A bold, masterful exploration of the banality of evil and the nature of revenge, controversial no matter how it is read.
In a report to the Chairman of the Board of Yad Vashem, a historian recounts how his life and livelihood became consumed by his study of the Holocaust.
Award-winning Israeli novelist Sarid’s latest work is a slim but powerful novel, rendered beautifully in English by translator Greenspan. The unnamed narrator, addressing an official at the Israeli Holocaust memorial museum Yad Vashem, explains how he ended up in his current position as a disgraced Holocaust scholar. His limited career options as a young academic—whose dissertation focused specifically on the details of extermination processes among concentration camps—led him to become first a Yad Vashem tour guide, then a leader of teen tours of Poland, then a guide accompanying ambassadors and elected officials on their Holocaust remembrance photo ops. Because of his expertise, he is asked to explain such horrors as the mechanics of the gas chambers and the strategy behind crematorium location and how these vary from camp to camp; he is even called on as a consultant for an Auschwitz “virtual reality” simulation. As he gets further into the story of his career, himself wandering deeper into the barren moral landscape he has dedicated his livelihood to assessing, the reader’s emotional journey mirrors his own: The unthinkable becomes mundane, gruesome atrocities become bland facts. Propelled by the narrator’s distinctive voice, the novel is an original variation on one of the most essential themes of post-Holocaust literature: While countless writers have asked the question of where, or if, humanity can be found within the profoundly inhumane, Sarid incisively shows how preoccupation and obsession with the inhumane can take a toll on one’s own humanity. As the narrator falls into the clutches of “the memory monster,” he is forced to consider—and the reader alongside him—at what point we ourselves become memory monsters. Sarid does not shy away from the aspects of these questions that cause many to avert their eyes. For instance, he limns the devastatingly simple cycle that leads the traumatized to inflict trauma upon others, his narrator recounting the sometimes ugly effects of the macho survivor mentality on Zionism: As he leads a tour of Majdanek, “on the few hundred meters’ walk from the gas chambers to the dirt monument and the crematoriums, I heard them talking about Arabs, wrapped in their flags and whispering, The Arabs, that’s what we should do to the Arabs.” Nevertheless, the novel is anything but moralistic; it is, if not an indictment of Holocaust memorialization, a nuanced and trenchant consideration of its layered politics. Ultimately, Sarid both refuses to apologize for Jewish rage and condemns the nefarious forms it sometimes takes.
A bold, masterful exploration of the banality of evil and the nature of revenge, controversial no matter how it is read.Pub Date: Sept. 8, 2020
ISBN: 978-1-63206-271-0
Page Count: 176
Publisher: Restless Books
Review Posted Online: June 16, 2020
Kirkus Reviews Issue: July 1, 2020
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
One of the noblest characters in American literature gets a novel worthy of him.
Mark Twain's Adventures of Huckleberry Finn as told from the perspective of a more resourceful and contemplative Jim than the one you remember.
This isn’t the first novel to reimagine Twain’s 1885 masterpiece, but the audacious and prolific Everett dives into the very heart of Twain’s epochal odyssey, shifting the central viewpoint from that of the unschooled, often credulous, but basically good-hearted Huck to the more enigmatic and heroic Jim, the Black slave with whom the boy escapes via raft on the Mississippi River. As in the original, the threat of Jim’s being sold “down the river” and separated from his wife and daughter compels him to run away while figuring out what to do next. He's soon joined by Huck, who has faked his own death to get away from an abusive father, ramping up Jim’s panic. “Huck was supposedly murdered and I’d just run away,” Jim thinks. “Who did I think they would suspect of the heinous crime?” That Jim can, as he puts it, “[do] the math” on his predicament suggests how different Everett’s version is from Twain’s. First and foremost, there's the matter of the Black dialect Twain used to depict the speech of Jim and other Black characters—which, for many contemporary readers, hinders their enjoyment of his novel. In Everett’s telling, the dialect is a put-on, a manner of concealment, and a tactic for survival. “White folks expect us to sound a certain way and it can only help if we don’t disappoint them,” Jim explains. He also discloses that, in violation of custom and law, he learned to read the books in Judge Thatcher’s library, including Voltaire and John Locke, both of whom, in dreams and delirium, Jim finds himself debating about human rights and his own humanity. With and without Huck, Jim undergoes dangerous tribulations and hairbreadth escapes in an antebellum wilderness that’s much grimmer and bloodier than Twain’s. There’s also a revelation toward the end that, however stunning to devoted readers of the original, makes perfect sense.
One of the noblest characters in American literature gets a novel worthy of him.Pub Date: March 19, 2024
ISBN: 9780385550369
Page Count: 320
Publisher: Doubleday
Review Posted Online: Dec. 16, 2023
Kirkus Reviews Issue: Jan. 15, 2024
PERSPECTIVES
PERSPECTIVES
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