From Publishers Weekly
This tightly knit novel of political intrigue and romance by Wilson (Schoom) is set in 1924 in Palestine under the British mandate. English Jewish painter Mark Bloomberg has left London (where he was besieged by terrible reviews) for Jerusalem, hired by a Zionist organization to produce paintings of "Life Under Reconstruction Conditions. Progress. Enterprise. Development." He's there with his American wife, Joyce, a Protestant socialite who is more enthusiastic about Zionism than he is. At the opening of the novel, a man staggers into Mark's home and dies in his arms from a stab wound and recent beating. He's dressed-mysteriously-as an Arab, but is actually an Orthodox Jew, Jacob De Groot, a thorn in the side of the Zionists for his agitation against the formation of a Jewish state. His murder is investigated by Robert Kirsch, a 24-year-old British police captain who, like Mark, is a secular Jew, and the British governor, Sir Gerald Ross. Their main suspect is a 16-year-old Arab boy named Saud. Gerald doesn't know if he's guilty, but he's sure that if his case is publicized there will be riots. To prevent this, Ross commissions Mark to paint ancient structures in Jordan and sends Saud with him. There, Mark does his own detective work on the De Groot murder, and comes to a different conclusion. While Mark is away, Robert stumbles into an affair with Joyce, whose relationship with her husband is unraveling. The book has a deliberately inconclusive ending, but throughout Wilson draws a vivid picture of Jerusalem and its soon-to-become vicious political rivalries. Wilson is exceptionally attuned to the range of opinion and complex sense of identity of the Jews living in Palestine, as well as the subtle but potentially explosive tension that characterizes everyday interactions under colonial occupation.
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From Booklist
It is 1924 and the Zionist movement is beginning to gain momentum. Tensions run high between Jews and Palestinians and between Zionist and Orthodox Jews, and none of the groups quite trust the British, who have a mandate to rule the area. To this intrigue Wilson [
The Hiding Room (1995)] has added the usual ingredients of a first-rate thriller-murder and gun-running as well as the introspective themes of a middle-aged artist whose career and marriage are on the down slope, his wife's own search for an "identity," and her lover's coming to terms with his. The result is that the book is not quite a mystery and not quite a thriller, but a period piece in which the historical moment is thoroughly saturated by the human element. The plot suffers a bit in that some of the characters you expect to play greater roles in the story don't, and some of the subplots just fizzle out. Still, the main story, with its theme of loyalty versus betrayal, is well written and carries the novel.
Frank CasoCopyright © American Library Association. All rights reserved
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