... intermittently intriguing ... It’s of interest mostly as a 21st-century perspective on the proceedings, as well as a recent entry in the growing catalog of internal reckonings ... [Hess's] emphasis on repression and the complicated relationship between postwar German youth and their complicit elders is reminiscent of Bernhard Schlink’s far more elegant novel, The Reader ... both [Hess's] third-person narrative, with its frequently switching points of view, and her prose style (at least in translation) are somewhat clunky. Her symbolism — the recurrent motif of fire and ashes, the berry stains resembling blood, the washing of dirty linens — seems heavy-handed, and her characterizations improbable or sketchy. Still, Hess is sufficiently adept at pacing and plot twists, however unlikely, to persuade readers to turn the page ... isn’t the most sure-footed of novels. But it’s an interesting artifact of Germany’s ongoing cultural response to the 20th-century’s most heinous criminal enterprise.
This is one of the most compelling novels about the Frankfurt Trials of 1963, when Germany must once again confront its past, and attempt to justify its individual reasons for doing nothing when so many could smell the greasy smoke coming from the smokestacks of the crematoriums ... compulsive reading, both for the historical account, but also for three-dimensional characters who confront their own flaws, as well as the atrocities of the past ... Although frequently painful to read, The German House is a condemnation of the Nazi past, but also an exploration of survivors’ guilt, as well as families in conflict.
The time line unfolds in alternating points of view from many multilayered characters—Eva, her family members, David, and Jürgen—which may confuse readers ... Fans of Kate Quinn will enjoy this historical fiction tale for the strong female character and rich details. Recommended for additional purchase, as there are better historical fiction choices.
The contrast between modern, democratic Germany, in the midst of an 'economic miracle,' and this eruption of its horrific past is a surefire subject of interest — one that [Hess] has buried in a flat-footed, undisciplined meander of a novel ... Hess is a TV screenwriter, and unfortunately, her talent in that field does not translate well to fiction. What are meant to be searching conversations between her characters sound like the stagy dialogues of actors who haven’t internalized their roles. (Not the translator’s fault; I checked.) And the protagonist, the 24-year-old woman who serves as translator for the Polish witnesses, is so naive and colorless that her dawning horror at what she learns feels more like dutiful reaction than real pain. And why did she learn Polish? ... There are inexplicable side plots ... What should be powerful testimony by camp survivors gets buried in narrative sludge. The defendants are villainous cartoons ... I see that Hess is trying to draw a contrast between German 'Gemütlichkeit' (now hygge or coziness) and brutal public policy, but there’s too much trivial plot clutter. Without complex characters or a probing style, what we’re left with is an unengaging if honorable effort. Maybe next time.
[The] central narrative is rich in dramatic potential and the pace of Hess’s storytelling never slackens. The Hamburg of the era is vividly portrayed, as are the prejudices and sensibilities of its inhabitants. Hess juxtaposes the horror of the trial and the everyday details of Eva’s life skilfully, employing a large cast of characters and an intricate web of subplots to illuminate different aspects of Germany’s legacy of shame and guilt. The author’s greatest challenge is to enter the mind of a person living in a state of denial. Often Hess navigates this difficult territory successfully, but sometimes she underestimates the reader ... Too often the quality of the writing struggles to bear the weight of the subject matter. A simpler plot, and a slower pace, might have allowed the central psychological drama of the story to shine more brightly. The translation by Elisabeth Lauffer is also sometimes awkward ... To her credit, Hess avoids neat and comforting resolutions. By leaving many questions unanswered, she acknowledges that neither forgiveness nor redemption may be possible.
Hess, a popular television screenwriter in Germany, delivers scenes and dialogue in a linear sequence, and it is easy to envision almost any of the scenes (courtroom or dining room) on screen via the straightforward translation by Lauffer. Less linear are the continuing deceptions Eva confronts on an average day, in an average life, in an average city ... Questions of complicity and culpability are resolved by prosecutors and daughters alike in Hess’ slow reveal of large truths which are obscured by larger lies.
... strong ... The period detail is impressive, but the highlight is Eva, a complex and thoughtful woman who finds herself in the midst of a significant moment in history. This novel will appeal to both WWII fiction fans and those seeking historical novels anchored by a strong, memorable heroine.
