It was its setting that initially attracted me to Clare Clark’s In the Full Light of the Sun. I’m a sucker for novels set in my favourite cities: New York, Amsterdam and, in this case, Berlin. Based on the case of Otto Wacker, Clark’s novel explores the machinations of the self-regarding art world taken in by an audacious fraud against the background of the failed Weimar Republic and the rise of the Nazis.
In 1923 Julius Köhler-Schultz, pillar of the art establishment, meets a young dealer, apparently respectful of his expertise and eager for his assessment of a painting he wants to sell. Julius finds himself falling under Matthias Rachmann’s spell, easing the misery of his acrimonious divorce with the balm of Matthias’ esteem. Julius is the author of a bestselling van Gogh biography whose American royalties have protected him from the ravages of rampant inflation. His dearest possession is a painting by the artist which his wife took when she left together with their son. As the relationship between the two men deepens, Matthias seeks Julius’ seal of approval for more artworks until an incident between Julius and a young girl strains it to snapping point. Emmeline is a talented artist who loses herself in Berlin’s decadent partying, eventually finding work as an illustrator in 1927. When she attends the opening of Matthias’ new gallery which proudly boasts a cache of lost van Goghs, she meets an aspiring journalist who scents a scandal and roots it out. By 1933 the Jewish lawyer who defended Matthias watches as Berlin falls into the Nazis’ grip, reluctant to leave yet fearful for his and his wife’s safety. As his work dwindles away he begins to examine Matthias’ case again.
From her Author’s Note it’s clear that Clark’s novel closely follows the trajectory of the Wacker case, reimagining it and fleshing it out through three vividly realized characters from whose perspective she tells her story. Matthias’ duplicity is signaled from the beginning of his carefully fostered relationship with Julius whose public approbation he needs to enact his breathtaking fraud. The art establishment, with its tight-lipped unity in the face of Matthias’ hoodwinking, is smartly skewered and the depiction of Berlin’s streets full of brownshirts emboldened in their ant-Semitic abuse is chilling. Mid-way through I began to wander if Clark would manage to knit her three perspectives together but it works. An absorbing novel which perceptively explores human vanity while depicting a city on the brink of what will become a catastrophe for the world.
I’ve yet to read The Door, Madga Szabó’s best known novel, and I made the mistake of reading Iza’s Ballad on holiday, failing to give it the quiet attention it needed. Nothing to distract me from Katalin Street, enjoyable or otherwise. First published in 1969, it explores the aftermath of the Second World War through three families, neighbours on the eponymous street with its lovely views of the Danube.
Henriette Held arrives on Katalin Street in 1934 when she’s six years old. There are two strange girls in what’s to be her bedroom and a slovenly woman standing in the hall with her mother. Later she joins the girls and a boy in the garden. This is Henriette’s introduction to Irén, Blanka and Bálint, her new neighbours. The beautifully behaved Irén couldn’t be more different from her sister Blanka, always in trouble yet much-loved, while Bálint is the quiet centre of their small group. Henriette’s father is Jewish, the holder of a gold medal for bravery won in the Great War which protects him until the German occupation in 1944 when he and her mother disappear on what should have been a day of joy, the day of Irén and Bálint’s engagement. Bálint’s father does all he can to protect Henriette but a horrible coincidence of circumstances results in her murder. When the war is over, the city finds itself under a different occupation. Irén becomes a teacher, following in her father’s footsteps; Bálint becomes a doctor working in the same hospital where Blanka finds work as an administrator but he’s returned from the war a changed man and is later imprisoned. By 1968, Katalin Street has long since been converted into social housing but still maintains its lure.
Szabó’s novel begins with a section anchoring it in Katalin Street before briefly visiting an unnamed island where Blanka lives with her husband and his family. From there, she arranges her narrative around a succession of significant dates, telling her characters’ stories from different perspectives. I found it a little difficult to get into at first but once the more linear narrative took off the story flows easily. Henriette continues to appear after her death, regularly visiting Katalin Street and its scattered denizens, dismayed at the changes time and events have wrought in them. It’s a technique that could easily have backfired but Szabó handles it beautifully, even injecting a little humour as Henriette’s parents regress horribly when they encounter their own parents in the afterlife. A quiet aching melancholy runs through this beautiful expressed novel, a yearning for a lost world, and its ending is heart-wrenching. Given that it was published in 1969 when Hungary was still a communist country, I wondered how that had effected Szabó’s writing of it: how much of what she wanted to say was explicit, how much was left to the reader to infer.
Rachel Malik’s debut has been sitting on my shelves waiting to be reviewed for quite some time. I was sent a copy a few months after its hardback publication when Malik approached me and I warily agreed to look at it. I’ve learned my lesson in this respect but an old friend had reviewed the novel positively in the Sunday Times which swayed me and Heavenali’s review sealed the deal. The old bookseller in me thought it would be better to hold back a review until the paperback edition appeared, and now it has.
Elsie Boston has run the family farm alone for many years. She’s a little eccentric and deeply introverted, living on the edge of the village in every sense. Struggling to keep the farm afloat, she decides to take on a Land Girl and waits nervously for her arrival, wondering how she will cope with a stranger. Rene Hargreaves is a Manchester girl who has left her gambling husband and three children, passing herself off as a widow. These two find a way to accommodate their very different habits, settling into a routine of evening Patience and listening to the radio with Rene spending her afternoon off at the pictures. By the time Elsie is forced off the farm by her opportunistic neighbours, their lives have become so entwined that they leave together, embarking on fifteen years as itinerant farm workers until they settle in Cornwall in 1958, almost two decades after they met. Life settles back into its usual routines – Elsie keeping herself to herself, Rene off to the pictures once a week – until Rene learns of the death of a close family friend to whom she owes a debt of gratitude. Despite her antipathy towards him, Rene knows she and Elsie must take in Bertha’s ageing, alcoholic husband who sets about disrupting their life. When Ernest finally dies it might almost seem a cause for celebration but then the police arrive.
In her historical note at the back of the book, Malik explains that Miss Boston and Miss Hargreaves is based very loosely on her grandmother’s life, knowledge which makes her novel all the more poignant for this is not always a happy story. Smoothly shifting perspective back and forth between Else and Rene, threading their memories through her narrative, Malik combines quietly understated prose with appropriately cinematic, vivid episodes. The passage in which Rene and her friend stumble onto a film set, charming the crew and triggering a life-long passion for the movies, is quite magical. The relationship between Elsie and Rene is delicately sketched, its changes subtly shaded in. Their lives were so very ordinary, except perhaps in one or two respects sums up these two women beautifully as it must have for many other couples like them, discreetly living their lives together. As Elsie says in court to much sniggering derision We were rich, and indeed they were. A touching, thoroughly absorbing novel – I’m looking forward to reading what Malik comes up with next.
The theme of adults manipulating children isn’t an unusual one in fiction – Atonement and The Go-Between are obvious examples – but the setting of Tony Peake’s new novel stood out for me. In it a man in his sixties has returned to South Africa where he was at boarding school, remembering the events which came to a climax as the world held its breath in the week of the Cuban Missile Crisis when he was twelve years old.
Paul is working his way towards the small town of Mokimolle. It’s the first time he’s been back to South Africa since he was a schoolboy, teased mercilessly by Afrikaans boys for his English parentage. Paul was a sensitive child, desperate to fit in and determined to join Andre du Toit’s club with its despotic rules. Unexpectedly invited into the inner sanctum, he was tasked with stealing anything that appeared unusual from a teacher’s study. Quickly promoted after his delivery of a comb, Paul found himself asked to write a report on Spier, the teacher determined to make his pupils question their world rather than soaking up received opinion. Paul diligently noted what seemed to be a friendship between Spier and Pheko, the school’s groundsman, horrified to see his report in the hands of Andre’s father the following Sunday. Played out against a backdrop of a febrile, post-Sharpeville South Africa, North Facing explores themes of awakening, culpability and atonement.
Peake vividly summons up 1960s’ white South Africa in the grips of fervent anti-communism, determined to go to any lengths to combat threats to its power. The present-day sections of his novel are narrated in the first person, distancing Paul from his younger self whose third-person narrative he occasionally interrupts. It’s an effective device, drawing you into the 1962 story line while signalling its far-reaching consequences. The depiction of colonial South Africa is neatly done: Paul’s determinedly English mother has brought her country with her complete with chintz-bedecked bungalow and Sunday roasts; the mutual fondness between the children and their parents’ servants contrasts with the racism absorbed by unquestioning young minds. Peake lightly sketches Paul’s sexual awakening – a sudden, puzzling but fateful response – and his realisation of what he has been instrumental in bringing about is quietly delivered. It’s an engrossing, poignant coming-of-age novel whose revelation of the purpose of Paul’s journey brought me to tears.
Alex Christofi’s Let Us Be True is one of those books I’m delighted was sent my way. I’m not sure I would have happened upon it otherwise but it turned out to be absorbing, insightful and beautifully written. Largely set in Paris during the middle of the twentieth century, it’s the story of Ralf who becomes smitten with Elsa and remains so for decades after their brief affair ends.
In 1958, Ralf spends his evenings drinking at Jacques’ bar and shooting the political breeze with his Algerian friend Fouad. He and his mother fled Germany for London in 1933 after the death of Ralf’s Jewish geneticist father. His mother still lives in London but Ralf left to study in Paris, distracted by easy ways to make money tutoring language students. One evening, rifling through an apparently abandoned handbag, trying to find details of its owner, he’s punched in the face by a woman. This seemingly unpromising meeting marks the start of Ralf and Elsa’s affair in which she apparently blows hot and cold, rarely telling him anything about herself until Ralf decides to find out who she is. What he discovers is hardly a surprise but it’s far from the entire story. When Elsa leaves Paris, Ralf stays, occasionally involving himself in the Algerians’ protests against French oppression alongside Fouad and later becoming caught up in the student protests of ’68 before moving back to London. Ralf’s is a life lived alone, continually buffeted by the events that marked both the century and the countries in which he lives, adopted or otherwise.
Christofi explores the way political events can shape ordinary lives through the framework of Ralf and Elsa’s love affair: both are Germans who survived the war which ripped apart their childhoods; Fouad fought for the French but finds himself without rights as an Algerian; Ralf’s dulling of his pain leads him into the student protest against French political stalemate in 1968. All this is done with a light touch, a vivid background to Ralf and Elsa’s stories, told from both perspectives before and after they knew each other. The striking opening sentence sets the tone for the rest of the novel which is pleasingly uncluttered, letting its characters and their histories speak for themselves. It’s an engrossing, thoughtful novel with important things to say exemplified by Ralf’s reflections on his solitary life after the death of his mother: ‘How easily one might neglect those one loved by chasing the big story, the big lie that history was a matter of ideals and not compassion’. It ends, I’m pleased to say, on a hopeful note.