In the summer of 1981 came the New York Times’ article about “Forty-one homosexuals turning up in emergency rooms with a spectrum of mysterious and lethal symptoms.” Forty years later ther
“two love stories seen as a continuing parable, of men in two centuries adjusting to the changing world around them, while each comes to terms with the environment in his own way.”
“Whether sharing a piece of history or capturing the theme of this fictional book through the words of a character, Allende beautifully reveals the mastery of her prose
“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.”
Writing good historical fiction is a particular challenge. Not only must an author craft a good story, they have to get the history correct, especially the mood and setting for the plot.
“A treasure . . . using both a close personal focus and a broader historical scope, Grossman has written a war epic that rightly deserves to be a classic.”
“a narrative that reminds its readers of the extent to which everyone who came after the LSD experiments, and the psychedelic sixties, is drawn to that story, but forever remains outside it
“Intertwined in the two narratives is a pattern of betrayals, secrets and lies—sometimes well-meant, sometimes conflicted, sometimes for sheer self-preservation, but almost always with pain
“The Orphan of the Salt Winds is a gothic novel both because of its sinister setting—an old, remote house filled with secrets and surrounded by danger—and a heavy
