PositiveOn the SeawallThe novel centers around the tension of a precocious little Jewish boy named Alessandro who senses the strained currents running through his household ... Levi is a skilled narrator. We sense her quiet restrained presence on every page. She feels ghost-like, translucent, a wisp of a shadow lingering behind the curtains of a dark, gloomy room watching things play out. She never questions her characters’ acquiescence or mourns for their fate. One detects no grief in her expression ... She refuses to indulge in any remote fantasies about ways they might escape; it is as if she has already accepted what fate or God or simply man’s evil has put in place for them simply because they are Jews. She deems herself to be only their transmitter describing the shock waves that run through them ... Lia Levi has a good ear for the chaotic disorderliness of Jewish family life with its endless undertow of grievance, bitterness, and uncertainty that wreaks havoc on the most vulnerable. She understands that the Jewish psyche has been maligned for centuries where Jews have, for the most part, been used and abused and discarded. But what is absent from Lia Levi’s finely wrought narrative voice is anger; an emotion she seems to negate by parsing it into bits of small matter. This weakens her characters’ accessibility to us. They often seem entombed inside a second skin that is impassable — lost in a world without transcendence or liberation or even a sliver of light. There is too much numbness present — perhaps a prerequisite for the author’s own survival, and a means of checking our desires for happy endings.
Yaniv Iczkovits, trans. by Orr Schar
RaveThe Times Literary Supplement (UK)Yaniv Iczkovits’s brilliant, sweeping novel The Slaughterman’s Daughter is set in tsarist Russia during the late nineteenth century, but it feels highly relevant and resonant today. It is filled with exquisitely drawn characters often seeking some sort of redemption that remains out of reach ... Iczkovits...ultimately seems to recoil from ideas of Jewish insularity and exclusivity, preferring to focus on how Jews can live alongside others without all the fascination. It is a bold, provocative move on the part of the author.
PositiveLos Angeles Review of Books... compelling ... there was something unsinkable about Stokes’s life force that Hochschild never really explains satisfactorily ... Hochschild...sticks to a traditional narrative path in his handling of Rose’s biography ... a solidly researched and impressive biography that leaves us with a clear picture of Rose Pastor Stokes[.]
RaveLos Angeles Review of BooksA good biography holds your attention; a great one transcends its subject and sheds light on the myriad forces bearing down on an individual at a particular point in time ... John Loughery and Blythe Randolph’s Dorothy Day: Dissenting Voice of the American Century belongs, luminously, to the second ... compelling ... John Loughery and Blythe Randolph veer off the map, sometimes with an excess of abandon, in trying to understand the complexities of Dorothy Day ... The authors brilliantly try to make sense of Dorothy’s complicated worldview. They focus on her transition to Catholicism and the questions she must have been forced to ask herself ... Loughery and Randolph do a strong job depicting the urgency and intensity of her thinking, but they also reveal the blind spots that prevented her from seeing her own serious shortcomings, particularly regarding her daughter Tamar, whom she rarely saw and of whom she was extremely critical ... Loughery and Randolph go beyond traditional biography to give us not a singular, cohesive portrait of Dorothy Day but several overlapping and mutually inconsistent ones.
PositiveThe Los Angeles Review of Books... gripping ... Frankel wants us to know that he is making steady progress toward healing, crediting the audacious act of writing this memoir as part of the reason why. But we sense otherwise. Frankel has been pretending to be other than he truly is for so long that it comes naturally to him, and his proclamations of improvement seem forced. It is not that he is trying to be deceitful, but abandoning pretense in favor of authenticity is a new skill for him, and he has trouble relinquishing his old habits of trickery ... In many ways, Frankel seems like a man still haunted by two distinct voices competing for dominance in his mind, both of which he reveres ... Frankel is troubled by these whispered decrees, with their accompanying guilt and shame. He clearly sees merit in both arguments, which is why figuring out what kind of man he should be remains an elusive task. His bewilderment is evident on every page of this captivating work.
Sarah Abrevaya Stein
PositiveThe Los Angeles Review of Books... remarkable ... rigorously researched ... Readers eager to understand the emotionally fraught history of Jewish Sephardim would be wise to familiarize themselves with the topic before tackling Stein’s study ... Stein seems hesitant to address the many mysteries that permeate the identity of Sephardic Jews ... Readers will rejoice at every miraculous story of survival, of which there are a few, and will mourn every death, of which there are many ... The book is graced with stark black-and-white photographs of Sa’adi’s descendants, usually dressed in their finest clothes, staring solemnly at the camera as if they knew something precious was expiring.
MixedThe San Francisco ChronicleThe fictional patriarch comes across as distant and stern, a man bloated by his own sense of entitlement and power. It is apparent that the author is mining his own complicated childhood for material, and there is much to uncover here … It often feels as if Mueenuddin's tendency to empathize with the desperately poor and powerless, illiterate servants he writes about is drowned out by his own attraction to power and dominance and to archaic notions of clan and caste. He shows us suffering but does not seem to suffer, and this creates a disturbing tension … A resignation to life's blatant unfairness permeates Mueenuddin's prose. There are no cries of exasperation or outbursts of anger, but always the steady hand of an exquisitely original writer.
RaveThe Washington PostSeaman’s list of artists is sure to introduce most readers to figures they don’t know ... What makes Seaman such an enchanting biographer is her willingness to embrace uncertainty, often stopping mid-narrative to pose questions regarding an artist’s possible intentions ... in this captivating book, she has resuscitated their complex and accomplished lives.
MixedThe Washington Post...a quirky, somewhat disquieting meditation on disengagement ... There are many rambling pages throughout this narrative that have no apparent purpose. Empty discussions with friends, acquaintances and teachers seem inserted for mere distraction ... Both Batuman and her alter ego seem not to have learned that there is no sanctuary — not in the outside world and most certainly not in the deepest recesses of our minds. Both realms are fraught with unseen dangers. Batuman’s book is a somewhat agitating contemplation about what it feels like when you choose to take yourself out of the world and live inside your thoughts. In some ways, her novel mirrors a growing and upsetting trend among so many young people who seem to have given up on the possibility of love and jubilation and euphoria before they have even tasted it.
PanThe Washington PostBeam tries valiantly to examine such a relationship in his new book, The Feud, about the critic Edmund Wilson and the novelist Vladimir Nabokov, but he seems thwarted by his own congenial evenhandedness that avoids the dark clouds and hidden spaces that can fuel intense friendships ... Unfortunately, Beam struggles to integrate these details into an engaging narrative about their friendship and its demise. He seems averse to the psychological inquiry required to penetrate the turbulence that engulfed both men ... Beam’s assessments are intellectually plausible, but the reader can’t help but feel that the keenest insights have been left unexplored.
MixedThe Washington PostAbramovic’s narrative is most compelling when she writes about her childhood ... Her memoir reveals a chaotic and fractured psyche, and, unfortunately, some of her New Age digressions border on incoherent. In some ways her writing style mirrors her performance pieces; the reader feels like a victim to the force of her blunt trauma ... One senses she has difficulty considering the needs of anybody else; she is mercilessly self-involved. The insights and reevaluations we look for in a thoughtful memoir simply aren’t present ... one can’t help but sadly recognize that the more optimistic part of her spirit has surrendered to the enveloping darkness.