The Barbarian Nurseries by Héctor Tobar

Published by Farrar, Straus and Giroux on September 27, 2011

The Barbarian Nurseries begins with the flip sides of LA: the one that Hollywood showcases, populated by prosperous, shallow, socially competitive consumers; and the one almost invisibly populated by maids, landscapers, day laborers, and the other workers who, speaking heavily accented English, struggle to sustain their families while serving the needs of those who hire them. I am impressed by the fullness of the characters on both sides of the economic divide.

The principle characters of means are Scott Torres and his wife, Maureen Thompson. The Torres-Thompsons and their three children live in a posh house tended by a staff they can no longer afford. As the novel opens, the gardener and nanny have been recently sacked, leaving only Araceli, the maid whose duties suddenly expand to include childcare without a commensurate increase in pay. Following a mild incident of domestic violence, Scott and Maureen make independent decisions to take a "break" from domestic life. Maureen goes to a spa with their daughter, Scott doesn't come home from work, and neither of them bothers to tell the other -- or, more importantly, Araceli, who finds herself taking care of the two boys without guidance from their parents.

Araceli, fearful that the kids will be placed in foster care if she calls the police, begins a journey through the sprawling city and its suburbs in search of their paternal grandfather. Héctor Tobar uses Araceli's quest to illustrate the city's cultural evolution: the ever-changing character of its neighborhoods as members of various ethnic groups settle in and later move on, replaced by new arrivals with a different group identity. Tobar sketches the people Araceli meets in a way that makes each a community representative without sacrificing the character's individual identity.

Araceli's well-intentioned trip begets a chain of events: misunderstanding morphs into misplaced blame that feeds xenophobic fears of undocumented immigrants. Sadly enough, the news media's instant fascination with the story of missing children -- cute white children from an affluent family allegedly abducted by a Mexican woman -- is all too credible.

The last section of the novel is an indictment of the media's "talking heads" who make accusations of criminal behavior before they have all the facts, of prosecutors who feel compelled by media pressure to accuse the innocent, and of the television viewers who -- lacking the patience to wait until a trial brings out all the facts -- allow race or ethnicity to influence their opinions about guilt. While the story loses some of its magic as it shifts from the personal to the political, it also gains power and social relevance. At least for me, the magic returns near the novel's end, beginning with some realistic courtroom drama.

The last section captures an unfortunate aspect of American life with deadly accuracy. In an ideal world, the "no harm, no foul" rule would leave the parents and Araceli free from repercussions, but Tobar recognizes that the media-driven lust for scapegoats drives decisions about arrest, prosecution, and deportation. In different ways, both Araceli and the Torres-Thompsons become victims of politics and a frenzied media. Those with an agenda view Araceli and the Torres-Thompsons as symbols, not as persons.

Tobar's handling of this serious social issue is nuanced: he doesn't simplistically portray all affluent whites as evil or all immigrants as nonjudgmental victims. Scott and Maureen demonstrate complex and evolving reactions to the crisis. They are never depicted as uncaring parents although some members of the public, including some in the Hispanic community, unjustly regard them that way. Some members of the criminal justice system are sympathetic to Araceli and indifferent to political pressures; others are motivated by headlines. Tobar's deft and balanced juggling of these different points of view is impressive.

The Barbarian Nurseries is a captivating, beautifully written novel that tells a timely and important story. It is also one of the best novels I've read this year.

HIGHLY RECOMMENDED

Rules of Civility by Amor Towles

Published by Viking on July 26, 2011

Some books unfold at a leisurely pace and demand to be read in the same way -- nibbled and savored, the better to prolong the pleasure. Rules of Civility is one of those. It's a throwback novel, the kind in which unashamedly bright characters engage in impossibly witty conversations. The novel takes its name from the 110 rules that George Washington crafted during his teenage years. Katey Kontent eventually sees Washington's rules not as "a series of moral aspirations" but as "a primer on social advancement." They are the rules that shape a masquerade in the hope "that they will enhance one's chances at a happy ending." Ultimately Rules of Civility asks a serious question about Katey's observation: Are the behavioral rules that define "civility" simply a mask that people wear to conceal their true natures? Or are the rules themselves important, and the motivation for following them irrelevant?

The story begins in 1966 but quickly turns back to 1938, the most eventful year in Katey's life. Katey and her friend Eve meet Tinker Grey, a charming young banker, at a jazz club on New Year's Eve. Their blossoming three-way friendship takes an unexpected turn when Eve is injured in an accident while Tinker is driving. Tinker's apparent preference for Katey shifts to Eve as she recuperates. Months later, something happens to cause a change in their relationship, giving Tinker a more important role in Katey's life. Along the way, Katey's career is leaping forward: from reliable member of a law firm's secretarial pool to secretary at a staid publishing house to gofer and then editorial assistant at a trendy magazine. As Katey socializes with the well-to-do and the up-and-coming, she learns surprising secrets about the people in her life, including Tinker, and learns some things about herself, as well.

Katey is an outsider socializing with a privileged group of people (white, wealthy, and sophisticated), but she remains the grounded daughter of a working class Russian immigrant. She treasures her female friends. She neither hides nor flaunts her intelligence. She makes choices "with purpose and inspiration" although she comes to wonder about them in later years. Like most people who use their minds, she's filled with contradictions. Reading Walden, she values simplicity; she fears losing "the ability to take pleasure in the mundane -- in the cigarette on the stoop or the gingersnap in the bath." At the same time, she enjoys fine dining and dressing well: "For what was civilization but the intellect's ascendancy out of the doldrums of necessity (shelter, sustenance, and survival) into the ether of the finely superfluous (poetry, handbags, and haute cuisine)?"

To varying degrees, the characters in this novel make mistakes (who doesn't?). As one character notes, "at any given moment we're all seeking someone's forgiveness." But when should forgiveness be granted? When does love require forgiveness? Towles avoids simplistic answers to these difficult questions; this isn't a melodrama in which characters ride out tragedies to arrive at a neat and happy ending. Ultimately, this is a nuanced novel that remains cautiously optimistic about life, crafted by a generous writer who sees the good in people who have trouble seeing it in themselves, a writer who believes people have the capacity for change.

Rules of Civility offers up occasional treats for readers in the form of brief passages from the books the characters are reading, snippets from Hemingway and Thoreau and Woolf, an ongoing description of an Agatha Christie novel. When Towles introduces a book editor as a character in the novel's second act, it seems clear that Towles shares the editor's old-fashioned respect for "plot and substance and the judicious use of the semicolon." Towles captures the essence of minor characters with a few carefully chosen words. In the same precise and evocative style he recreates 1938 Manhattan: neighborhoods, restaurants, fashions, and music. He writes in a distinctive voice, refined but street-smart, tailored to the era in which the novel is set. His dialog is sharp and sassy. The ending has a satisfying symmetry. If I could find something critical to say about this novel, I would, but I can't.

HIGHLY RECOMMENDED

The Quest for Anna Klein by Thomas H. Cook

Published by Houghton Mifflin Harcourt on June 21, 2011

On behalf of a foreign affairs think tank, in the aftermath of 9/11, twenty-four-year-old Paul Crane agrees to interview ninety-one-year-old Thomas Jefferson Danforth in the belief that Danforth can provide insight into the terrorist attack. Crane is vexed by Danforth's failure to come quickly to the point of the meeting he requested. Instead, Danforth has a story to tell -- a story that begins in 1939 with Danforth's recruitment to "the Project." Point of view shifts frequently between Crane's first person account of the 2001 interview and the third person narration of Danforth's story (a story Danforth repeatedly describes as "a little parable").

Danforth's friend Clayton initially asks Danforth to volunteer his country home in Connecticut as a training ground for Anna Klein, a spy-to-be who speaks nine languages. In Connecticut, "a little steel ball of a fellow" named LaRoche teaches Anna to shoot a pistol and to use the destructive tools of sabotage. Clayton asks Danforth to learn more about Anna, to be sure of her loyalty. As Danforth spends more time with Anna, he comes to understand that he is terrified by the prospect of living an ordinary life. Despite Clayton's warning of the perils he might face, Danforth volunteers to accompany Anna to Europe and to assist her role in the Project, without yet knowing what the Project might be. Encouraged by Anna and caught up in his "lust to matter," Danforth realizes he wants to be more than "a little spy"; he wants to do something important. He also wants to be near Anna. As they travel together to France and then to Berlin, Danforth gradually learns of the Project's dangerous goal. But he also learns more about Anna ... and what he learns he will later unlearn, and relearn, and repeatedly question.

The Quest for Anna Klein turns out to be exactly that: Danforth's quest to understand Anna and to learn her fate. As he gains more information, both during and after the war, he realizes that she might not have been the person he judged her to be. There is an unusual love story in this novel as Danforth comes to feel "like a character in a Russian novel, love and death mingled in a darkly Slavic way." Yet as a reader would expect from an intricately plotted story of espionage, the love story isn't a simple one. Danforth is "doomed to live forever with the incurable affliction of having loved at a moment of supreme peril a woman of supreme mystery." It is a mystery that consumes his life. He is equally consumed by a desire for revenge, although the target of his revenge keeps changing.

Betrayal and loss of trust are the stuff of spy stories, but rarely are the deeply felt consequences of treachery portrayed as convincingly as they are in The Quest for Anna Klein. In many ways this novel is an eloquent story of nearly unbearable pain. The pain that flows from betrayal is palpable in Cook's characters but Danforth endures physical agony as well. Danforth's description of his experiences in Stalin's Russia after the war, including dehumanizing detentions in Lubyanka and a series of labor camps, are haunting. Working in the freezing winter, Danforth longs for summer; fighting mosquitoes in the summer, he aches for the return of winter. "Every blessing brings a curse," Danforth tells Crane, "even the gift of another day of life. Because you are already dead."

In a novel that layers intrigue upon intrigue, I expected to be surprised by the ending, but I was surprised by the surprise. Three surprises, actually, none of which I saw coming, all of which removed my reservations about the novel -- reservations I can't address without revealing the ending. If you read the novel and think part of its premise is unlikely, keep reading to the end. The book addresses timeless moral questions about the nature of innocence and accountability and vengeance, but in the end, it was the story that mattered to me. This is a skillfully plotted and well-executed novel.

HIGHLY RECOMMENDED

Quiet Chaos by Sandro Veronesi

Published in translation by Ecco on April 12, 2011; first published in 2005.

After Lara, the mother of his child, unexpectedly dies while Pietro is at the beach saving the life of a drowning stranger, Pietro spends his days in his car outside his daughter’s school, contemplating the quiet chaos of children spilling out of the building, experiencing an almost euphoric relaxation that has taken the place of grief.  A good bit of the novel takes place in Pietro’s mind as, in his thoughts, he justifies the affairs he had before Lara died, considers his absent feelings of loss, judges the friends and co-workers who visit him in his parked car and is judged by Lara's sister, with whom he had a fling before he met Lara.  Pietro is an executive in the Milan office of a cable television company that is undergoing an international merger, creating another element of chaos as his boss is sacked, but Pietro -- despite daily visits from company officers and employees -- is indifferent to the workplace turmoil, finding peace and tranquility in the park adjacent to the school, where he engages in amiably superficial conversation with the woman who takes her golden retriever for a daily stroll and plays a recurring game with a Down’s Syndrome child whose mother is taking him to physical therapy sessions. 

There’s something seductive about Sandro Veronesi’s prose, something that drew me in and held my attention even when nothing much was happening.  Other than the early scene in which Pietro and his brother save two women from drowning, there is little action in Quiet Chaos.  There is, instead, a good bit of observation and contemplation.  Pietro listens to Radiohead and decides that the few lyrics he can understand are meant for him, messages from Lara.  He begins to see himself as a symbol of pain, to see his car as a wailing wall without the wall, a fixture planted in front of the school so that others, imagining his sorrow, can feel they are sharing their own suffering with him.  The world happens all around him -- his daughter takes dance lessons, a stranger makes lunch for him, a new car parked by the school is damaged in two different accidents, a co-worker disappears after mistaking the CD drive in his laptop for a cup-holder -- and Pietro stands apart from it all.  One of the few times Pietro is “in the moment” comes during a passionate encounter with a woman (an extended, wonderfully written scene that is nonetheless quite graphic; readers who are turned off by scenes of that nature should stand warned) and even then Pietro suddenly becomes aware that he’s “in the moment,” thereby transforming himself from actor to observer.

For a meandering novel that is in many ways quietly chaotic, the ending offers a surprising amount of resolution and closure. While on its surface Quiet Chaos is about a man coming to terms with his life after his significant other’s death, there’s a lot going on here, more than I am able to articulate in a brief review.  I expect that additional meaning will creep into my consciousness as I continue to think about this fine novel.  Readers who are looking for an action-filled plot will likely be disappointed by Quiet Chaos, but I appreciated Sandro Veronesi’s strong, vividly detailed writing, his intense characters, and his illuminating ideas.  When I finished the novel I pondered whether to give it my highest recommendation but it keeps nagging at me, I keep thinking about it, and on the strength of its impact on my thoughts alone I’ve decided it deserves to be highly recommended. 

HIGHLY RECOMMENDED

Doc by Mary Doria Russell

Published by Random House on May 3, 2011

Doc Holliday and Wyatt Earp are firmly established in the pantheon of Wild West legends, along with Jesse James and Billy the Kid. So many books have been written about them, fiction and nonfiction, that it may seem surprising to find another novel based on one of these gunslingers. It must be their legendary status that draws the attention of writers. Widespread familiarity with the legend becomes the writer's base, and the chance to reinvent or reinterpret an icon has an undeniable appeal. In Doc, Russell embraces the challenge of making the familiar seem new with surprising success.

Behind every legend there's a person, and it is the person, not the gunfighter, that Mary Doria Russell imagines in her story of Doc Holliday's time in Dodge City. Russell underplays the novel's armed confrontations, taking note of how legends build, how tall tales grow: an incident involving six cowboys evolves in the telling until Holliday faces down two dozen. Ultimately Russell deconstructs the legend, deemphasizing Holliday's skills as a gunfighter/gambler while painting a detailed picture of a loquacious, consumptive dentist who seems always a step away from death. The plot, such as it is, involves the apparent murder of an entirely fictitious character, a friend of Holliday and Wyatt Earp, but the mystery of his death is merely a vehicle to drive a deeper story. It isn't the familiar story of the O.K. Corral and Wyatt Earp's confrontation with the Clantons; the novel makes reference to those events in a concluding chapter, but the story effectively ends in Dodge City, before the Earp brothers and Holliday make their way to Tombstone.

Russell begins with an eyeblink view of John Holliday's Civil War childhood and his brief but violent stay in Texas (where he killed a man and was shot by another). By the time Holliday decides to rebuild his tubercular life in Dodge City, he's taken up with Kate, a princess turned prostitute who entrances him with erudition that matches his own. Kate is a significant figure in Holliday's life and in the novel. Kate's affinity for Holliday is based in part on his ability to win large sums of money at the card tables, in part on his intelligence and education, and in part on her inability to understand him. Unlike the other men in her considerable experience, who "were as obvious and as easily dealt with as a phallus," the complex dentist becomes her most memorable lover. To Kate's dismay, it is Doc Holliday's dentistry, not his gambling, that fills him with pride and purpose. Russell portrays Holliday as a compassionate if ill-tempered man who treats the fictitious characters "China Joe" and John Horse Sanders with respect regardless of their race, who understands the difficult lives that drove women to work in bordellos. Russell's Holliday is a man isolated by his intelligence and southern manners as much as his illness and quick temper.

Russell's Dodge City is a lawless land of unchecked freedom, fueled by the seasonal influx of money brought by Texans driving cattle: "They were giddy with liberty, these boys, free to do anything they could think of and pay for: unwatched by stern elders, unseen by sweethearts back home, unjudged by God, who had surely forsaken this small, bright hellhole in the immense, inhuman darkness that was west Kansas." Russell populates Dodge City with fully realized characters, emphasizing the routine and drama of their daily lives rather than the excitement and rough justice of frontier life. Speaking to Morgan Earp about literature, Holliday argues that Raskolnikoff and Oliver Twist's Fagin are interesting characters because they are a mixture of good and bad. Russell's characters are interesting for the same reasons. She creates a Wyatt Earp who is filled with insecurities instilled by an abusive father. The experiences and motives that drive her politicians and villains illuminate their lives.

I can't speak to the novel's historical accuracy, although I can note that Russell, in an afterward, calls attention to a few minor changes she made in the historical record. She also lists the novel's characters, italicizing the few who are entirely fictitious. Frankly, I don't think it matters; writers of fiction are licensed to change the past for the sake of the story. Still, so far as I can tell, Rusell's novel is as true to the past as it is to the artist's purpose: to tell truths even when they are fictional. Doc is a wise and stirring and truthful novel about a hard, determined, complicated man.

HIGHLY RECOMMENDED