Alex’s late, mentally disturbed cousin, Frances, who died plunging off the roof of the Forsyth manse in Sussex, at age fifteen, during the war. As happens with such tragedies among the gentry, rumors fly in town about the dead girl. To wit: She’s still alive, kept in chains, goes one story. No; she’s dead, and her ghost haunts the woods, scaring children who play there. Or it’s Frances’s dog that does the haunting, a monster more like, that can tear a human into pieces — and did so, once.

Lost Among the Living therefore sounds like Jane Eyre meets The Hound of the Baskervilles. If you like, you can throw in Daphne Du Maurier’s Rebecca, because of Jo’s employment as a companion, and because her married name resembles Manderley, the mansion in that story. So the novel under discussion here evokes famous literary bloodlines, which implies a responsibility. In large measure, St. James meets it.

Normally, I avoid Gothic fiction because so much of it relies on melodrama. I also have no patience for the supernatural or paranormal or whatever euphemism you want to use for ghosts playing field hockey in the attic. So how did Lost Among the Living rope me in and keep me reading?

Easy. St. James is a very skilled novelist, and her psychological insights, gift for characterization, and descriptive pen need no doors slamming by themselves to create suspense. She’s not afraid to linger on emotional transitions, and because she keeps the reader engaged, the narrative still moves at an enviable clip. From the first, she draws you in, creating Jo as a sympathetic character. Consider this early passage, when the young widow thinks about what returning to England will mean after she has spent a dreadful three-month tour of the continent with Dottie:

I tried to picture primroses, hedgerows, and soft, chilled rain. No more hotels, smoke-filled dining cars, resentful waiters, or searches through unfamiliar cities for just the right tonic water or stomach remedy. No more sweltering days at the Colosseum or the Eiffel Tower, watching tourists blithely lead their children and snap photographs as if we’d never had a war. No more seeing the names of battlefields on train departure boards and wondering if that one — or that one, or that one — held Alex’s body forgotten somewhere beneath its newly grown grass.

We get grief, hoping for the relief she senses she won’t have, and the endless drudgery she’s suffered the past three months and fears will recur–all of it subtly rendered.

As a first-person narrator, Jo is naturally the deepest character, but her memories of Alex bring him alive, and Dottie comes through in all her hideous glory without being a cartoon. I’m particularly impressed that when Jo receives a terrible shock, she doesn’t immediately do a one-eighty to accommodate the change but fights it, internally and externally, creating tension. So many suspense novelists, or those of any stripe, devote a paragraph, a summation, to “explain” why and how the protagonist must “face facts” and do what they’d never wanted to do. Not here. Call this novel Gothic or whatever you like, but these characters have inner lives. That’s the reason it doesn’t even matter that I guessed what changes were coming; the real surprise is how Jo deals with it, which feels real.

This is why I could swallow Frances’s spectral presence in the story. I would have preferred otherwise, and I believe it was unnecessary — indeed, the mystery element she adds could have come from perfectly uncontrived, utterly earthbound sources. But that’s the author’s style, and she has a wide readership, so she knows better than to listen to me.

However, I do think she overreaches in the last fifty pages, setting up a final confrontation that again is no surprise and whose mechanics are hokey, completely unlike the rest of the novel. To repeat myself, I think St. James could have written the ending another way, so the choice seems more like holding up a banner for her genre than to achieve the desired conclusion. Still, I’m glad I read Lost Among the Living. Maybe you’d like it too.

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

The Limit of Good Intentions: Hour Glass

23 Monday Apr 2018

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , ,

Review: Hour Glass, by Michelle Rene
Amberjack, 2018. 292 pp. $15

The Black Hills of South Dakota are no place for two children to fend for themselves, especially in August 1876, barely a month after Little Bighorn. But that’s the trouble that twelve-year-old Jimmy Glass, and his six-year-old half-sister, Flower, face when their father, their only parent, catches smallpox. Jimmy doesn’t know what ails his Pa, but it looks serious. It’s up to them to find a doctor, so the two manage to load Pa into a wagon, for which they have no horse, and sweat the contraption into Deadwood, the nearest town.

Deadwood exists because of the gold strike in the Black Hills, and the miners’ presence defies Federal law, which had supposedly kept “settlers” out of Sioux territory. So Deadwood isn’t merely a garden-variety frontier brothel-and-casino town, but one with defiant vengeance in its bones. And, it should be said, Flower is a potential target, as half Lakota Sioux and developmentally different — she doesn’t speak, won’t look people in the eye, and hates to be touched. When asked to say her name, the best she can reply is Ower. That becomes Hour; hence the title.

C. E. Finn’s 1880s photograph of Calamity Jane (courtesy Wikimedia Commons)

The relationship between the protective older brother and the emotionally inexpressive sister offers a twist on a familiar theme: Innocent children melt hard, greedy hearts. What’s more, who else should take the besieged children under her wing than Calamity Jane, as colorful a figure as you could want? She drinks like ten fish, curses like a sailor, but shoots straight, rides hard, and takes no guff from any man. In fact, on first meeting, Jimmy is convinced she is a man, a whisper of the feminist theme that pervades the novel:

Her skin was tanned and leathery, and she wore the uniform of a pioneer. If she had any bit of femininity about her shape, it was hidden beneath the layers of buckskin. Her hat was a man’s hat, worn from use, ornamented with Indian feathers. Everything about her had read ‘man’ until she pulled away that bandana to show the more delicate features of a woman’s mouth. Her crystal-blue eyes glared down at me as I froze in place.

Through Jane’s good offices, Pa Glass is put in quarantine with other smallpox victims, where she tends him herself. Dora DuFran, the madam of Diddlin’ Dora’s (no lie), takes in the children, who immediately become the pets of the house. But for me, the chief charm of Hour Glass is how Jimmy treats his little sister and does his best to look out for her. We’d all be proud of a son like him, sensitive, empathic, trying his best to play the man’s role he’s been thrust into when he knows he’s still a child. Jimmy also has a preternatural gift for peacemaking, and it’s hard not to like that too.

But it’s equally hard to figure out how he gained such self-knowledge and skills, for, like much else in Hour Glass, they just seem to fall out of the sky. How indeed would a young boy born to tragedy, likely having no playmates and only one parent who is probably too busy to spend much time on him, seem so fully formed in self-concept and so talented socially? To me, this is the sort of novel that works while you’re reading it, because you’re caught up in adventure after adventure. But after you put it down, you think, No.

None of the good guys ever does anything really bad, and there are no villains, only an occasional badass. Disagreements never leave lingering resentments or even change the course of the story. Though each chapter moves well, once the episode is done, it’s on to the next, with very little reflection. For instance, despite the feminism and good-heartedness that inform this novel, Jimmy never reckons with what a brothel is, or what it must be like to work there. His notions of sex are formed enough to make him draw back in horror at the notion that his sister might be condemned to that life one day. Yet he never connects his fear to the women he sees, which allows him to have unalloyed gratitude toward Dora, who’s profiting off them.

I’m glad Jimmy and his sister get taken care of — nobody wants to see kids suffer — yet I also want them to struggle, to face more prejudice and suspicion than they do, to get into fixes that even Calamity Jane can’t rescue them from. I can’t help think that not only does the author try too hard to protect her characters, pulling back from her strong premise, she has superimposed a twenty-first-century sensibility on a nineteenth-century narrative. Unfortunately, her choice of language sometimes suggests as much, as when her characters use words or phrases like backlash, fine with it, or best-case scenario.

Late in the novel, Jane remarks of her own legend spinning that “folks don’t want real stories.” Maybe not, but the lies have to seem like truth.

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

Finding True Norse: The Half-Drowned King

11 Monday Sep 2017

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , , ,

Review: The Half-Drowned King, by Linnea Hartsuyker
Harper, 2017. 423 pp. $28

You’ve heard this before: A young warrior, cheated of his birthright by his cruel stepfather, dreams of restoring his lands and honor. But to do so, he’s left his ancestral home to seek glory and wealth. While he’s away, his beloved sister, who depends on him for protection, falls vulnerable to enemies who covet her for her beauty and spirit. And just as he’s about to return, a treacherous assassination attempt almost succeeds, which reveals that he has powerful foes united against him.

But where this novel differs from others that deal with similar themes and rely on similar characters is the setting, ninth-century Norway. It’s a key moment in that country’s history, when Harald Fair-Hair, a young, charismatic leader, is trying to bring myriad jealous, quarreling kings to heel and make a nation of them under his rule. It’s a strange concept, nationhood, and not everyone can get his mind around it; each chieftain worries that his claims and ambitions will be forfeit, and that he’ll owe fealty to a boy who’s done nothing special.

Harald Fair-Hair, rendered in the fourteenth-century Icelandic manuscript Flateyjarbok (courtesy Árni Magnússon Institute, Iceland, via Wikimedia Commons; public domain)

Hartsuyker captures that feeling well, without succumbing to the temptation to permit her best and brightest characters to see into the future, which would be trite as well as improbable. Rather, she lets her two main characters hold ideas that set them apart from their contemporaries, but without overdoing it. Ragnvald, the warrior who fights to regain his birthright, sees value in a single, united kingdom, which would end the constant internal feuds and provide a stronger defense against foreign raiders. He also wonders why innocent relatives of wrongdoers must be punished, or why, after a successful battle, the victors should rape, kill, and pillage at will, wreaking violence on people who can’t hurt them anymore. But Ragnvald’s not especially enlightened beyond his time. Like every other Norseman who calls himself a man, he believes insults are a fighting matter, a dangerous quality for the irascible sort he is. And like everyone else, he’s very superstitious, as when he battles what he thinks is a dead man’s spirit:

A silhouette at first against the charcoal sky, it lurched over the uneven ground. With every step it stumbled, only to recover its balance just before falling. Its clumsiness made it seem more implacable, as though it would plow over and through anything that lay in its path. It had been a big man in life, broad and bearded. Now the face seemed dark, the beard matted. Far-off lightning crackled behind it. Ragnvald stood staring at it for a moment before recovering enough to draw his sword.

Meanwhile, Ragnvald’s sister, Svanhild, has yearnings and a quick mind considered unwomanly by some. She longs to escape their stepfather and the lecherous suitor he’s arranged for her, and she dreams of taking to sea, visiting other places, even–dare she think it–marrying a raider. She has little fear of talking back to men or challenging their political beliefs, which makes her the ninth-century equivalent of a firecracker. But, just as her brother is no Abraham Lincoln, she’s no feminist, for she never assumes that her role in life could be anything other than wife and mother, or that her sons would grow up to be anything other than sturdy warriors. Hartsuyker doesn’t push too far.

She plots her story well. Nothing goes as planned, so no-and-furthermore thrives in this icy north, and simmering tempers provide all the heat anybody needs. But The Half-Drowned King, though it has its share of fighting, is more about the politics of ever-shifting alliances, how a wise leader looks beyond immediate advantage, and how Ragnvald and Svanhild hew their separate paths. Hartsuyker does the politics especially well and uses her command of Norse ways–their system of justice, for example–to great effect.

The Half-Drowned King makes for interesting historical fiction because of its setting, but it’s less satisfying in its characters, who, despite their quirks, resemble talking heads. Hartsuyker tells the story almost entirely through dialogue, and she often recaps what her characters have just said, as if it weren’t already clear. The lack of contractions can sound stilted, and you sometimes get the feeling that the speakers are expecting a bard to turn their declarations into song–which, in fact, happens occasionally.

Reflection usually comes in brief, half-illuminating bursts. Consider this example: “Her mixture of innocence and ruthlessness was charming, and he could never decide whether he wanted her to keep her pretty pictures of the world, or learn his own cruel lessons.” It’s an explanation in trite language, not an exploration, and the implied emotional transition–which whizzes by like an arrow–deserves more.

The same could be said of The Half-Drowned King, a readable but not memorable novel.

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

Class Conflict: The Summer Before the War

28 Monday Aug 2017

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , ,

Review: The Summer Before the War, by Helen Simonson
Random House, 2017. 479 pp. $28

That last, idyllic English summer of 1914, Hugh Grange, a young medical student, has come to rural Sussex to visit his beloved Aunt Agatha and Uncle John. As the protegé of a famous surgeon who has all but invited him to marry his pretty daughter, Hugh may be forgiven for thinking he has the world on a string. However, two obstacles emerge to his plans.

Obviously, one is the coming conflict, of which just about everyone remains blithely ignorant in this lovely town of Rye. The other is Beatrice Nash, a young woman hired to teach Latin at the Rye grammar school, a subject traditionally a male preserve. She owes her job to Aunt Agatha, a closet feminist but no “suffragette,” who has politicked, plotted, and flattered to get the old-boy network to accept her protegée. Beatrice is intellectual, serious, and a freethinker–much like Hugh–whereas the surgeon’s daughter is a flirt, a twit, and a social climber. So there’s even less doubt whom he’ll prefer than what’s about to happen to Europe.

That predictability plagues much of The Summer Before the War. Simonson sets her battle lines right away, so that you can tell the good guys from the bad guys, or, when there’s less question of good versus bad, who’ll survive and who won’t. Her upper-class characters are completely detestable, but they’re stick figures, mere attitudes on two legs, and therefore easy targets. To cast doubt on what seems ordained, Simonson employs the “no–and futhermore,” often with skill, but toward the end especially, the story feels contrived and resolutions too neat. It doesn’t help that the novel has one or two superfluous subplots.

But to give The Summer Before the War the credit it deserves, Simonson has a knack for social conflict, and she portrays the pecking order of Rye with wit and verve. The never-ending battle against small-mindedness, gossips, sexism, and class snobbery consumes much energy in these pages, and the repartée between Hugh and his rakish cousin, Daniel, makes fun reading. (It’s a bit surprising how neither young man seems to have a home other than that of their aunt and uncle, but I’m glad they don’t.)

Rye Grammar School, which last held classes in 1907, as it appeared in 2010 (courtesy Wikimedia Commons; public domain)

Beatrice’s struggles are more compelling. She has to play the upright spinster so that the school worthies will hire her, because only a young woman of irreproachable character may come in contact with impressionable youth. Meanwhile, of course, said worthies have nothing but contempt for these lower-class children and would never lift a finger to help them, whereas Beatrice actually believes she can bring light into their lives. Further, having catered to a domineering, scholarly father who has recently died, Beatrice should, in theory, have her meager inheritance, but (male) trustees prevent her from touching it. They, and others, assume that a “girl” of twenty-three can’t be independent without losing her virtue, a criticism that extends to her desire to write books. These are the parts of The Summer Before the War that I like best.

But I like the humor too. Consider this description of an oak-paneled anteroom:

. . . between two large windows, an imposing, green malachite bust of Cromwell on a matching plinth so floridly carved with vines and flowers that Cromwell himself would surely have had it destroyed. Hugh was not familiar with any connection of the Earl North family to Cromwell. Perhaps, he thought, there was none and that was why the ugly heirloom had been consigned to oaken purgatory to intimidate unwanted guests.

The Summer Before the War unfolds at a leisurely pace, for the most part. I don’t mind that, and I regret that so few authors these days tell stories that way; they probably figure their readers won’t have the patience. They may be right, but I don’t think length is the problem. It’s depth. We That Are Left and A Gentleman in Moscow, for instance, succeed by showing their characters’ inner lives so thoroughly that I don’t care how many pages go by. Conversely, when Simonson narrates an intricate story with half-full characters whose inner lives she tells in shorthand (“he felt such-and-such”), that’s when I become conscious of page numbers.

I don’t mean to blame Simonson or single her out; I happened to read her at a moment when I’m redefining my standards. Many, if not most, novelists follow some version of what she does, which for me these days means that I can borrow a stack of promising books from the library and find only one or two that intrigue me past the opening pages. The Summer Before the War would have pleased me more had the author plumbed her main subject and characters to the greater depth.

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

One Big (Almost) Happy Family: Kiss Carlo

17 Monday Jul 2017

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , ,

Review: Kiss Carlo, by Adriana Trigiani
Harper, 2017. 524 pp. $28

Nicky Castone drives a cab for the family business in South Philadelphia in 1949. But it’s not his family, exactly, for when his parents died, the Palazzinis, his Aunt Jo and Uncle Dominic, took him in and have treated him as their own ever since. His aunt, uncle, and army of cousins assume that Nicky will follow the same path they have. He’ll marry his fiancée of seven years, Peachy DePino, drive a hack as he’s always done, and live with his bride in the rambling Palazzini house on Montrose Street. He’ll father children, be a regular at church, and sit down to his Aunt Jo’s fabulous cooking every day. That’s what life’s supposed to be, and since the Second World War is over and business is good, why not?

Troop 152 observes Scout Sunday at St. Francis de Sales Church in Philadelphia, 1949 (courtesy Bernie Kelley and Bruce Andersen, via Wikimedia Commons)

Why, indeed? What Nicky hasn’t told anyone–certainly not Peachy, who’s an even straighter arrow than his kinsmen–is that he moonlights at a struggling neighborhood theater. He does everything for the Borelli Theater that anyone backstage can do–clean the floors, hold the prompt book, you name it; that’s Nicky Castone, ever helpful, ever self-effacing. But one night, an emergency forces the prompter into playing Sebastian, a lead role in Twelfth Night, opposite the director, Calla Borelli, to whom he’s attracted.

Much hinges on that fateful moment, from which point forth, our Nicky is a different man, no longer content to follow his cousins’ path, though he loves them and worships his Aunt Jo. I won’t tell you how he tries to break free or the scrapes he gets into, some of which are howlingly funny. Just a hint, though: The Carlo of the title is an ambassador from an Italian mountain village who takes ship for the United States and the Pennsylvania town once settled by the villagers. When his path crosses Nicky’s, hi-jinks ensue.

Humor is therefore the great strength of Kiss Carlo, and Trigiani lovingly re-creates this South Philly Italian clan. There’s a pair of feuding brothers who “severed ties over money, the cause of every split in every Italian family since the Etruscans,” during which “the grievances stacked up, one upon the other, like soggy layers of wedding pastries on a Venetian table. Then it got personal.” Through these observations, which pepper the narrative, and characters who never lack for a quip, Trigiani captures the postwar striving, the ambitions, the jealousies:

Jo’s simple gold wedding band remained on her hand, but Nancy [her sister-in-law] traded up. The prongs on Nancy’s modest quarter-carat diamond engagement ring were stretched to accommodate the glitzy three-and-a-half-carat upgrade. The delicate gold chain around Nancy’s neck was replaced with one as thick as a strand of pappardelle, from which dangled a new medal more miraculous than a pope’s.

The geniality and generosity Trigiani displays toward her characters and readers go far to make Kiss Carlo enjoyable, funny, and occasionally thoughtful, a paean to those who follow their star in life no matter what anyone says and risk everything to be happy. It’s a nice message and good tonic. In particular, I like how Trigiani makes Nicky (and others) suffer to get where they’re going. For the most part, there are no easy fixes here, and plenty of reversals.

Nevertheless, she rescues her characters in the end, and it feels forced, just like the sepia-toned harmony in which they bask. This is 1949, after all, and racial and ethnic tensions weren’t in hiding, not in South Philadelphia or anywhere else. Yet the Palazzini business has an African-American dispatcher, Mrs. Mooney, and not only would one ever dream of casting a slur, you get the feeling she’d be welcome in the family. Likewise, one Palazzini daughter-in-law, Elsa, is a Polish war bride (read: Jewish) who survived “by working in a hospital,” a miracle that goes unexplained. As the only member of her family to survive the Holocaust, Elsa suffers no apparent trauma, seems perfectly happy among devout Italian Catholics, yet when she announces that she wishes to attend synagogue once more, no one blows a gasket. It’s all in the family.

It’s that desire, understandable but unreal, to rescue absolutely everyone that mars Kiss Carlo for me. Maybe it works for Nicky, but when his attempt at self-liberation inspires Mrs. Mooney and Elsa to break free as well, that’s pushing it. Developing those supblots to their pleasant but dubious conclusions also makes the novel longer than it should be. As a light confection with its sober side, Kiss Carlo would have worked better than the many-layered pastry it is. The layers aren’t soggy, but they can’t bear the weight put on them.

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

Fictional Essays: The Fire by Night

27 Monday Mar 2017

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , , ,

Review: The Fire by Night, by Teresa Messineo
Morrow, 2017. 306 pp. $27

If you read this book, you’ll be getting history you probably haven’t heard, about American Army nurses during World War II. You’ll see their bravery, endurance, and resourcefulness, their heroism under appalling conditions, their competence and professional dedication, the constant sexism they faced, the emotional trauma that destroyed their psyches, and the enemies who shot at them, Geneva Conventions be damned.

Army nurse washes her clothes in her helmet, Morocco, 1943 (courtesy history.army.mil)

Even when no particular crisis presents itself, Messineo re-creates the moment-to-moment tensions that afflict her two nurse protagonists:

So begins the long task of finishing the surgeries already in progress; stabilizing those just coming into the post-op tent; giving plasma, or whole blood when available; lifting the ‘heavy orthopedics’ with their colossal casts, arms and legs immobilized by a hundred pounds of plaster. The shock patients with their thready pulses; the boys with ‘battle fatigue,’ whimpering and taking cover under their cots, thinking themselves still in the field; the deaf, the maimed, and the blind, their heads carefully wrapped and bandaged, their tentative fingers reaching out in front of them, seared and melted together from clawing their way out of burning tanks.

Consequently, The Fire by Night bears witness to the unsung heroines of World War II (if not, by implication, all wars). Such a story is long overdue. And yet, despite its powerful moments, rendered so vividly that you feel as if you can’t take any more punishment, The Fire by Night feels incomplete as a novel. In fact, it’s more like a tendentious essay–or two of them, to be precise.

I say two because the protagonists’ stories hardly intersect, and if either were omitted, the plot wouldn’t change, only get shorter. Jo McMahon serves in Europe, whereas Kay Elliott is captured in the Philippines and spends years in a Japanese prisoner-of-war camp. Though each undergoes her own, somewhat different but always harrowing trials, after a while, their struggles seem like a catalog rather than a coherent narrative. Moreover, Messineo is plainly out to set the record straight, and her earnestness undermines her.

Of the two protagonists, Jo has the advantage. Abandoned at the front lines caring for a tent of six critically wounded or ill patients, she must constantly use her ingenuity to keep them, and herself, alive. I like this story better, especially its first half, when problems multiply, she keeps going by force of will, and the men she’s tending are just bodies, not individuals yet. On the other hand, Kay’s narrative, though gripping in detail–she’s captive in what’s essentially a death camp–remains a more solitary struggle. But to varying degrees, both stories suffer from the same flaw: They fall flat when the protagonists deal with men, not one of whom has any depth.

For example, take the captain whose undermanned infantry platoon holds the position where Jo’s tent happens to be. Might he insult her, demean her rank and abilities, and say that he can’t guarantee her safety? Sure. Would he throw tantrum after tantrum and shrug off the lives of the men in her tent? I doubt it. On the flip side, Kay’s husband is a flawless human, the mere sight of whom inspired her to remove her clothes–and that’s just about all we know of him. Back at the other extreme, when Kay and Jo trained Stateside, they worked with a doctor who sexually assaulted the nurses and threatened to blacklist them if they complained. Real problem? Of course. Real guy? No; he’s cardboard, and, to no surprise, his comeuppance arrives all too easily.

Male authors can and should be faulted for failing to draw their women characters as full people. But the reverse must also be true, and to call this novel “women’s fiction” would be no excuse. More importantly, to describe sexual brutalities perpetrated by cartoon men only cheapens the impact, when subtlety would serve much better. These themes deserve no less.

I also hope that Messineo (and her editor) pay closer attention next time to the words on the page; I was startled that a writer this capable should commit so many lapses. For instance, civilians and other noncombatants are interned in a prisoner-of-war camp, not interred, as the text says here, though that might also occur eventually, as it frequently does. A bomber doesn’t hone in on a target; it homes in. Finally, the redundant phrase historical fiction novel has always struck me as the mark of an amateur–and in this book, it appears in the Acknowledgments section. Yikes.

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