It’s not even a contest.

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I want to give a shout-out to Open Road Media for the way they value the First Amendment. Every now and then I review something they’ve given me and rate it with one or two stars, and each time I wonder whether my outspoken criticism will get me knocked off their list of auto-approved readers. It’s never happened. It gives me a little extra joy, therefore, when I’m asked to read and review a book that is straight-up excellent, because everyone will know my five star rating is the real deal. Thanks, Open Road…and happy holidays to you, and to my faithful readers, too.This exceptionally strong World War II story was a New York Times best seller when it was first published in 1948. Open Road Media has brought it back to us digitally, and I read it free in exchange for this honest review. I thank Open Road and Net Galley for inviting me to do so. Martha Gellhorn was at Dachau a week after its liberation, and her experience frames part of the narrative, the fictional tale of Jacob Levy, US soldier in Europe. This excellent war story is available to the public Tuesday, December 20, 2016.
It’s hard to miss the irony: Levy answers the call to duty, but his commanding officer is unhappy to discover that a member of his personal staff, his driver, is Jewish. He’s never had a Jew in his outfit before and doesn’t want one now; still, there’s nothing much he can do about it, so he forges grimly onward.
Levy, on the other hand, has heard stories and eventually sees situations in which nearly nobody gets out of a wildly dangerous situation alive except for his boss. He decides—as soldiers sometimes do—that his commander is lucky, and therefore the closer to that officer a man is, the likelier he is to share in that luck. He serves so faithfully and dependably that his commander eventually changes his mind and decides he likes Levy, without Levy ever learning that he’d been unwanted.
Our story starts when Levy joins the army in the United States, but quickly shifts to Europe. The most poignant scenes are those in Luxembourg, where the shell-shocked troops are astonished to find a semblance of normal life. There are houses that have people in them, food cooking, and glass in the windows. It is here that Jacob meets Kathe, and although there is no common language spoken between them, they fall in love anyway. For the rest of his part of this war, he will hold dear to the notion of a little home in the Smoky Mountains where he and Kathe can raise a family together.
I had sworn off Holocaust stories, telling myself that I already know about it; I no longer have students to whom to impart the information; from now on, I will only read what I want to read. But I appear to have landed on a list of reviewers that read this sort of book, and once I was invited, I decided I could read just one more. And I am so glad that I did.
The reader should know that the Holocaust is nothing more than rumor for 80 percent of the book. We aren’t looking at 300 pages of horror. There are battle scenes that are vivid and raw; Jacob participates in the Battle of the Bulge. People die; nobody can write about World War II accurately without imparting the fear, the grief, and the alienation that its participants and witnesses endured. But most of it is about Jacob as a person, what he thinks and feels. In other words, this is more the story of one soldier’s life than it is military history.
Technically this story isn’t historical fiction, because it wasn’t written 50 years or more after the events it describes. However, it will impact the reader as if it is, because the World War II was a very long time ago. So I recommend this book to those that love first rate historical fiction; that like to read about the European theater of World War II; or that like a good romance.




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#2 ALSO EXCELLENT, AND INCREDIBLY BRAVE:

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#2 ALSO EXCELLENT:

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Brevity isn’t possible here. Settle in and get comfy. Here we go.
The word “epic” gets overused in the world of advertising, and so as a reviewer, I have learned to take the promise with a grain of salt. However, Piercy is renowned, an iconic presence for feminists and for anyone that approaches life from a class perspective. I read this book when it first came out in the 1980’s for no discount whatsoever, and I loved it. Books come and go at my house, since space on the bookshelf is itself a commodity, but Piercy has a permanent shelf all her own; when I saw that Open Road Media had released this book digitally, I jumped on it, even though the release date had passed and even though I already had the book, because I wanted to help promote it, and I was happy to read it again. I rate it 4.75 stars and of course, round it upward.
There are two myths that get told, are believed by others, and then they are retold about World War II. The most recent one is that told by Holocaust deniers, who say that the whole death camp thing was just a huge exaggeration. Yes, there were prisons; yes, guards were mean sometimes; yes, people died, because nobody was getting enough food in Poland and other non-German parts of Europe anyway. This is a lie, but as eyewitnesses grow old and die, it takes a certain vigilance to keep this damnable untruth from gaining a toehold. Piercy tells the truth, and she does it really well. More on that in a moment, but let’s deal with the other lie first.
The second myth, one that’s understandably popular as patriotism grasps the human heart and we wish that our rulers, past and present, were truly noble, is that the USA joined its allies in a quest to preserve democracy and save those poor Jews and other unfortunates tucked away in those hellish camps. Piercy approaches this palace of straw from many different angles and razes it to the ground. Jews that wanted out faced tremendous obstacles, from nations—the USA included—that were extremely choosy about how many Jews they would take. The US and UK governments were more obstructive than helpful, and countless men, women, and children died because of these exclusions.
Piercy is a brilliant storyteller, and in her hands, the period and its people are so believable, nearly corporal, that I carry them with me still.
This story is told through the eyes of ten characters whose narratives are staggered. There are French characters, British, and Americans; men and women; straight, gay, lesbian, and bisexual. They hail from a variety of socio-economic circumstances and are affected by the war in different ways. It’s miraculous to see a writer develop even one of these characters as fully and thoroughly as Piercy does; how is it that she does so with a wide range of characters, yet has never been nominated for a prestigious award?
Those of us that are old and perhaps cynical may consider that the very political perspective that makes her prose so rich may be what kept her from landing on a short list. I guess we’ll never know for sure.
Piercy is a scholar and she approaches this historical period with sources in hand. She doesn’t interpret loosely, and her note to the reader tells us in what instance she has taken liberties, for example not wanting to have a whole string of people that have the same first name. Always she is aware of the subtext, the stereotypes that women aviators faced, for example.
My most beloved characters were Jacqueline, a hero of the French resistance, along with her lover, Jeff, and her little sister Naomi, one of the fortunate few who’s sent to live with American relatives before it’s too late. I liked Louise’s moxie, and I loved what happened to Duvey. I also really enjoyed the unusual perspective that Daniel and his fellow code-breakers shared, becoming so familiar with the Japanese point of view that they bonded with the men whose communications they were deciphering.
As we discuss the Japanese, we come to the .25 that I deducted. I did this as a token objection to the use of the racist vernacular that I know was commonplace during the time. This reviewer grew up with a father that served during this war, and reminiscences among the guests he and my mother entertained were so frequent that I, in youthful ignorance, rolled my eyes and decided they were impossibly dull. And my mother taught me that the terms he and they used to speak of Germans, of Jews, of Japanese were never, ever to be used in my own conversations with anyone at any time. And so yes, racist references and ethnic slurs were common to this era.
But I note that whereas our author has had the good taste and the good sense not to repeat the ugly terms by which Jewish people were called, and seldom repeats the anti-German slurs, the “J” word is used dozens of times, usually by the character that fights in the Pacific. And I have to say, it really stings.
There were fewer Asian Americans during the period when Piercy wrote this than there are today, particularly in the author’s own New England home. For anyone writing this today, and for anyone less venerable and also less influential for me personally during my formative years, I would lop off at least a couple of stars from my rating. It’s ugly to repeat these epithets, and it’s particularly painful to me to read them. This is my husband we’re talking about; it’s my daughter, too. It’s my in-laws, one of whom fought, as good Japanese citizens were expected to, for the Japanese Imperial Army. So I would not care to see her go back and insert the horrible terms hurled at Jews and Germans for the sake of consistency; I’d just rather see the “J” word used less often. She could mention it in her introduction if she feels the reader needs to know that she’s made an adjustment. That’s my viewpoint, and I’m sticking to it.
But it’s also true that when I was young and confused, Piercy was one of the bright feminist lights in literature to whom I looked for guidance. So I am moved not only by the excellence of this work, but also by the shining legacy she has provided for women during an uncertain time.
One further note: though I have a degree in history and have taught it, I have seldom seen much written—at least in English—about the French Resistance. This part is arguably the most deeply resonant part of this novel, and though I had read the book before, it’s amazing what one can forget over the course of twenty or thirty years. I don’t read many books twice because there are so many I haven’t read at all yet; and still this is one that I may read a third time, as I feel my recollection of the fine details already slipping away.
For those that treasure excellent literary fiction; that have the stamina for a novel of this length; that love outstanding historical fiction; that enjoy stories that are told from a feminist viewpoint and that recognize social classes and the way they affect us; this story is unparalleled. Get it and read it.

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Also outstanding:
Amy Engel makes her debut as a writer of adult fiction with this title, having begun her career writing fiction for young adults. The Roanoke Girls is smoking hot, a barn burner of a book, diving into some of society’s deepest taboos and yanking them from the shadows into the bright rays of Kansas sunshine, where the story is set, for us to have a look at them. It’s not available to the public until March 7, 2017, and frankly I don’t know how you are going to wait that long. I received a DRC for this title from Net Galley and Crown Publishing for the purpose of a review.
Lane grows up in New York City, raised by a mother that shows no sign of warmth or affection, a woman that seems to either cry or sleepwalk through most hours of most days. When she hangs herself, Lane bitterly wonders what took her so long. But then a surprise comes with the social worker assigned to her case. It seems there are grandparents in Kansas, who not only are willing to have Lane, but that actually want her.
Soon Lane finds herself being driven up the private drive to Roanoke, the family manse, a rambling, welcoming hodgepodge of a house, complete with a same-age cousin waving with manic joy from the front porch. Allegra is spoiled, and now Lane will have all the same luxuries. The ostensible farm on which they live is more of a gentleman’s farm, as it happens; the real money comes from oil. And so Lane, who has scraped for every scrap of clothing and food alongside her struggling mother for 16 years, suddenly has the whole world at her beck and call. Allegra takes her to their grandfather’s study and shows her where all the credit cards are kept, and she assures her this is not something they are sneaking or stealing; it is assumed that if they want something, they can buy it.
It seems almost too good to be true…and it is.
There is so much simmering just below the surface, unspoken but thick and almost tangible. Take, for example, the portraits of the Roanoke girls that have gone before them, whose photographs line a main hallway. The collection begins with Grandfather’s sisters, continues with their daughters, the mothers and aunts of Lane and Allegra. What has become of all of them? Allegra explains:
“Roanoke girls never last long around here…In the end, we either run or we die.”
Lane’s picture isn’t included among those in the hallway, and she isn’t sure she wants it there. And as time goes by and the contours of the family’s pathology become clearer, Lane decides it’s time to save herself, and she hits the road, covering her tracks to the best of her ability. She stays away until ten years later, when her phone rings. Her grandfather tells her that Allegra has vanished; they need Lane to “come home” to help the family search for her.
Lane’s interaction with her grandfather is mesmerizing. When he calls her with the news of Allegra’s disappearance, the first thing she asks is how he got her number. Yet once she is back in the Roanoke house, she recognizes that
“…behind the secrets and the horrible truth, under the shame and anger that beat like a heart, there still lives a terrible kind of love.”
The fascinating, intimate narrative Engel weaves is a thing that can’t be taught. There’s no degree, no series of workshops that gives a voice such clear authority. She plays out the story’s thread in careful increments, and the bone-c hilling tone is heightened rather than lessened by the fact that we have a very good idea of exactly what happened to Allegra. I know whodunit halfway through the book, but it doesn’t matter. The author binds me to Lane’s story in a way that is completely undeniable, and I have to see this thing through with her. Toward the end of the book, instead of commenting to myself about aspects of the book or particularly compelling passages to quote, I’m engaging with the text itself. More than once my notebook simply says, “No.”
The reader should know that there are triggers all over the place. Those that are in a sensitive place may want to have someone else read the book first and tell you whether they recommend it to you. But for those that want a chiller of a mystery, and for those that care about women and the ways that society turns people into products for consumption, this is a must read. Or you could just read it because it’s brilliant, and no one else is writing anything like it.
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