extreme cancer treatments, she begins an affair with Dante. She can’t resist the charming Italian and his love for the island and its history, even as she keeps her diagnosis secret. Slowly, the group bonds into something like a family. The novel grapples with the question of what terminally ill people owe their loved ones and themselves. While her best friend is furious that Lizzie might refuse further treatment, Lizzie worries that her illness is a burden. She feels guilty for falling in love with Dante and his daughter, knowing her time is limited. Bly makes an interesting narrative choice, telling the story from the points of view of Lizzie and Etta, Dante’s daughter. Etta is knowledgeable enough about literature to banter with Lizzie about Herman Hesse’s Siddhartha and gender roles in Shakespeare’s plays, but she’s still a child, and her perspective confines the reader’s experience of the book. An emotional journey that’s stunted by the way it’s told.
THE PASSENGER
Boschwitz, Ulrich Alexander Metropolitan/Henry Holt (288 pp.) $24.99 | Apr. 13, 2021 978-1250317148 A newly rediscovered masterpiece set in the days following Kristallnacht. When pounding erupts at the front door of his Berlin apartment with voices crying out for his arrest, Otto Silbermann escapes out the back. It’s Kristallnacht, 1938, and Silbermann, a wealthy, respectable, and—crucially—Jewish businessman doesn’t know where to go. He takes a train, and then another. He goes from Berlin to Hamburg and then back to Berlin. He goes to Aachen and Dresden and Berlin once again. Days pass, and Silbermann is still on a train. His name is recognizably Jewish, so he avoids using it—no hotels for Silbermann, with their registration forms—but his face is not, and his bearing is so upright and respectable he doesn’t seem particularly suspect. Still, he’s in constant danger of arrest. In its dark absurdity, Boschwitz’s brilliant novel recalls Kafka, particularly The Trial, in which threat looms like an edifice—and yet, reading, you’re also struck by a panicked, choking laughter. And like Tolstoy’s Ivan Ilyich, Silbermann thinks that by clinging to the last vestiges of middle-class life, he can avoid or outpace death. “Am I traveling?” Silbermann wonders. “No! I’m stuck in the same place, like a person who takes refuge in a cinema where he sits in his seat without moving as the films flicker away—and all the while his worries are lurking just outside the exit.” Then, too, the story behind the novel’s publication is almost as intriguing as the novel itself. Boschwitz, who was half Jewish, was only 23 when he wrote the book; he died in 1942 on a transport ship traveling from Australia to England under German bombardment. The novel briefly appeared in Britain and the United States but never in the German original. In 2015, it was rediscovered by chance. Boschwitz is remarkable not only for his prescience—the novel might be one of the very earliest depictions of the aftermath of Kristallnacht—but also for his rare insight and minutely observed depictions of characters from every strata of German society. Witty at the same time that it’s tragic, surreal even in its hyper-reality, Boschwitz’s novel is a remarkable achievement.
THE TIGER MOM’S TALE
Butler, Lyn Liao Berkley (352 pp.) $16.99 paper | Jul. 6, 2021 978-0-593198-72-8
Butler’s debut novel delves into a biracial Taiwanese American woman’s complicated family relations. Protagonist Lexa, a 30-something physical trainer in New York City, is building her client list and looking for 10
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15 may 2021
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fiction
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kirkus.com
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