Swift has fun with language, with class conventions, and with narrative expectations in a novel where nothing is as simple...

MOTHERING SUNDAY

In England of 1924, a maid who knows her affair with an estate owner’s son must end moves through that last day with sly humor and sensual detail.

Swift (England and Other Stories, 2015, etc.) subtitles this slim novel “A Romance” and begins it like a fairy tale, with the words “Once upon a time.” It’s the first of numerous ironies. Narrated in the third person from the point of view and stream of consciousness of housemaid Jane Fairchild, 22, the story moves through the closing hours of her affair with Paul Sheringham, 23, the only remaining child of parents who lost their two other boys during World War I. It's Mothering Sunday, when domestics traditionally visit their mothers. Not only is the help vacating the Sheringham premises, but Paul’s parents are away on a lunch outing. Many languorous post-coital pages describe how Paul moves naked about his bedroom, how he and Jane share a cigarette in bed, and finally his getting up and dressed and on the road to meet with the woman he is to marry in two weeks. Then come many equally unhurried pages in which Jane wanders naked around the empty house. The one-day time frame is broken by flashbacks to her days as an orphan, her coming into service, and aspects of life above and below stairs. The narrator also steps in to share with the reader things Jane doesn’t yet know: that she will die at 98 after a career as a famous novelist and that Paul, for reasons only a spoiler would reveal, will never marry. Jane is a marvelous creation who can seem wry, world-weary, innocent, or lusty, bringing to mind Molly Bloom.

Swift has fun with language, with class conventions, and with narrative expectations in a novel where nothing is as simple or obvious as it seems at first.

Pub Date: April 19, 2016

ISBN: 978-1-101-94752-4

Page Count: 192

Publisher: Knopf

Review Posted Online: Jan. 31, 2016

Kirkus Reviews Issue: Feb. 15, 2016

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The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...

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THE TATTOOIST OF AUSCHWITZ

An unlikely love story set amid the horrors of a Nazi death camp.

Based on real people and events, this debut novel follows Lale Sokolov, a young Slovakian Jew sent to Auschwitz in 1942. There, he assumes the heinous task of tattooing incoming Jewish prisoners with the dehumanizing numbers their SS captors use to identify them. When the Tätowierer, as he is called, meets fellow prisoner Gita Furman, 17, he is immediately smitten. Eventually, the attraction becomes mutual. Lale proves himself an operator, at once cagey and courageous: As the Tätowierer, he is granted special privileges and manages to smuggle food to starving prisoners. Through female prisoners who catalog the belongings confiscated from fellow inmates, Lale gains access to jewels, which he trades to a pair of local villagers for chocolate, medicine, and other items. Meanwhile, despite overwhelming odds, Lale and Gita are able to meet privately from time to time and become lovers. In 1944, just ahead of the arrival of Russian troops, Lale and Gita separately leave the concentration camp and experience harrowingly close calls. Suffice it to say they both survive. To her credit, the author doesn’t flinch from describing the depravity of the SS in Auschwitz and the unimaginable suffering of their victims—no gauzy evasions here, as in Boy in the Striped Pajamas. She also manages to raise, if not really explore, some trickier issues—the guilt of those Jews, like the tattooist, who survived by doing the Nazis’ bidding, in a sense betraying their fellow Jews; and the complicity of those non-Jews, like the Slovaks in Lale’s hometown, who failed to come to the aid of their beleaguered countrymen.

The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as nonfiction. Still, this is a powerful, gut-wrenching tale that is hard to shake off.

Pub Date: Sept. 4, 2018

ISBN: 978-0-06-279715-5

Page Count: 272

Publisher: Harper/HarperCollins

Review Posted Online: July 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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