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Category Archive for 'Historical'

Set in an upscale apartment building on the outskirts of Tel Aviv, Three Floors Up might well have been called “Three Stories Up,” as each of the three floors in this building features a resident who has a story to tell in novella form. Dramatic and intensely personal, these stories by author Eshkol Nevo have few overlaps among them, but as the author focuses on how each person manages his/her life within an Israeli society which is still growing and evolving, the reader becomes involved in the action, especially the psychological action, in ways quite different from most other fiction. The first story, taking place on the first floor, focuses on Arnon, an aggressive, self-serving head of the household, a designer of successful restaurants, husband of Ayelet, and father of two young daughters, Ofri and Yaeli. His short temper and need to be in charge eventually leads to a family disaster. The second story, taking place on the second floor, involves Hani, who is writing to an old friend, Netta, now living in the US. Hani fears she is about to have another breakdown, like the one she had eighteen years ago, and she is begging for help. The last and best developed story, tells the story of Devora Edelman, a widow and retired judge who writes messages to her deceased husband telling him the local news, including an experience she has had with Hani from the second floor, and some new information about the residents on the first floor. When she meets a new friend and goes out into the desert with him, she begins to open up about her son, with whom she has had no contact for three years. Eventually, she begins to take charge of her life and her participation in political demonstrations. A dramatic and enlightening depiction of life in present day Israel.

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Jacob Rigolet is attending a 1977 auction of photographs on behalf of his employer, Mrs. Esther Hamelin, a well-known collector of vintage photographs – literally doing her bidding at auctions of antique photographs around the world. Suddenly, he is horrified to see his estranged mother, Nora Rigolet, walk up the aisle of the auction hall. Without warning, she throws a pot of black ink at a photograph taken by photographer Robert Capa during a World War II battle, “Death on a Leipzig balcony.” Jacob’s mother, the former Head Librarian of the Halifax Free Library in Nova Scotia, had been “safely tucked away” at the Nova Scotia Rest Hospital, following a breakdown three years previously, and Jacob has not seen her for over a year. He himself has been busy working part-time at the Free Library and, for the past two years, living in a cottage behind Mrs. Hamelin’s Victorian home. In one of the novel’s many ironies, it is Jacob’s fiancée, Martha Crauchet, a detective with the Halifax Regional Police, who is in charge of Nora Rigolet’s interrogation at the police station. With no sense of fear, Nora answers their questions but provides little insight into why she destroyed this photograph. As the novel develops and the lives of the characters unfurl, the author maintains an air of fun and good humor for most of the novel, even as universal themes of right and wrong, and good and evil, begin to appear throughout, and it is not until the conclusion that the novel’s “noir” elements become more obvious. Norman is a clever author who does not tie all the details into a bow, leaving the reader to solve the mystery surrounding Nora with the clues provided.

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This magnificent, accessible, humane, and thoughtful book by Alice McDermott concerns itself with the highest levels of universality for all people, not specifically the Catholic doctrine which sometimes permeates her novels. Following three generations of a single family, the novel opens with a handsome, thirty-two-year-old man named Jim, who sends his wife out to buy food one afternoon, then seals up the flat, turns on the gas, and kills himself in a fiery explosion. His pregnant wife is left devastated. She goes on to work in the laundry of the convent of sisters who have helped her, as the novel goes back and forth in time. Throughout the novel, as the past and present are revealed, the action keeps the reader totally engaged, but it also keeps the reader thinking, pondering decisions and outcomes and the position of the church in evaluating right and wrong. Here she treats the grand subjects of life and death, innocence and guilt, voluntary good works rather than unavoidable obligations, the rewards, if any, which come from leading a “good” life, the penances one self-imposes for actions which feel like crimes, and the decisions one sometimes makes with the most honorable of intentions, even though they may violate the boundaries most of us consider sacred.

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Set in the aftermath of World War II in the southwestern countryside outside of Oslo, Gaute Heivoll’s emotionally engrossing novel involves big themes, a sense of involvement by the reader, and some lingering questions at the end. The novel draws its action from life in an extended family, where both the mother and father, parents of the unnamed young narrator, once worked as nurses and caregivers at a psychiatric hospital for eleven years. When the father’s old family home in the country burned to the ground before the war, the parents looked on the bright side and decided to rebuild, creating “their own little asylum in the midst of the parish where Papa was born and grew up.” Starting with three adults, they later add five disabled children from the same family. The five Olsen children range in age from Lilly, age seventeen, to Sverre, age four, and all live together in one spacious upstairs room of the home asylum. The writing is remarkably simple in style and often lacks elaboration. As the reader fills in the blanks, his/her involvement with the novel becomes even stronger. The book has little real plot, other than the daily lives of these people, yet I could hardly put it down, wanting to know whether the characters will find happiness, despite some of the complications and tragedies in their lives. Ultimately, the reader cannot help but be drawn in by the force of the writing and the emotions the author creates on the subject of what it means to be human.

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On the morning of August 4, 1892, Abby Gray Borden and her husband, Andrew Jackson Borden were found dead in their home in Fall River, Massachusetts, both brutally butchered with an axe or hatchet. Borden was a highly successful merchant, maker of caskets, and owner and developer of commercial property, a wealthy man who nevertheless lived a frugal life and kept his daughters and his wife totally dependent on him. His body was found reclining on the living room sofa by his younger daughter Lizzie, aged thirty-two, and the body of his wife Abby was found shortly afterward. She, too, was hacked to death and was found lying beside her bed upstairs. The only people in the house at the time were Lizzie and Bridget, the maid, who was up in her room resting after having been assigned the task of washing the outside of the downstairs windows in the August heat, though she was still recuperating from a violent stomach upset. Lizzie claimed that someone must have broken into the house to kill her father. As Australian author Sarah Schmidt recreates this famous murder and its aftermath, she delves into all the psychological complications surrounding the individual characters, gradually providing other imaginative possibilities regarding the murder. An iintriguing structure and four points of view, including that of Lizzie, make this novel both inventive and memorable.

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