People ​of the Book 3 csillagozás

Reading ​Geraldine Brooks's remarkable debut novel, Year of Wonders, or more recently March, which won the Pulitzer Prize, it would be easy to forget that she grew up in Australia and worked as a journalist. Now in her dazzling new novel, People of the Book, Brooks allows both her native land and current events to play a larger role while still continuing to mine the historical material that speaks so ardently to her imagination. Late one night in the city of Sydney, Hanna Heath, a rare book conservator, gets a phone call. The Sarajevo Haggadah, which disappeared during the siege in 1992, has been found, and Hanna has been invited by the U.N. to report on its condition. Missing documents and art works (as Dan Brown and Lev Grossman, among others, have demonstrated) are endlessly appealing, and from this inviting premise Brooks spins her story in two directions. In the present, we follow the resolutely independent Hanna through her thrilling first encounter with the beautifully… (tovább)

Reading ​Geraldine Brooks's remarkable debut novel, Year of Wonders, or more recently March, which won the Pulitzer Prize, it would be easy to forget that she grew up in Australia and worked as a journalist. Now in her dazzling new novel, People of the Book, Brooks allows both her native land and current events to play a larger role while still continuing to mine the historical material that speaks so ardently to her imagination. Late one night in the city of Sydney, Hanna Heath, a rare book conservator, gets a phone call. The Sarajevo Haggadah, which disappeared during the siege in 1992, has been found, and Hanna has been invited by the U.N. to report on its condition. Missing documents and art works (as Dan Brown and Lev Grossman, among others, have demonstrated) are endlessly appealing, and from this inviting premise Brooks spins her story in two directions. In the present, we follow the resolutely independent Hanna through her thrilling first encounter with the beautifully illustrated codex and her discovery of the tiny signs-a white hair, an insect wing, missing clasps, a drop of salt, a wine stain-that will help her to discover its provenance. Along with the book she also meets its savior, a Muslim librarian named Karaman. Their romance offers both predictable pleasures and genuine surprises, as does the other main relationship in Hanna's life: her fraught connection with her mother. In the other strand of the narrative we learn, moving backward through time, how the codex came to be lost and found, and made. From the opening section, set in Sarajevo in 1940, to the final section, set in Seville in 1480, these narratives show Brooks writing at her very best. With equal authority she depicts the struggles of a young girl to escape the Nazis, a duel of wits between an inquisitor and a rabbi living in the Venice ghetto, and a girl's passionate relationship with her mistress in a harem. Like the illustrations in the Haggadah, each of these sections transports the reader to a fully realized, vividly peopled world. And each gives a glimpse of both the long history of anti-Semitism and of the struggle of women toward the independence that Hanna, despite her mother's lectures, tends to take for granted. Brooks is too good a novelist to belabor her political messages, but her depiction of the Haggadah bringing together Jews, Christians and Muslims could not be more timely. Her gift for storytelling, happily, is timeless.