Literary historical fiction set in a war-torn Europe and glamourous Old Hollywood, following a lonely landscape gardener, from author of Big Town and I Still Have a Suitacase in Berlin
The year is 1932 and Michael Renner is en route from Halifax to Berlin to oversee the affairs of his ailing grandmother. Reluctantly abandoning his unrequited adoration of the boy next door, Michael has given in to familial pressure and boarded the General von Steuben, where he meets his first Berliner, an odd little man named Tristan who instantly pronounces Michael a dear sweet country boy whom Berlin will eat alive. Staying with his faltering grandmother who has been reduced to letting rooms in her once grand home, Michael is witness to the crumbling edifice of Berlin aristocracy. The house is home to a rag-tag assemblage, including Dr. Linder and his niece Hélène, both Jews. The beguiling Hélène takes Michael under her wing and introduces him to Berlin's high society, as well as its many lows. Upon his grandmother's death, Michael's cousin and her husband quickly move in, dispatched to protect the family assets. When they discover that Michael is engaged to Hélène, they break up the union, expose her as a Jew and summarily send her to Austria as the fascists tighten their stranglehold on Berlin. Michael is strategically married off to the dutifully pious Lonä, and before he knows it he is a father, working for his father-in-law auctioning the property of persecuted Jews. Years pass as Michael leads a double life, once again enthralled in unrequited love for a young man, the beautiful and mercurial Jan. From the relative safety of his respectable lifestyle, Michael despairs at Jan's unconcealed promiscuity. After Jan is nearly killed during a stint in prison under the Nazi-revised Paragraph 175 targeting sexual deviancy, Michael risks everything to become Jan's caregiver, siphoning money from his father-in-law's business to cover Jan's expenses in hiding. When their secret is exposed, Michael in turn is rescued by Peter, a dashing SS officer who has a habit of assisting Michael in desperate times, though not without expectation of returned favours. Through it all, Michael continues his peculiar friendship with Tristan, who as it turns out is the wizard behind the mind-blowing displays of debauchery at the most decadent of the legendary Berlin cabarets. Miraculously protected in a disused factory complex and underground abattoir, Tristan's club cranks out nihilistic amusements for Berlin society, including many Nazi officers, a fun-house mirror of the horrors above. As madness swirls about them, Michael and Jan come to rely on each other for comfort and safety. But Michael is haunted by the removal from his life of his son Billy, the only part of that “respectable” life that he loves. When Peter provides Michael with an escape route from the ruin that inevitably will snare him and all who remain in Berlin, Michael finds he cannot abandon Jan and Billy. Because of his love for them, he must walk back into the doom of the holocaust, marked by horrors never before imagined on earth. Exhaustively researched and ablaze with searing detail, I Still Have a Suitcase in Berlin is a literary monument of unflinching compassion, glittering with the decadence of Berlin cabaret society, resonant with the horrors of the holocaust, and giving form and voice to the ghosts of the tens of thousands of people murdered because of their sexual orientation. This important book carries a warning for all generations to come, of the deadly stealth of fascism in whatever form it may take.
A haunting canvas of jealousy, betrayal and atonement that can take its rightful place alongside Fall on Your Knees and Mercy Among the Children. 1970. A tiny fisherman’s shack on the dark Nova Scotia coast, eccentrically covered with folk art images (à la Maud Lewis), which are all the work of a benign, disfigured mute whom the locals dismiss as a misshapen nobody. Miss Elva. Only one man knows that the whimsical, primitive art old Elva painfully creates is her voice, damning the madness of love and lamenting decades of lies. He is also the only person still alive who remembers Elva as she was in the summer of 1927, a crippled little thing in the shadow of her beautiful half-sister, Jane. That peculiar summer of snow and rum-runners when the black sheep Gil returned to a troubled town for his father’s funeral, dogged by sin and retribution — only to find that his handsome twin brother, Dom, has become Jane’s lover. The unhappy reunion breeds rivalry and self-loathing, complicated by racial violence and religious intolerance. And Elva, missing nothing and hoping to free those she loves from pain, unwittingly unleashes the fire that destroys them all. A master of narrative tension, Stephens Gerard Malone saves one last twist for the end — the “miracle” of redemption — driving home his evocative tale of jealousy and its disturbing consequences.
A haunting canvas of jealousy, betrayal and atonement that can take its rightful place alongside Fall on Your Knees and Mercy Among the Children. 1970. A tiny fisherman’s shack on the dark Nova Scotia coast, eccentrically covered with folk art images (à la Maud Lewis), which are all the work of a benign, disfigured mute whom the locals dismiss as a misshapen nobody. Miss Elva. Only one man knows that the whimsical, primitive art old Elva painfully creates is her voice, damning the madness of love and lamenting decades of lies. He is also the only person still alive who remembers Elva as she was in the summer of 1927, a crippled little thing in the shadow of her beautiful half-sister, Jane. That peculiar summer of snow and rum-runners when the black sheep Gil returned to a troubled town for his father’s funeral, dogged by sin and retribution — only to find that his handsome twin brother, Dom, has become Jane’s lover. The unhappy reunion breeds rivalry and self-loathing, complicated by racial violence and religious intolerance. And Elva, missing nothing and hoping to free those she loves from pain, unwittingly unleashes the fire that destroys them all. A master of narrative tension, Stephens Gerard Malone saves one last twist for the end — the “miracle” of redemption — driving home his evocative tale of jealousy and its disturbing consequences.
Seventeen-year-old Early Okander lives with his father in a shack, a white family on the outskirts of the Halifax community of Africville. It is the early 1960s, and Early and his young friends, Toby and Chub, start to hear whispers that the city wants to move the residents of Africville out of their homes. As the three try to sort out what relocation might mean for the community, they also struggle to come to terms with their own problems: Early's abuse at the hands of his father, Toby's illness, Chub's family breakdown. Written from Early's unique perspetive, Big Town is an unforgettable account of a community in crisis and the remarkable spirit that persists in the face of adversity.
A haunting canvas of jealousy, betrayal and atonement that can take its rightful place alongside Fall on Your Knees and Mercy Among the Children. 1970. A tiny fisherman's shack on the dark Nova Scotia coast, eccentrically covered with folk art images (a la Maud Lewis), which are all the work of a benign, disfigured mute whom the locals dismiss as a misshapen nobody. Miss Elva. Only one man knows that the whimsical, primitive art old Elva painfully creates is her voice, damning the madness of love and lamenting decades of lies. He is also the only person still alive who remembers Elva as she was in the summer of 1927, a crippled little thing in the shadow of her beautiful half-sister, Jane. That peculiar summer of snow and rum-runners when the black sheep Gil returned to a troubled town for his father's funeral, dogged by sin and retribution -- only to find that his handsome twin brother, Dom, has become Jane's lover. The unhappy reunion breeds rivalry and self-loathing, complicated by racial violence and religious intolerance. And Elva, missing nothing and hoping to free those she loves from pain, unwittingly unleashes the fire that destroys them all. A master of narrative tension, Stephens Gerard Malone saves one last twist for the end -- the "miracle" of redemption -- driving home his evocative tale of jealousy and its disturbing consequences.
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