To Die in Spring by Ralf Rothmann

Published in Germany in 2015; published in translation by Farrar, Straus and Giroux on August 29, 2017

On his deathbed, Walter’s mind returns to the war. Walter was a dairy farmer, just turning 18 and working for the Reich Food Estate thanks to his inability to shoot straight during his term in the Hitler Youth Corps. Unfortunately for Walter, the war is nearing an end and Hitler needs bodies to move forward and die, followed by more bodies who move forward and die, so Walter is drafted and sent to Hungary, where the Waffen SS is trying to stop the Russian advance. But because he has a driver’s license, Walter ferries supplies rather than fighting at the front. He fires only one shot during the war, but it is a shot he will never forget.

After Walter has a moment of heroism, he is rewarded with the opportunity to search for his cruel father’s grave. That quest takes him even closer to the Russian front, where the consequences of war are stark. Hopelessness pervades the novel. Civilians lose their homes and towns, deserters flee the front only to face execution. The Germans are fighting “a war for cynics, who don’t believe in anything but might makes right” — the same thinking that starts every war. The war pits enemy against enemy but also friend against friend when Walter is ordered to be “stronger than your own scruples.”

The horrors of war are seen from the perspective of soldiers fighting and dying for the losing side. Some of those horrors are inflicted by the soldiers, following orders from officers, on civilians suspected of being partisan, or just to satisfy their blood lust. And some horrors are inflicted on soldiers by their own officers, as the story illustrates in its most dramatic moment. Walter comes of age with an act that no teenager (or adult) should be forced to undertake, and then swallows that moment, concealing it deep within his being for the rest of his life — a fact that is revealed in the opening pages and again, indirectly, through song lyrics that Walter's son recounts in an epilog.

One of the story’s themes is that life moves on, even as individual lives end. Walter believes there will always be a need for milkers, but learns at the war’s end that he will soon be displaced by machines, his three years of training leading only to personal obsolescence. But change is inevitable and the brief time that Walter serves in the war brings about many changes in his life and country. Some of those changes he will live with until he dies, will make him welcome his own eventual death.

To Die in Spring is written (or translated) in smooth prose with no wasted words. It tells a small story at the end of a big war, developing the central character in depth and providing enough context in the atmosphere of war and supporting characters to make the story both convincing and compelling. To Die in Spring isn’t quite as atmospheric as All Quiet on the Western Front, but it conveys similar truths about war's impact on soldiers with nearly the same power.

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Elle by Philippe Djian

First published in France in 2012; published in translation by Other Press on May 23, 2017

Michèle lives in fear, sometimes in a state of panic. She believes in signs and portents that she sees everywhere. She receives anonymous texts that might be perceived as threatening, and she assumes they came from her rapist. Michèle treats the rape as a fact of life, in much the same way as she regards less significant events in her life.

The forces that shaped Michèle quickly become apparent. Michèle’s father has served thirty years in prison for a monstrous crime that occurred during Michèle's childhood. Her mother is paying young men for sex. Michèle isn’t pleased that her mother wants her to visit and forgive her father.

Michèle’s job is to evaluate screenplays. She doesn’t like Richard’s, a subject she danced around during the years they were married. Michèle left Richard before he learned about her affair with Robert, husband of her best friend Anna. Her son Vincent has been rude to her ever since the divorce. Vincent’s girlfriend Josie is pregnant by another man.

All of this we piece together in the first thirty pages of a novel that is largely based on Michèle’s fragmented thoughts. She is surprised when a rivalry develops between Richard and her married neighbor Patrick, with whom she’s thinking of having an affair, although she’s also thinking of ending her affair with Robert. As the novel moves forward, Michèle makes some decisions, defers others, and allows some decisions to be made for her. In other words, her life proceeds as lives do, although hers is more dramatic than most.

Michèle is a woman of moods. She wants to sleep with Patrick and then she doesn’t and then she does and so on. She hates her mother and then loves her and then hates her and so son. Sometimes she thinks she should change her ways; other time she looks forward to having more “unusual adventures” (i.e., sleeping with married men). Eventually (and I write this as a warning to sensitive readers) she indulges in rape fantasies that become realities.

There were several times when I thought (as I suspect many readers will), “Why is she doing this?” But it’s clear that Michèle doesn’t always know why she behaves as she does. The closest she comes to an answer is, “sometimes people would do just about anything to feel a tiny bit better.” And “just about anything” can include behavior that might seem rewarding in the moment even if, viewed later with a more rational mind, the behavior is self-destructive. As she tells her cat, “It’s a little complicated to explain,” probably because we can’t explain what we don’t understand.

To her credit, even when the circumstances of her life have victimized her, Michèle does not play the role of victim. She uses adversity to learn truths about herself, not all of which are pleasant. She moves forward, and whether those moves are healthy or not, they are preferable to wallowing in self-pity. Michèle might not be an exemplary person, but she isn't a bad person. Her character is a reminder that people respond to difficult childhoods in many different ways. It would be easy to judge Michèle, but she doesn’t deserve to be judged. All of that makes her a strong literary character.

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Moskva by Jack Grimwood

Published by St. Martin's Press/Thomas Dunne Books on July 11, 2017

Tom Fox is a British major who spent some time in Northern Ireland working with military intelligence. His bosses have sent him to Moscow to keep him away from a Parliamentary committee that wants him to testify. His ostensible purpose in Moscow involves writing a report about religion in the Soviet Union for the Foreign Office. While he’s safely hidden out of the way, he expects his bosses to decide his fate.

Soon after his arrival, Fox attends a party given by Sir Edward Masterson, the British ambassador. His wife is Anna Masterson and his rebellious teenage stepdaughter is Alex. Shortly after the party, Alex disappears and Masterson enlists Fox’s help to find her.

Fox’s daughter died in an unexplained car crash, a death for which Fox blames himself. His daughter’s death motivates his agreement to help the ambassador. Fox’s search for answers quickly entangles him with the KGB, with a Russian crime boss, with a Party boss, and with dangers connected to the past that are less easy to identify, but he views his task as one of redemption. Only by saving Alex can he save himself. He knows he is being arrogant and messianic, and perhaps suicidal, but he doesn’t care.

The story occasionally travels back to 1945, when the Russians were taking Berlin and wanted to assure that a German physicist would travel to Moscow, where he would serve the Russian government. Certain characters who play key roles in the present story have their roots in sins of the past. Solving the mystery of Alex therefore requires Fox to solve brutal crimes from the war years.

The story holds some poignant surprises, including the true identity of an elderly woman, seemingly a bit unhinged, who is known as Wax Angel. Fox’s background is convincingly tragic, but Jack Grimwood paints him in subdued colors, not in the garish hues of melodrama. His troubled relationship with his wife evolves as the novel progresses, and Fox changes a bit, to the extent that he is capable of altering the shape of his life. The Russian mobster, dealing with the death of one son and the disappearance of another, is also a convincing character. Additional moral ambiguity fleshes out the man who, in addition to becoming Fox’s drinking companion, becomes a key to the mystery. The broken men (and a couple of damaged women) give the novel its heart.

Some aspects of the story are a bit fanciful, but Grimwood’s prose is sharp, the characters have a fair amount of depth, and the story moves quickly. All of those factors, joined with the detailed background, make Moskva a good Russian crime story. Moskva isn’t on the same level as a Martin Cruz Smith novel, but it’s only about one level down, which makes it easy to recommend.

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Hoodoo Harry by Joe R. Lansdale

First published in 2016; published digitally by MysteriousPress.com/Open Road on August 1, 2017

Hoodoo Harry is Joe R. Lansdale’s contribution to the Bibliomysteries series of stand-alone mystery stories by popular crime writers in which books, bookstores, libraries, or manuscripts play a central role.

Hap and Leonard are run off the road by a bookmobile bus in a part of the country that is still fighting the Civil War. The bookmobile disappeared fifteen years earlier, along with its driver, Harriet Hoodalay, who was known after her disappearance as Hoodoo Harry.

A 12-year-old kid whose unfortunate life is cut short was driving the bus. Of course, Hap and Leonard make it their business to find out why. They engage in their usual wisecracks and make their customary observations about how “neighborliness” in East Texas now consists of shooting anyone who comes too close to a home or business after dark … or maybe even in daylight.

The story blossoms into a murder investigation with multiple victims. Like most of the Hap and Leonard series, this isn’t as powerful as Lansdale’s best work. Hoodoo Harry is an average Hap and Leonard story, which means it entertains. That’s all it’s meant to do, and since it succeeds, I recommend it.

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Flesh and Bone and Water by Luiza Sauma

First published in Great Britain in 2017; published by Scribner on June 20, 2017

Flesh and Bone and Water tells a big story in a small way. The novel is a family drama, focusing on one family member and the harm he inadvertently does to his family and future by falling in love.

André Cabral receives a letter from Luana in Brazil. Now living alone in a London flat after separating from his wife, André has not seen Luana in 30 years. He cannot remember her last name, but the letter prompts memories of his Brazilian childhood.

Luana was the daughter of his family’s black maid/nanny. Most of the novel is told in memory: André and his brother Thiago growing up in Rio; their mother’s death; a family visit to Belém, accompanied by Luana; André’s introduction to Esther, his eventual wife, as he attends medical school in London; the deterioration of their marriage as “time rubs away the shine” of love.

Most of the backstory involves André’s forbidden infatuation. Luana is the daughter of a servant and not a fit mate for a boy who will one day become a doctor. But Luana is wrong for André for additional reasons that he does not understand at the time. Eventually, as more letters arrive, André learns a devastating truth about his past.

The story is told in quiet, straightforward prose. There is no melodrama in André’s account of a dramatic moment in his childhood and a dramatic revelation in the present. Much of the novel’s dramatic tension comes from André’s decision to confront the past that he fled when, to his father’s dismay, he settled down in London. There is no going back for André, even when eventually returns to Brazil with his daughter to make an attempt to atone. Like the rest of us, the best André can do is to feel his way forward as he works to reconcile has past and his present. The story's strength lies in its ability to convey a universal message in a personal way.

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