Eliza Peabody begins writing to her neighbor Joan, not a close friend, almost immediately after Joan leaves her husband Charles and disappears, leaving behind only a series of addresses around the world where she may be contacted by her family. Eliza takes it upon herself to write to Joan repeatedly, offering unsolicited advice, observations (unintentionally insulting) about Joan’s husband and children, and comments about her own marriage and beliefs about her role as a woman, which she knows that Joan does not share. Joan never answers. As Eliza goes about her daily life, including her hilarious attendance at a local literary group meeting, the author’s ability to create clever satire and wonderful observations about love, marriage, and friendship (and incidentally, the literary world) shines with the candor of one who has little patience with pretension and a person’s lack of self-awareness. Sly humor, clever concept, delicious satire.
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“Before you go splashing paint, making a gigantic picture of Hannibal’s battles, you need to know how to draw a horse.” In this novel by Yishai Sarid, an unnamed speaker is clearly “drawing the horse” of Israeli society and establishing the setting in which the animosity between Arabs and Jews has festered, then exploded into a series of continuous battles. Working undercover for the Israeli secret service, the speaker approaches Daphna, an Israeli woman who now teaches writing. He is interested in befriending Daphna, whose long-time friendship with Hani, a seriously ill “man from Gaza,” might lead him to Hani’s son Yotam, regarded as an Arab terrorist and hiding from security, perhaps in another country. Eventually, the speaker must decide whether to allow his humanity to become more important than his lock-step adherence to the age-old belief in the inherent enmity of all “others.” In the process the reader comes to understand the agonizing tension between these two traditional foes and hope that at some point it will be possible for reason to become part of the equation of their lives.
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In much the same way that Virginia Woolf focuses on one day in the life of Mrs. Dalloway, in the aftermath of World War I, to show the dramatic changes in everyday British life as a result of the war, author Mollie Panter-Downes shows the equally dramatic changes which have occurred in Wealding, near Portsmouth in the south of England, in 1946, in the aftermath of World War II. Panter-Downes lived in the picturesque village of Haslemere, and she uses her own experience to create sensitive, often unique, images about everyday life in her town (which becomes Wealding). Here she creates a vibrant portrait of ordinary people coping, or not coping, with a whole new way of life. In lush, often musical prose, she appeals to the reader’s senses, as well as the heart, as the Marshall family–wife Laura, husband Stephen, and daughter Victoria–go about their business in a world which no longer resembles anything they have known before. The village, the author tells us, “had very slightly curdled and changed colour.”
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An unusual and often dark novel, Faith, Hope & Love is billed as an urban thriller, but it is far more the psychological study of an unusual anti-hero than it is a mystery. In fact, the biggest mystery of the book is why the main character is in prison in the first place, a question which does not get answered until late in the novel. The Prologue, entitled “The Beginning of the End,” raises additional questions concerning a car crash, which is described there, and the identities of the people in the car—again, issues which are not addressed again till late in the novel. In between the Prologue and the resolution of these questions, however, the novel is study of Alun Brady and his family, much more a sensitive domestic drama, set in Wales, than an action thriller, a study of identity and reality—personal, familial, cultural, and religious—as revealed through a series of unrelenting ironies in which God, fate, and free will do battle.
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Newly translated into English, The Blindness of the Heart, a debut novel by Julia Franck, spans the period between the two world wars in which Germany took part, focusing on the effects of these wars on seemingly ordinary German citizens who were somehow detached from full knowledge of the causes for which they were required to fight. In the dramatic Prologue, which takes place in 1945, a young boy and his mother arrive at a train station from which there is a chance that they might escape the post-war horrors. For the boy, however, the horrors are just beginning. His mother abandons him at the station, without any warning, leaving behind his suitcase and instructions to whoever discovers him on where he should be delivered.
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