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THE TIME KEEPER

A product less than a book; those with not enough time on their hands might spend what they have more meaningfully elsewhere.

Treacly fable by pop inspirationalist Albom (Tuesdays with Morrie, 1997, etc.).

Dava Sobel and Longitude be damned, God doesn’t like people who measure things. Six thousand–odd years ago—is the date a nod to Archbishop Ussher and his proto-creationism?—a fine young fellow named Dor invents the world’s first clock and is banished to a cave for the affront, since only the deity is supposed to be concerned with such things, it being the days before hourly wage work and lawyers who bill in 15-minute increments. Dor now sits in a cave, “listening to something. Voices. Endless voices.” And what do you suppose those voices want? Yup, time. More of it. Endless time. Or at least a year or two. Writing in his customary staccato (“But Father Time is real. And, in truth, he cannot age.”), Albom gives Dor a chance to redeem himself by instructing two hapless earthlings—a man dying of cancer, a teenage girl in danger of dying by her own hand—in the meaning of life. The Little Prince it ain’t: Albom seems to have taken the template for his novel from a corporate report, each page studded with boldfaced passages that would seem to signal something momentous; a person in a hurry could well read just those boldfaced passages and emerge with a pretty good idea of the storyline, which is plenty predictable in any event. Still, there are a few useful takeaways, among them these: If you’re moribund, a pocket watch will cheer you right up; if you’re worried about the prospect of imminent demise, then remember that, as the old dude who cometh from God’s side sayeth, immortality “is not a gift.”

A product less than a book; those with not enough time on their hands might spend what they have more meaningfully elsewhere.

Pub Date: Sept. 4, 2012

ISBN: 978-1-4013-2278-6

Page Count: 240

Publisher: Hyperion

Review Posted Online: Aug. 20, 2012

Kirkus Reviews Issue: Sept. 1, 2012

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WE WERE THE LUCKY ONES

Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.

Hunter’s debut novel tracks the experiences of her family members during the Holocaust.

Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.

Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.

Pub Date: Feb. 14, 2017

ISBN: 978-0-399-56308-9

Page Count: 416

Publisher: Viking

Review Posted Online: Nov. 21, 2016

Kirkus Reviews Issue: Dec. 1, 2016

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THE SCREWTAPE LETTERS

These letters from some important executive Down Below, to one of the junior devils here on earth, whose job is to corrupt mortals, are witty and written in a breezy style seldom found in religious literature. The author quotes Luther, who said: "The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn." This the author does most successfully, for by presenting some of our modern and not-so-modern beliefs as emanating from the devil's headquarters, he succeeds in making his reader feel like an ass for ever having believed in such ideas. This kind of presentation gives the author a tremendous advantage over the reader, however, for the more timid reader may feel a sense of guilt after putting down this book. It is a clever book, and for the clever reader, rather than the too-earnest soul.

Pub Date: Jan. 1, 1942

ISBN: 0060652934

Page Count: 53

Publisher: Macmillan

Review Posted Online: Oct. 17, 2011

Kirkus Reviews Issue: June 15, 1943

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