Spiegelman, Art. 1986. Maus I: A Survivor's Tale: My Father Bleeds History.

This is a true-must-read of a book, well, a graphic novel to be exact. But still, must-read at all accounts. I loved the format of this one. No, not just the graphicness of it. But the framework of the story. How this novel is just as much about a father-son relationship--in all its complications--as it is about Jewishness, about the Holocaust. I also love the exploration of the psychology of it. So often with "Holocaust" books the issue of long-term effects, of psychological and emotional trauma that persists through the decades following such a horrific event, doesn't come up. It's a non-issue. Often memoirs are about a specific period of time. Liberation comes from either the Americans and the Russians. And voila. Horror over. But life isn't that easy.

In this first volume, we meet Artie, an artist, and his father, Vladek, a Holocaust survivor who is grumbling his way through a second marriage to a fellow-survivor, Mala. (Artie's mother, Anja, committed suicide in the late 1960s.) Artie seeks out his father in this volume wanting to hear his story, his past. Seeking answers to questions not only about his father, but his mother as well. Questions about the Nazis, the war, the Holocaust, how these two survived despite the odds. We, as readers, follow two stories, the contemporary setting where a son is asking some hard questions of his father and getting inspired to write about them in graphic novel form, and the historical setting--1930s and 1940s--where we meet his parents and learn their stories and backgrounds.

His father isn't in the best of health, and their relationship is strained. The book addresses the question of if parents ever really understand their children and/or if children can ever truly understand their parents. Can stressful tensions--ongoing issues and conflicts--ever be resolved peacefully? The drama is just as much about healing as it is the Nazis. And I think that is one of the reasons it's so powerful, so resonating. These characters--represented as mice in the novel--feel authentic. They're flawed but lovable. Their stories matter. (By the way, the Nazis are cats. The Polish are pigs. The French are frogs.)

The story is continued in Maus II.

Spiegelman, Art. 1991. Maus II: A Survivor's Tale: And Here My Troubles Began.

If Maus I was great, Maus II is even greater. If you thought the first one was heart-felt and moving, wait until you get to this one. Everything is more intense. The sorrows and griefs are even deeper; the actions even more troubling. For here we get to the heart of the story. The darkest place of all. Artie's father and mother have been captured by the Nazis and sent to a concentration camp. (In this graphic novel, the name is "Mauschwitz" instead of Auschwitz.) In the contemporary story line, we see that Artie's father isn't doing well; in fact, it becomes obvious, that he's dying. This complicates things tenfold. More guilt. More anger. More frustration. Even in fine health, Artie had a difficult time getting along with his father. Now, when his father perhaps needs him more than ever, he's crankier and grouchier and meaner than ever. Life isn't easy. Never easy. This is a complex novel--graphic novel--with heart and soul. Highly recommended.

Dick, Philip K. 1962. The Man in the High Castle. 272 pages.

For a week Mr. R. Childan had been anxiously watching the mail.

What can I say about this one? Really. An alternative reality is created, a reality in which the Axis powers won World War II. The United States? Not so united. They've been divided--some being more occupied than others--between Germany and Japan. Life isn't all bad--well, unless you happen to be Jewish or black. For this reason, it is better to be on the Japanese side of the border. (Don't even ask what the Germans did to Africa.) This nightmarish reality is all too real for the handful of characters the reader meets. (Yes, a few of the characters are Jewish.)

Decisions. Decisions. Decisions. This book is all about choices--ethical and moral questions that these characters have to answer. It isn't easy to be the person you want to be, should be. Life is too complex to be simplified into wrong and right...or so it appears. Some decisions change your life forever. Some change who you are. Some hasten the inevitable...death itself. How much of yourself would you be willing to sacrifice to be "safe" in this nightmare-of-a-world?

One of the fascinating aspects of this one is how the novel revolves around a book or two. Specifically, the novel revolves around another novel and its author. A science-fiction novel that in itself is an alternate reality. A novel imagining what life would be like if the Allies had won the war. This novel is by Hawthorne Abendsen. It's called The Grasshopper Lies Heavy. And this novel weaves its way into the stories of the many characters and narrators. As you can imagine, this novel isn't all that popular with the powers-that-be. It's outlawed on the German-occupied side of the country. But that doesn't stop people from reading it. Giving this novel power. If anything, it makes it all that more popular.

This one is definitely interesting! It's a bit more philosophical and ideas-oriented than action-packed. But I enjoyed reading it.

Plot summary (from the publisher?)

It's America in 1962. Slavery is legal once again. The few Jews who still survive hide under assumed names. In San Francisco, the I Ching is as common as the Yellow Pages. All because some 20 years earlier the United States lost a war--and is now occupied jointly by Nazi Germany and Japan.

This harrowing, Hugo Award-winning novel is the work that established Philip K. Dick as an innovator in science fiction while breaking the barrier between science fiction and the serious novel of ideas. In it Dick offers a haunting vision of history as a nightmare from which it may just be possible to awake.

Powers, Tim. 1983. The Anubis Gates.

The Anubis Gates is a pleasantly weird novel. Stealing directly from the back cover, "The Anubis Gates is the classic, Philip K. Dick Award-winning time travel novel that took the fantasy world by storm a decade ago. Only the dazzling imagination of Tim Powers could have assembled such an insane cast of characters: an ancient Egyptian sorcerer, a modern millionaire, a body-switching werewolf, a hideously deformed clown, a young woman disguised as a boy, a brainwashed Lord Byron, and finally, our hero, Professor Brendan Doyle."

When two men--under the direction of a seemingly evil Master--invoke a spell from an ancient Egyptian book, it creates holes in time--among other things. Amenophis Fikee and Doctor Romany are the two men responsible. Fikee suffers worse--in my opinion--in that the spell transforms him into a werewolf. Fortunately for him, unfortunately for nineteenth century England, he's now got the power to switch bodies with others. Which wreaks havoc, of course, because Fikee is a murderous monster with ever-changing identities.

Enter Professor Brendan Doyle. He's a twentieth-century professor (1980s) down on his luck. When the DIRE company offers him a unique job, he's quick to take it. They want him merely to give a lecture on Coleridge. Now Coleridge isn't his poet of choice. No, he's spent most of his adult life studying the more obscure poet--a contemporary of Lord Byron--William Ashbless. There are so many puzzles in this life that are unsolved. He seems to show up out of the blue in England in 1810. No details are known about where he was born, who his parents were, where he went to school, etc. Doyle would love to solve the mystery of this little-known poet. And the good money that DIRE is offering may just be what he needs to fund his project.

Doyle has been employed by Mr. Darrow to give a lecture about Coleridge to a very select group of people--all wealthy and willing to pay huge sums of money. What he discovers is that this is a once-in-a-lifetime, out-of-this-world experience. For the group will begin in 1983, travel back in time to 1810 to actually hear Coleridge give a lecture in a tavern, and then return to 1983--all in a period of four hours. Doyle is ready to dress the part and have some intellectually stimulating fun.

Sounds like fun, right? Well, for Doyle, things don't go quite according to plan. He's kidnapped by Dr. Romany and separated from the others. Though he manages to escape his initial capture, now, Doyle is trapped in 1810--without money and street smarts--and danger abounds everywhere. That's all I have to say about that.

This novel had many individual elements that intrigued me: ties to Ancient Egyptian culture, ties to the British Romantic poets, time travel, werewolves, etc. I liked it. I did find it a bit confusing at times with all the body-switching going on. I'm sure a second reading would probably clear up a few of my lingering questions. But overall, I liked it.

© Becky Laney of Becky's Book Reviews

Ishiguro, Kazuo. 2005. Never Let Me Go. 288.

My name is Kathy H. I'm thirty-one years old, and I've been a carer now for over eleven years. That sounds long enough, I know, but actually they want me to go on for another eight months, until the end of this year. That'll make it almost exactly twelve years.

Sounds like a confession, doesn't it? Like she's apologizing for being alive. And in a way, that's true, I suppose. Because although it's set in England in the late 1990s, the novel is anything but realistic fiction. No, the world created by Kazuo Ishiguro is frighteningly surreal. Kathy--and others like her--exist for one reason, and one reason only. But I suppose some won't want to go there. To know the ending before they've got acquainted with the beginning.

Kathy, our narrator, is reflecting back on her life--her childhood, her teen years, her young adult years before, during, and after "becoming" a carer. For most of that time, she had a secluded life, a privileged life considering the truth of the matter, in a boarding school called Hailsham. The book is about her life and her relationships. Primarily the book is about her relationships with two people: Ruth and Tommy.

Never Let Me Go is a good example of the distinction between adult and young adult fiction. Though the book is about teenagers--Kathy and friends--the book is for adults. It's tone is reflective, contemplative, distant. It never felt like a child was telling the story. Or a teen. The perspective was all grown up, all the time. (Then again, I think you'd grow up pretty fast if this was your reality.)

And this distance serves a purpose, mostly. Kathy is a strange narrator, an odd woman, a woman eerily comfortable with the truth: what has happened to her friends, her acquaintances, everyone 'like' her... and what will happen to her in the days, weeks, and months ahead. It's hard to know just what is the most disturbing in this book--the truth itself or the fact that there is no reaction, no horror at the truth. The matter-of-factness of it all. The cold acceptance.

© Becky Laney of Becky's Book Reviews