MARCH 2007- THREE CUPS OF TEA BY GREG MORTENSEN
From Publishers Weekly
Starred Review. Some failures lead to phenomenal successes, and this American nurse's unsuccessful attempt to climb K2, the world's second tallest mountain, is one of them. Dangerously ill when he finished his climb in 1993, Mortenson was sheltered for seven weeks by the small Pakistani village of Korphe; in return, he promised to build the impoverished town's first school, a project that grew into the Central Asia Institute, which has since constructed more than 50 schools across rural Pakistan and Afghanistan. Coauthor Relin recounts Mortenson's efforts in fascinating detail, presenting compelling portraits of the village elders, con artists, philanthropists, mujahideen, Taliban officials, ambitious school girls and upright Muslims Mortenson met along the way. As the book moves into the post-9/11 world, Mortenson and Relin argue that the United States must fight Islamic extremism in the region through collaborative efforts to alleviate poverty and improve access to education, especially for girls. Captivating and suspenseful, with engrossing accounts of both hostilities and unlikely friendships, this book will win many readers' hearts. (Mar.)
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FEBRUARY 2007-SUITE FRANCAISE BY IRENE NEMIROVSKY
From The Washington Post's Book World/washingtonpost.com
This extraordinary work of fiction about the German occupation of France is embedded in a real story as gripping and complex as the invented one. Composed in 1941-42 by an accomplished writer who had published several well-received novels, Suite Française, her last work, was written under the tremendous pressure of a constant danger that was to catch up with her and kill her before she had finished.
Irène Némirovsky was a Jewish, Russian immigrant from a wealthy family who had fled the Bolsheviks as a teenager. She spent her adult life in France, wrote in French but preserved the detachment and cool distance of the outsider. She and her husband were deported to Auschwitz in 1942, where he was gassed upon arrival and she died in the infirmary at the age of 39. Her manuscript, in minuscule and barely readable handwriting, was preserved by her daughters, who, ignorant of the fact that these notebooks contained a full-fledged masterpiece, left it unread until 60 years later. Once published, with an appendix that illuminates the circumstances of its origin and the author's plan for its completion, it quickly became a bestseller in France. It is hard to imagine a reader who will not be wholly engrossed and moved by this book.
Némirovsky's plan consisted of five parts. She completed only the first two before she was murdered. Yet they are not fragmentary; they read like polished novellas. The first, "Storm in June," gives us a cross section of the population during the initial exodus from the capital, when a battle for Paris was expected and people fled helter-skelter south, so that the roads were clogged with refugees of all classes. Némirovsky shows how much caste and money continued to matter, how the nation was not united in the face of danger and a common enemy. In her account, the well-to-do continue to be especially egotistical and petty. And yet a deep, unsentimental sympathy pervades this panorama. Looking up to the sky at enemy planes overhead, the refugees who have to sleep on the street or in their cars "lacked both courage and hope. This was how animals waited to die. It was the way fish caught in a net watch the shadow of the fisherman moving back and forth above them." I can't think of a more chilling and concise image to convey the helplessness of civilians in an air raid.
Not being French herself but steeped in French culture may have made it easier for Némirovsky to achieve her penetrating insights with Flaubertian objectivity. She gives us startling, steely etched sketches of both collaboration and resistance among people motivated by personal loyalties and grievances that date from before the war.
The second part, "Dolce" (the title -- Italian for "sweet" -- derives from Némirovsky's plan to give the work a musical structure), covers the occupation by the Germans of a small village, from the so-called armistice in June 1940 to the Soviet Union's entry into the war a year later. One can forget that there was a period after the defeat of France when World War II could be seen simply as a war between Germany and Britain. The villagers yearn for peace, and many are indifferent as to who wins, England or Germany, as long as their own men come home. Némirovsky is superb in describing how fraternization comes about, including French girls and women giving in to the attractions of the handsome German occupants -- there are no other men around, most of the French men having been taken prisoner. But the unnatural situation also breeds fierce feelings of resentment and humiliation. Némirovsky embodies this conflict in the story of a woman who falls in love with a German officer and at the same time hides a villager wanted for the murder of another German -- a murder motivated partly by patriotic hatred and partly by marital jealousy.
One puzzling omission from the spectrum of conquered and cowering French society is the Jews -- the one group that was more endangered than any other, as Némirovsky knew only too well. Perhaps she wanted to save the fate of the Jews for the next part, which was to be entitled "Captivity." Even so, when one thinks of the threat the Jewish population endured even at this early stage of persecution, one feels the significant gap here.
Still, this is an incomparable book, in some ways sui generis. While diaries give us a day-to-day record, their very inclusiveness can lead to tedium; memoirs, on the other hand, written at a later date, search for highlights and illuminate the past from the vantage point of the present. In Némirovsky's Suite Française we have the perfect mixture: a gifted novelist's account of a foreign occupation, written while it was taking place, with history and imagination jointly evoking a bitter time, correcting and enriching our memory.
Reviewed by Ruth Kluger
Copyright 2006, The Washington Post. All Rights Reserved.
JANUARY 2007 - WATER FOR ELEPHANTS BY SARA GRUEN
Jacob Jankowski says: "I am ninety. Or ninety-three. One or the other." At the beginning of Water for Elephants, he is living out his days in a nursing home, hating every second of it. His life wasn't always like this, however, because Jacob ran away and joined the circus when he was twenty-one. It wasn't a romantic, carefree decision, to be sure. His parents were killed in an auto accident one week before he was to sit for his veterinary medicine exams at Cornell. He buried his parents, learned that they left him nothing because they had mortgaged everything to pay his tuition, returned to school, went to the exams, and didn't write a single word. He walked out without completing the test and wound up on a circus train. The circus he joins, in Depression-era America, is second-rate at best. With Ringling Brothers as the standard, Benzini Brothers is far down the scale and pale by comparison.
Water for Elephants is the story of Jacob's life with this circus. Sara Gruen spares no detail in chronicling the squalid, filthy, brutish circumstances in which he finds himself. The animals are mangy, underfed or fed rotten food, and abused. Jacob, once it becomes known that he has veterinary skills, is put in charge of the "menagerie" and all its ills. Uncle Al, the circus impresario, is a self-serving, venal creep who slaps people around because he can. August, the animal trainer, is a certified paranoid schizophrenic whose occasional flights into madness and brutality often have Jacob as their object. Jacob is the only person in the book who has a handle on a moral compass and as his reward he spends most of the novel beaten, broken, concussed, bleeding, swollen and hungover. He is the self-appointed Protector of the Downtrodden, and... he falls in love with Marlena, crazy August's wife. Not his best idea.
The most interesting aspect of the book is all the circus lore that Gruen has so carefully researched. She has all the right vocabulary: grifters, roustabouts, workers, cooch tent, rubes, First of May, what the band plays when there's trouble, Jamaican ginger paralysis, life on a circus train, set-up and take-down, being run out of town by the "revenooers" or the cops, and losing all your hooch. There is one glorious passage about Marlena and Rosie, the bull elephant, that truly evokes the magic a circus can create. It is easy to see Marlena's and Rosie's pink sequins under the Big Top and to imagine their perfect choreography as they perform unbelievable stunts. The crowd loves it--and so will the reader. The ending is absolutely ludicrous and really quite lovely. --Valerie Ryan
