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Blooms of Darkness
A new novel from the award-winning, internationally acclaimed Israeli writer ("One of the greatest writers of the age" —The Guardian), a haunting, heartbreaking story of love and loss.
The ghetto in which the Jews have been confined is being liquidated by the Nazis, and eleven-year-old Hugo is brought by his mother to the local brothel, where one of the prostitutes has agreed to hide him. Mariana is a bitterly unhappy woman who hates what she has done to her life, and night after night Hugo sits in her closet and listens uncomprehendingly as she rages at the Nazi soldiers who come and go. When she's not mired in self-loathing, Mariana is fiercely protective of the bewildered, painfully polite young boy. And Hugo becomes protective of Mariana, too, trying to make her laugh when she is depressed, soothing her physical and mental agony with cold compresses. As the memories of his family and friends grow dim, Hugo falls in love with Mariana. And as her life spirals downward, Mariana reaches out for consolation to the adoring boy who is on the cusp of manhood.
The arrival of the Russian army sends the prostitutes fleeing. But Mariana is too well known, and she is arrested as a Nazi collaborator for having slept with the Germans. As the novel moves toward its heartrending conclusion, Aharon Appelfeld once again crafts out of the depths of unfathomable tragedy a renewal of life and a deeper understanding of what it means to be human.
**Winner of the 2012 Independent Foreign Fiction Prize**
The ghetto in which the Jews have been confined is being liquidated by the Nazis, and eleven-year-old Hugo is brought by his mother to the local brothel, where one of the prostitutes has agreed to hide him. Mariana is a bitterly unhappy woman who hates what she has done to her life, and night after night Hugo sits in her closet and listens uncomprehendingly as she rages at the Nazi soldiers who come and go. When she's not mired in self-loathing, Mariana is fiercely protective of the bewildered, painfully polite young boy. And Hugo becomes protective of Mariana, too, trying to make her laugh when she is depressed, soothing her physical and mental agony with cold compresses. As the memories of his family and friends grow dim, Hugo falls in love with Mariana. And as her life spirals downward, Mariana reaches out for consolation to the adoring boy who is on the cusp of manhood.
The arrival of the Russian army sends the prostitutes fleeing. But Mariana is too well known, and she is arrested as a Nazi collaborator for having slept with the Germans. As the novel moves toward its heartrending conclusion, Aharon Appelfeld once again crafts out of the depths of unfathomable tragedy a renewal of life and a deeper understanding of what it means to be human.
**Winner of the 2012 Independent Foreign Fiction Prize**
288 pages, Hardcover
First published January 1, 2005
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About the author
Aharon Appelfeld
65 books199 followersAHARON APPELFELD is the author of more than forty works of fiction and nonfiction, including Until the Dawn's Light and The Iron Tracks (both winners of the National Jewish Book Award) and The Story of a Life (winner of the Prix Médicis Étranger). Other honors he has received include the Giovanni Bocaccio Literary Prize, the Nelly Sachs Prize, the Israel Prize, the Bialik Prize, the Independent Foreign Fiction Prize, and the MLA Commonwealth Award. He is a member of the American Academy of Arts and Sciences and has received honorary degrees from the Jewish Theological Seminary, Hebrew Union College-Jewish Institute of Religion, and Yeshiva University.
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August 22, 2023
A brilliant poignant and thoughtful novel about the Holocaust by talented Israeli author Aharon Appelfeld.
When the Nazis invade the Soviet Union they unleash their Einsatzgruppen on the Jewish population living in these territories, and cruelly annihilate millions of Jews.
Hugo Mansfeld lives in a Ukrainian town, a Jewish child of eleven, part of unobservant Jewish family. who owns a pharmacy.
Hugo's parents own a pharmacy in the town and are greatly compassionate people, giving the poor free medicine and helping the less fortunate any way they can . Hugo's mother helps a Christian women, Mariana . who was her friend at school, now reduced to prostitution in order to survive. when the Nazis arrive intent on liquidating every Jew in the town, Hugo's mother asks Mariana to hide Hugo and she treats him with great kindness. Hugo must hide in a small storeroom in the brothel where Mariana works.
The prostitutes that hide Hugo risk execution at by of the Nazis for harbouring Jews and Hugo sees great brutalization of Mariana who he has grown to deeply love, at the hands of her German clients. He gives Mariana great comfort This is a deep, and heartwarming story.
It depicts the terror of the people who suffered at Nazi hands, and the love and compassion that can survive despite the greatest cruelty and deprivation.
The truth is that 'whores' often have kinder hearts than many of the 'virtuous' and as Mariana observes 'Whores and Jews have always been persecuted'.
Gripping from beginning until the heartbreaking end , this amazing book should be a modern day classic.
When the Nazis invade the Soviet Union they unleash their Einsatzgruppen on the Jewish population living in these territories, and cruelly annihilate millions of Jews.
Hugo Mansfeld lives in a Ukrainian town, a Jewish child of eleven, part of unobservant Jewish family. who owns a pharmacy.
Hugo's parents own a pharmacy in the town and are greatly compassionate people, giving the poor free medicine and helping the less fortunate any way they can . Hugo's mother helps a Christian women, Mariana . who was her friend at school, now reduced to prostitution in order to survive. when the Nazis arrive intent on liquidating every Jew in the town, Hugo's mother asks Mariana to hide Hugo and she treats him with great kindness. Hugo must hide in a small storeroom in the brothel where Mariana works.
The prostitutes that hide Hugo risk execution at by of the Nazis for harbouring Jews and Hugo sees great brutalization of Mariana who he has grown to deeply love, at the hands of her German clients. He gives Mariana great comfort This is a deep, and heartwarming story.
It depicts the terror of the people who suffered at Nazi hands, and the love and compassion that can survive despite the greatest cruelty and deprivation.
The truth is that 'whores' often have kinder hearts than many of the 'virtuous' and as Mariana observes 'Whores and Jews have always been persecuted'.
Gripping from beginning until the heartbreaking end , this amazing book should be a modern day classic.
July 3, 2020
Під час читання цієї книжки мене не покидала думка, що якби її написав не-єврей, то письменника б піддали анафемі й зацькували. Судіть самі: у романі Агарона Аппельфельда «Квіти пітьми» єврейська мама під час Голокосту віддає свого маленького сина Гуго у сховок до її давньої знайомої, української повії Мар’яни. Хоч місце дії й не вказано, але зрозуміло, що історія розгортається в Чернівцях під час Другої світової. Щоб урятувати дитину, відчайдушна мати готова на все, тому малий і опиняється в комірці борделю, де жінки надають сексуальні послуги німецьким воякам. Єврейський хлопчик переховується на відстані простягнутої руки від нацистів, яких за ніч у кімнату до Мар’яни навідується й по два-три. Через щілину в дошках малий чує і бачить свої перші уроки сексуального життя, а згодом між ним і Мар’яною зароджуються і власні ніжні стосунки, коли старша жінка, повія, вчить дванадцятирічного хлопчака любові. Ну скажіть, хіба не блюзнірство – так писати про Голокост?
Як на мене, зовсім не блюзнірство. Але й справді такий роман міг написати тільки єврейський письменник, до того ж старий, який сам пережив Голокост, а не переповідає почуте від інших. Агарон Аппельфельд народився 1932 року на Буковині, тож під час Голокосту був уже цілком свідомим хлопцем; саме з цієї перспективи – хлопчика, який під час війни виростає в молодого чоловіка (і не тільки статево!) й ведеться оповідь у романі «Квіти пітьми», який цього року для «Видавництва 21» переклали Віктор Радуцький і Оксана Пендерецька. Під час Другої світової автор пережив насильницьку смерть своєї матері, ґетто і депортацію в концтабір, тож на власному досвіді знає історію не в чорно-білих градаціях, а у всіх напівтонах і відтінках.
Здавалось би, перед нами історія «Лоліти» навпаки: маленького хлопчика спокушає і вводить у світ задоволень старша досвідчена жінка. Вся ця напружена еротична (не порнографічна!) історія розгортається за лаштунками страшної кривавої драми, і поки п’яна повія запрошує в своє ліжко хлопчика, навколо помирають мільйони людей. Але романи Аппельфельда не перекладали б на тридцять мов і не нагороджували найважливішими преміями, якби все було аж так просто.
Адже це роман не тільки про сексуальне дозрівання хлопця в обіймах досвідченої жінки, а й про мораль, провину і осуд. Про те, наскільки легко когось засуджувати й закидати камінням, хоча при погляді з іншого кута виявляється, що цькуємо ми не пропащу жінку, а янгола, що під страхом власної смерті врятував чужу дитину від переслідування. Про те, що навіть в аморальних на позір людей десь глибоко ховається мила й ніжна беззахисна дитина, що прагне обіймів і любові. Яка хоче творити добро і залишити по собі щось хороше, бодай один світлий спогад. Про те, як навіть під час переслідувань можна мріяти і уявляти оте Шевченкове «садок вишневий коло хати».
Цей глибокий, потрясний роман, сюжет якого з другої половини розганяється і мчить уперед, ставить перед читачем серйозні питання. Ба навіть не ставить, а натякає на них, граючи прозорими алюзіями десь на обрії: українська повія Мар’яна в цьому світлі через образ вічної покритки-Катерини (до слова, так називається інший роман Аппельфельда) мимоволі стає святою блудницею Марією Магдалиною, в яку закохана чиста й непорочна душа Ісуса. Другий найголовніший натяк від автора – в самій назві роману; адже «Квіти пітьми» одразу ж навіюють думку про «Квіти зла» Бодлера, про пошук прекрасного в потворному, естетичного в страшному.
Говорячи в романі про те, що після смерті треба вставати і йти будувати нове життя (Ізраїль), Агарон Аппельфельд наче пише про самого себе. Емігранта, який після війни виїхав будувати власну державу на Близький Схід, але в спогадах і творчості весь час повертався в рідну йому Україну. І хтозна, чи образ порочної Мар’яни, яка рятує єврейському хлопчику життя, не є й образом самої України – недосконалої, але коханої.
Як на мене, зовсім не блюзнірство. Але й справді такий роман міг написати тільки єврейський письменник, до того ж старий, який сам пережив Голокост, а не переповідає почуте від інших. Агарон Аппельфельд народився 1932 року на Буковині, тож під час Голокосту був уже цілком свідомим хлопцем; саме з цієї перспективи – хлопчика, який під час війни виростає в молодого чоловіка (і не тільки статево!) й ведеться оповідь у романі «Квіти пітьми», який цього року для «Видавництва 21» переклали Віктор Радуцький і Оксана Пендерецька. Під час Другої світової автор пережив насильницьку смерть своєї матері, ґетто і депортацію в концтабір, тож на власному досвіді знає історію не в чорно-білих градаціях, а у всіх напівтонах і відтінках.
Здавалось би, перед нами історія «Лоліти» навпаки: маленького хлопчика спокушає і вводить у світ задоволень старша досвідчена жінка. Вся ця напружена еротична (не порнографічна!) історія розгортається за лаштунками страшної кривавої драми, і поки п’яна повія запрошує в своє ліжко хлопчика, навколо помирають мільйони людей. Але романи Аппельфельда не перекладали б на тридцять мов і не нагороджували найважливішими преміями, якби все було аж так просто.
Адже це роман не тільки про сексуальне дозрівання хлопця в обіймах досвідченої жінки, а й про мораль, провину і осуд. Про те, наскільки легко когось засуджувати й закидати камінням, хоча при погляді з іншого кута виявляється, що цькуємо ми не пропащу жінку, а янгола, що під страхом власної смерті врятував чужу дитину від переслідування. Про те, що навіть в аморальних на позір людей десь глибоко ховається мила й ніжна беззахисна дитина, що прагне обіймів і любові. Яка хоче творити добро і залишити по собі щось хороше, бодай один світлий спогад. Про те, як навіть під час переслідувань можна мріяти і уявляти оте Шевченкове «садок вишневий коло хати».
Цей глибокий, потрясний роман, сюжет якого з другої половини розганяється і мчить уперед, ставить перед читачем серйозні питання. Ба навіть не ставить, а натякає на них, граючи прозорими алюзіями десь на обрії: українська повія Мар’яна в цьому світлі через образ вічної покритки-Катерини (до слова, так називається інший роман Аппельфельда) мимоволі стає святою блудницею Марією Магдалиною, в яку закохана чиста й непорочна душа Ісуса. Другий найголовніший натяк від автора – в самій назві роману; адже «Квіти пітьми» одразу ж навіюють думку про «Квіти зла» Бодлера, про пошук прекрасного в потворному, естетичного в страшному.
Говорячи в романі про те, що після смерті треба вставати і йти будувати нове життя (Ізраїль), Агарон Аппельфельд наче пише про самого себе. Емігранта, який після війни виїхав будувати власну державу на Близький Схід, але в спогадах і творчості весь час повертався в рідну йому Україну. І хтозна, чи образ порочної Мар’яни, яка рятує єврейському хлопчику життя, не є й образом самої України – недосконалої, але коханої.
March 26, 2012
It will come as no surprise to scholars of contemporary Hebrew literature Aharon Appelfeld's latest novel and his first to be translated into English, Blooms of Darkness (pub. Alma Books) which has been longlisted for this year's Independent Foreign Fiction Prize, concerns the Holocaust.
Appelfeld, 78, has written more than forty works of fiction, broadly on a similar theme. He makes no apologies for this. Appelfeld himself escaped from a Nazi concentration camp in 1941, and hid out in a forest with, as he puts it, 'underworld' figures. In that time, he was briefly taken in by a prostitute, an experience which inspired this particular novel.
Hugo, its hero, is eleven years old and lives in an unnamed city in Ukraine. When the Nazis invade, Hugo and his mother, who are secular Jews, evade capture by taking to the city's sewers, and emerge at the local brothel, where Hugo's mother leaves him in the care of a childhood friend, Mariana.
Hugo spends the majority of the novel couped up in Mariana's closet, experiencing vivid dreams of his lost family and friends, and listening to Mariana entertain her Nazi soldier clients. Through such slivers of information he comes to appreciate his likely fate.
Hugo and Mariana form a firm bond: he, articulate and observant, and Mariana, bawdy and brutalised. As the search for Jews becomes ever more thorough, and Mariana's clients increasingly violent, they turn to each other for comfort.
Appelfeld would probably be the first to admit his story is nothing especially new. Its uniqueness does not come from its tried-and-tested metaphors for love, loss and liberation, but from Appelfeld's richly understated use of language: so heartfelt it could almost have been written in a whisper.
As the War comes to a close and the dynamics of Hugo's relationship with Mariana are turned on their head, Appelfeld describes their fate with a sense of sad inevitability.
Along the way, there are raucous, warming moments, and the boisterous Mariana is a glorious invention. But I have an issue here, and it is with the nature of the relationship between the pair: which develops from Mariana giving Hugo scented baths to them sleeping together, in every sense of the phrase. Descriptions of their sex, it should be stressed, are so subtle as to be almost non-existent, and yet the bare fact remains that here is a (presumably) lower middle-age woman seducing a boy who, for a large part of the novel, is only eleven years old. My issue is not one of prudishness, and I must make clear that this is not a significant, stand-alone plot strand in the novel itself (their unsuitability as lovers is never questioned; most reviews make no mention of it), but I don't think it can be avoided. Call it a metaphor for stolen innocence all you like, but I fail to see why it is necessary,. and I think it raises questions about the book - such as the true character of Mariana, to whom we are otherwise almost one hundred per cent sympathetic - that it shouldn't have to answer. Imagine the furore, for example, if Hugo had in fact been an eleven-year-old girl, and her protector a kindly guard. Am I missing some point here? Please let me know.
All that said, it does not significantly detract from a fine novel. It has other flaws - some of Hugo's dreams seem rather too specific - but the quality of Appelfeld's authorship cannot be denied. He has crafted a nice, and somehow soul-enriching novel.
Appelfeld, 78, has written more than forty works of fiction, broadly on a similar theme. He makes no apologies for this. Appelfeld himself escaped from a Nazi concentration camp in 1941, and hid out in a forest with, as he puts it, 'underworld' figures. In that time, he was briefly taken in by a prostitute, an experience which inspired this particular novel.
Hugo, its hero, is eleven years old and lives in an unnamed city in Ukraine. When the Nazis invade, Hugo and his mother, who are secular Jews, evade capture by taking to the city's sewers, and emerge at the local brothel, where Hugo's mother leaves him in the care of a childhood friend, Mariana.
Hugo spends the majority of the novel couped up in Mariana's closet, experiencing vivid dreams of his lost family and friends, and listening to Mariana entertain her Nazi soldier clients. Through such slivers of information he comes to appreciate his likely fate.
Hugo and Mariana form a firm bond: he, articulate and observant, and Mariana, bawdy and brutalised. As the search for Jews becomes ever more thorough, and Mariana's clients increasingly violent, they turn to each other for comfort.
Appelfeld would probably be the first to admit his story is nothing especially new. Its uniqueness does not come from its tried-and-tested metaphors for love, loss and liberation, but from Appelfeld's richly understated use of language: so heartfelt it could almost have been written in a whisper.
As the War comes to a close and the dynamics of Hugo's relationship with Mariana are turned on their head, Appelfeld describes their fate with a sense of sad inevitability.
Along the way, there are raucous, warming moments, and the boisterous Mariana is a glorious invention. But I have an issue here, and it is with the nature of the relationship between the pair: which develops from Mariana giving Hugo scented baths to them sleeping together, in every sense of the phrase. Descriptions of their sex, it should be stressed, are so subtle as to be almost non-existent, and yet the bare fact remains that here is a (presumably) lower middle-age woman seducing a boy who, for a large part of the novel, is only eleven years old. My issue is not one of prudishness, and I must make clear that this is not a significant, stand-alone plot strand in the novel itself (their unsuitability as lovers is never questioned; most reviews make no mention of it), but I don't think it can be avoided. Call it a metaphor for stolen innocence all you like, but I fail to see why it is necessary,. and I think it raises questions about the book - such as the true character of Mariana, to whom we are otherwise almost one hundred per cent sympathetic - that it shouldn't have to answer. Imagine the furore, for example, if Hugo had in fact been an eleven-year-old girl, and her protector a kindly guard. Am I missing some point here? Please let me know.
All that said, it does not significantly detract from a fine novel. It has other flaws - some of Hugo's dreams seem rather too specific - but the quality of Appelfeld's authorship cannot be denied. He has crafted a nice, and somehow soul-enriching novel.
December 31, 2011
Aharon Appelfeld's Blooms of Darkness, Waiting for the tick of the clock...
Aharon Appelfeld born February 16, 1932, was transported at the age of eight to a concentration camp along with his father. His mother was murdered by members of the Romanian army when their village was raided. Appelfeld's hometown became a part of the Ukraine following the end of WWII.
After three years of captivity, Appelfeld escaped the camp and joined the Soviet Army, serving as a cook. Following a year in a camp for displaced persons in Italy at war's end, Appelfeld emigrated to Israel in 1946. He learned Hebrew as an adult.
In Blooms of Darkness: A Novel, Appelfeld tells the story of Hugo, eleven years old, a Jew, the son of upper middle class parents. Appelfeld uses an omniscient narrator writing in the present tense. The imminence of death hangs over every turn of the page. It is like the steady ticking of a clock that grows silent when the mainspring unwinds. How much time Hugo has is anyone's guess.
Jewish parents have been sending their children to live with Gentiles, in hiding, as news of the transportation of their race have reached their small town. Equally unsettling are the whispered stories that those children who were supposedly being hidden, have actually been turned over to the Nazis or their allies to be placed in the camps.
After Hugo's father has been transported to a labor camp, his mother, Julia smuggles him to a childhood friend, Marianna, who promises to keep him safe. Julia leaves Hugo there, reminding him that although Marianna may have hung a cross around his neck so she might claim him as her son, he is Jewish. The cross is only a part of a disguise to keep him safe. With that, Julia leaves Hugo, telling him to read, continue his studies and remain disciplined in writing in a journal.
Hugo, ignorant of sex, does not realize that Marianna is a prostitute. The house in which she lives with other women is simply called "the Residence." It is a brothel that caters to the Nazis and their allies.
When Marianna is entertaining her clients in her room, Hugo is hidden in a closet where he remains until the next day. Marianna brings Hugo into her room when she is not entertaining her clients. There she feeds Hugo the delicacies regularly served by the residence to their guests.
Ultimately, as Hugo grows, Marianna's bathing him turns into a sexual relationship as she takes him into her bed. Hugo is confused, but entranced by her affection and trust. In turn, Marianna finds in Hugo the only love she can experience trapped in her life as a prostitute, sometimes brutalized by her nightly clients.
Marianna drinks too much, which loosens her tongue, resulting in the violence her patrons inflict on her for her arrogance and independence. Small wonder that Marianna sinks into acute episodes of depression, staring blankly ahead of her, completely unaware of Hugo's presence.
Appelfeld has written a heartbreaking novel of children caught in the Holocaust. Hugo's and Marianna's experiences linger on in the mind long after the last page is turned.
Appelfeld has written over 40 books, beginning with short stories before transitioning to novels. He writes exclusively in Hebrew.
Philip Roth wrote of Appelfeld that he was “a displaced writer of displaced fiction, who has made of displacement and disorientation a subject uniquely his own." Roth used Appelfeld as a character in Operation Shylock
Aharon Appelfeld's latest novel is Until the Dawn's Light.
Highly recommended.
References
"The Marriage of Semite and Anti-Semite" NY Times review of "Until Dawn's Light http://www.nytimes.com/2011/10/16/boo...
"The Whore's Secret"New York Times Review of "Blooms of Darkness" http://www.nytimes.com/2010/03/21/boo...
The Jewish Virtual Library, biographical entry for Appelfeld http://www.jewishvirtuallibrary.org/j...
"Questions and Answers: An Interview with Aharon Appelfeld About 'Blooms of Darkness,'Haaretz Daily Newspaper http://www.haaretz.com/culture/books/...
"Holocaust Survivor Aharon Appelfeld is Israel'sGreatest Living Writer, Tablet Magazine http://www.tabletmag.com/arts-and-cul...
Aharon Appelfeld born February 16, 1932, was transported at the age of eight to a concentration camp along with his father. His mother was murdered by members of the Romanian army when their village was raided. Appelfeld's hometown became a part of the Ukraine following the end of WWII.
After three years of captivity, Appelfeld escaped the camp and joined the Soviet Army, serving as a cook. Following a year in a camp for displaced persons in Italy at war's end, Appelfeld emigrated to Israel in 1946. He learned Hebrew as an adult.
In Blooms of Darkness: A Novel, Appelfeld tells the story of Hugo, eleven years old, a Jew, the son of upper middle class parents. Appelfeld uses an omniscient narrator writing in the present tense. The imminence of death hangs over every turn of the page. It is like the steady ticking of a clock that grows silent when the mainspring unwinds. How much time Hugo has is anyone's guess.
Jewish parents have been sending their children to live with Gentiles, in hiding, as news of the transportation of their race have reached their small town. Equally unsettling are the whispered stories that those children who were supposedly being hidden, have actually been turned over to the Nazis or their allies to be placed in the camps.
After Hugo's father has been transported to a labor camp, his mother, Julia smuggles him to a childhood friend, Marianna, who promises to keep him safe. Julia leaves Hugo there, reminding him that although Marianna may have hung a cross around his neck so she might claim him as her son, he is Jewish. The cross is only a part of a disguise to keep him safe. With that, Julia leaves Hugo, telling him to read, continue his studies and remain disciplined in writing in a journal.
Hugo, ignorant of sex, does not realize that Marianna is a prostitute. The house in which she lives with other women is simply called "the Residence." It is a brothel that caters to the Nazis and their allies.
When Marianna is entertaining her clients in her room, Hugo is hidden in a closet where he remains until the next day. Marianna brings Hugo into her room when she is not entertaining her clients. There she feeds Hugo the delicacies regularly served by the residence to their guests.
Ultimately, as Hugo grows, Marianna's bathing him turns into a sexual relationship as she takes him into her bed. Hugo is confused, but entranced by her affection and trust. In turn, Marianna finds in Hugo the only love she can experience trapped in her life as a prostitute, sometimes brutalized by her nightly clients.
Marianna drinks too much, which loosens her tongue, resulting in the violence her patrons inflict on her for her arrogance and independence. Small wonder that Marianna sinks into acute episodes of depression, staring blankly ahead of her, completely unaware of Hugo's presence.
Appelfeld has written a heartbreaking novel of children caught in the Holocaust. Hugo's and Marianna's experiences linger on in the mind long after the last page is turned.
Appelfeld has written over 40 books, beginning with short stories before transitioning to novels. He writes exclusively in Hebrew.
Philip Roth wrote of Appelfeld that he was “a displaced writer of displaced fiction, who has made of displacement and disorientation a subject uniquely his own." Roth used Appelfeld as a character in Operation Shylock
Aharon Appelfeld's latest novel is Until the Dawn's Light.
Highly recommended.
References
"The Marriage of Semite and Anti-Semite" NY Times review of "Until Dawn's Light http://www.nytimes.com/2011/10/16/boo...
"The Whore's Secret"New York Times Review of "Blooms of Darkness" http://www.nytimes.com/2010/03/21/boo...
The Jewish Virtual Library, biographical entry for Appelfeld http://www.jewishvirtuallibrary.org/j...
"Questions and Answers: An Interview with Aharon Appelfeld About 'Blooms of Darkness,'Haaretz Daily Newspaper http://www.haaretz.com/culture/books/...
"Holocaust Survivor Aharon Appelfeld is Israel'sGreatest Living Writer, Tablet Magazine http://www.tabletmag.com/arts-and-cul...
February 14, 2023
"- Я залишилася сама. У мене немає нікого на світі.
- Усі ми залишилися самі. Припини завивати".
Минулого року я помітила, що час від часу натрапляю на згадку про цю книгу в есеях інших письменників чи в інтерв’ю, тож захотіла прочитати.
Голокост, Чернівці (там нам кажуть на звороті книги, повірю на слово), мати намагається сховати свого сина-єврея у далеких селах, а коли це їй не вдається, то віддає хлопчика старій подрузі Мар’яні. Мар’яна обіцяє подбати про Гуго. А ще Мар’яна – повія, що обслуговує німецьких солдатів і має алкогольну залежність. Ось так єврей і повія – парії в суспільстві – починають співіснувати в одному просторі.
Як на мене, книгу можна спокійно скоротити на третину: в ній чимало одноманітного, що жодним чином не рухає ні героїв, ні нас нікуди – це рутина зі схованкою в комірчині та днюванням в кімнаті Мар’яни, а також та частина, де у героїв є спроба втекти за межі міста до того, як росіяни займуть його.
Мені не вистачило склейки, зв’язки, розуміння, чому ми саме в цій історій і серед таких героїв. Я скажу відверто, у мене була втома від Мар’яни, від її одноманітних слів та вчинків. . Безсумнівно, до написання автора підштовхнуло автобіографічне, але, мабуть, ідея того, що люди не однозначні істоти, та що здатні і на різної хріновості вчинки, і на дуже круті, сильні, важливі рішення, давно вже очевидна для мене.
- Усі ми залишилися самі. Припини завивати".
Минулого року я помітила, що час від часу натрапляю на згадку про цю книгу в есеях інших письменників чи в інтерв’ю, тож захотіла прочитати.
Голокост, Чернівці (там нам кажуть на звороті книги, повірю на слово), мати намагається сховати свого сина-єврея у далеких селах, а коли це їй не вдається, то віддає хлопчика старій подрузі Мар’яні. Мар’яна обіцяє подбати про Гуго. А ще Мар’яна – повія, що обслуговує німецьких солдатів і має алкогольну залежність. Ось так єврей і повія – парії в суспільстві – починають співіснувати в одному просторі.
Як на мене, книгу можна спокійно скоротити на третину: в ній чимало одноманітного, що жодним чином не рухає ні героїв, ні нас нікуди – це рутина зі схованкою в комірчині та днюванням в кімнаті Мар’яни, а також та частина, де у героїв є спроба втекти за межі міста до того, як росіяни займуть його.
Мені не вистачило склейки, зв’язки, розуміння, чому ми саме в цій історій і серед таких героїв. Я скажу відверто, у мене була втома від Мар’яни, від її одноманітних слів та вчинків. . Безсумнівно, до написання автора підштовхнуло автобіографічне, але, мабуть, ідея того, що люди не однозначні істоти, та що здатні і на різної хріновості вчинки, і на дуже круті, сильні, важливі рішення, давно вже очевидна для мене.
May 5, 2012
It is not unusual to compare a Holocaust-themed book with other excellent fictional works from that time period. So it was interesting that the one book that sprung to mind after closing the pages of completing Blooms of Darkness was Cervantes’ Don Quixote.
The parallels between the two abound. Don Quixote—in the traditions of knights-errant of old – finds a love whom he names Dulcinea…or “sweetness.” She is not rich or famous or beautiful or well-born, but to him, she is his queen and his lady. She begins as someone with little self-worth but by the end, she blooms under Don Quixote’s love.
In Blooms of Darkness, the person who blooms is Mariana, who works in a brothel that services German occupiers. She is entrusted with the care of Hugo – a pre-teen – by his mother, an old school friend, when the Jews are forced to go into hiding.
Although the story is Hugo’s, the spotlight often shines on Mariana, a contradiction of piousness and looseness, self-centerness and unselfishness. Hidden in Mariana’s closet – literally and figuratively – Hugo craves her attention and views her as his personal Dulcinea. The majority of the novel is set within her bedroom…and in his imagination.
Aharon Appelfeld – a 78-year-old Israeli writer – and his excellent translator Jeffrey M. Green – write the entire book in the present; the implication is that the present is the only time that exists, since the past and the future have been obliterated. The tone is understated and controlled, taut and haunting.
Gradually, he creates a grafting of his two key characters – Hugo and Mariana. As a mocking townswoman says: “Whores and Jews are always persecuted. There’s nothing to be done.” Indeed, as life spirals downward for both Hugo and Mariana – as the world looks on without pity and defines each of them as less than human – the two look to each other for sustenance and love.
At times, as a reader, I hoped for a little less reticence; still, there was no time where I didn’t admire and respect what Mr. Appelfeld was so intelligently creating. The universal themes of loss and loneliness are explored here, along with the optimism of the differences that one person can make in the life of another. While the story is grim and disturbing, it is, in curious ways, also uplifting.
The parallels between the two abound. Don Quixote—in the traditions of knights-errant of old – finds a love whom he names Dulcinea…or “sweetness.” She is not rich or famous or beautiful or well-born, but to him, she is his queen and his lady. She begins as someone with little self-worth but by the end, she blooms under Don Quixote’s love.
In Blooms of Darkness, the person who blooms is Mariana, who works in a brothel that services German occupiers. She is entrusted with the care of Hugo – a pre-teen – by his mother, an old school friend, when the Jews are forced to go into hiding.
Although the story is Hugo’s, the spotlight often shines on Mariana, a contradiction of piousness and looseness, self-centerness and unselfishness. Hidden in Mariana’s closet – literally and figuratively – Hugo craves her attention and views her as his personal Dulcinea. The majority of the novel is set within her bedroom…and in his imagination.
Aharon Appelfeld – a 78-year-old Israeli writer – and his excellent translator Jeffrey M. Green – write the entire book in the present; the implication is that the present is the only time that exists, since the past and the future have been obliterated. The tone is understated and controlled, taut and haunting.
Gradually, he creates a grafting of his two key characters – Hugo and Mariana. As a mocking townswoman says: “Whores and Jews are always persecuted. There’s nothing to be done.” Indeed, as life spirals downward for both Hugo and Mariana – as the world looks on without pity and defines each of them as less than human – the two look to each other for sustenance and love.
At times, as a reader, I hoped for a little less reticence; still, there was no time where I didn’t admire and respect what Mr. Appelfeld was so intelligently creating. The universal themes of loss and loneliness are explored here, along with the optimism of the differences that one person can make in the life of another. While the story is grim and disturbing, it is, in curious ways, also uplifting.
February 6, 2017
Ratings (1 to 5)
Writing: 3.5
Plot: 4
Characters: 4
Emotional impact: 4
Overall rating: 4
Notes
Favorite character(s): Mariana was a great character; so very broken but complex enough not to become a cliche.
Other notes: There were aspects of this story I was uncomfortable with but overall I enjoyed it.
Writing: 3.5
Plot: 4
Characters: 4
Emotional impact: 4
Overall rating: 4
Notes
Favorite character(s): Mariana was a great character; so very broken but complex enough not to become a cliche.
Other notes: There were aspects of this story I was uncomfortable with but overall I enjoyed it.
August 28, 2018
Book 23/24 of my reading of all the past Independent Foreign Fiction Prize / Man Booker International and the 2012 winner, Blooms of Darkness, translated by Jeffrey M. Green from Aharon Appelfeld's Hebrew original.
I have been impressed at the quality of many I have read but this one left me a bit bemused, particularly as it beat off a very strong longlist that included Dag Solstad, Murakami, Knausgaard, Yan Lianke, Péter Nádas, Sjón and Diego Marani.
Set in an unnamed Ukranian town under German occupation in the second world war, it begins evocatively in the Jewish ghetto:
Tomorrow Hugo will be eleven, and Anna and Otto will come for his birthday. Most of Hugo’s friends have already been sent to distant villages, and the few remaining will be sent soon. The tension in the ghetto is great, but no one cries. The children secretly guess what is in store for them. The parents control their feelings so as not to sow fear, but the doors and windows know no restraint. They slam by themselves or are shoved with nervous movements. Winds whip through every alley.
From the Independent review of the book (https://www.independent.co.uk/arts-en...) I learned:
In the novel, when 11 year old Hugo is unable to find a peasant to take him to shelter and relatively safety in the mountains, his mother instead entrusts him to the care of Mariana, who works in a brothel for the German troops. Hugo hides in her closet as the war, and the constant search for hidden Jews, unfolds around them.
I struggled though with two aspects of the resulting story. Firstly, as Hugo is hidden in a closet he sees or hears little of what is going on, and the narrative resorts not only to relayed reports but, rather less convincingly, to dreams.
Secondly, Mariana's relationship to Hugo, and I can't think of a better way to put this, verges on grooming. While the text is decidedly non explicit, she does take the 11 year old boy into her bed and their relationship does seem to get increasingly physical (as shown at one point, when, after they later free the brothel and she tries to pass Hugo off as her son, a family they seek shelter with thrown them out in disgust on the grounds that a mother and son don't sleep together like that).
Mariana also has a rather annoying habit of referring to herself in the third person, which starts to grate.
In the latter part of the novel, the Russians arrive and now Hugo has to try to help Mariana, who knows that she will likely be shot for sleeping with the enemy, although this part of the story doesn't really get anywhere (literally - after fleeing for some time they find themselves still close to the town).
The novel only really comes to life in the closing pages, when Hugo returns to the town and the area where he and his parents lived. He is surprised after he, his compatriots, and Mariana and her colleagues have gone through so much that actually very little has changed in the town itself. Except for one thing - the Jewish families are absent, their houses and business taken over by others, and those that returned clearly unwelcome. But a strong opening and close to the novel doesn't really redeem the 90% in between.
A disappointing choice of winner.
I have been impressed at the quality of many I have read but this one left me a bit bemused, particularly as it beat off a very strong longlist that included Dag Solstad, Murakami, Knausgaard, Yan Lianke, Péter Nádas, Sjón and Diego Marani.
Set in an unnamed Ukranian town under German occupation in the second world war, it begins evocatively in the Jewish ghetto:
Tomorrow Hugo will be eleven, and Anna and Otto will come for his birthday. Most of Hugo’s friends have already been sent to distant villages, and the few remaining will be sent soon. The tension in the ghetto is great, but no one cries. The children secretly guess what is in store for them. The parents control their feelings so as not to sow fear, but the doors and windows know no restraint. They slam by themselves or are shoved with nervous movements. Winds whip through every alley.
From the Independent review of the book (https://www.independent.co.uk/arts-en...) I learned:
Aharon Appelfeld survived the Holocaust as a child, living like a wild boy in the forests of Ukraine. His remarkable memoir, The Story of a Life, tells how he briefly found shelter with a woman called Maria, the village prostitute. Maria drank, and was often despairing, but when she was happy she filled the hut with light. At these times she seemed like the smiling girl in a picture above her bed: perhaps, Appelfeld wrote, that was how she wanted to be remembered.which perhaps excuses the rather odd story that follows, but ultimately doesn't sufficiently redeem it.
In the novel, when 11 year old Hugo is unable to find a peasant to take him to shelter and relatively safety in the mountains, his mother instead entrusts him to the care of Mariana, who works in a brothel for the German troops. Hugo hides in her closet as the war, and the constant search for hidden Jews, unfolds around them.
I struggled though with two aspects of the resulting story. Firstly, as Hugo is hidden in a closet he sees or hears little of what is going on, and the narrative resorts not only to relayed reports but, rather less convincingly, to dreams.
Secondly, Mariana's relationship to Hugo, and I can't think of a better way to put this, verges on grooming. While the text is decidedly non explicit, she does take the 11 year old boy into her bed and their relationship does seem to get increasingly physical (as shown at one point, when, after they later free the brothel and she tries to pass Hugo off as her son, a family they seek shelter with thrown them out in disgust on the grounds that a mother and son don't sleep together like that).
Mariana also has a rather annoying habit of referring to herself in the third person, which starts to grate.
In the latter part of the novel, the Russians arrive and now Hugo has to try to help Mariana, who knows that she will likely be shot for sleeping with the enemy, although this part of the story doesn't really get anywhere (literally - after fleeing for some time they find themselves still close to the town).
The novel only really comes to life in the closing pages, when Hugo returns to the town and the area where he and his parents lived. He is surprised after he, his compatriots, and Mariana and her colleagues have gone through so much that actually very little has changed in the town itself. Except for one thing - the Jewish families are absent, their houses and business taken over by others, and those that returned clearly unwelcome. But a strong opening and close to the novel doesn't really redeem the 90% in between.
A disappointing choice of winner.
November 17, 2019
This is a war novel in which the war hardly features, rather it is about the consequences, without describing the horrors of the war. It tells of an 11 year old Jewish boy, Hugo, who to escape deportation during WWII is left by his mother in a brothel with a friend of hers. Here he spends his time hidden in the closet of the prostitute Mariana, at first not comprehending what is taking place in the other room. As slowly as the pubescent changes in Hugo’s body, and as their situation dictates that they need each other more, their relationship turns into something else. Appelfeld chooses to use a restrained tone, their sexual encounters are never described and barely even spoken of.
The theme of the novel is not the war, but how people deal with it; to what degree people are responsible for their actions. It is a powerful and moving story.
The theme of the novel is not the war, but how people deal with it; to what degree people are responsible for their actions. It is a powerful and moving story.
March 11, 2012
Aharon Appelfeld is the author of more than forty books and has received numerous awards, but I had never heard of him until this novel, Blooms of Darkness, was nominated for the Independent Foreign Fiction Prize. It’s a sombre work, because it deals with the Holocaust, but it’s beautiful all the same, because although Ukraine has never yet conducted any investigation into its known Nazi collaborators, Appelfeld’s story holds no bitterness or blame. He has chosen instead to focus his story on an unlikely member of the 2,363 Ukrainian Righteous among the Nations, a prostitute who saves the life of a young boy.
The story begins in the wake of the German invasion of the Soviet Union in 1941. The Nazis are closing in on the ghetto, somewhere in Ukraine, where ultimately almost a million Jews would be murdered by the Einsatzgruppen (SS paramilitary death squads). Hugo’s mother knows they are coming, and like other Jewish parents is desperately trying to find a refuge for her boy. His father has already ‘been sent to a labour camp’ and each day they see more people being rounded up in the square and trucked away. The squads are conducting house-to-house searches and there are ‘severe penalties’ for anyone caught hiding Jews.
Yet, remarkably, many of Hugo’s friends have already disappeared somewhere into the mountains, to be cared for by peasant families until it’s all over. All the characters in this novel, especially Hugo’s mother, have this deep-rooted understanding that one day it will be ‘all over’. The madness cannot possibly be a permanent state of affairs. ‘You must not despair’, Mama counsels the boy, as she prepares him for their separation…
To read the rest of my review (and access the links in the text) please visit http://anzlitlovers.com/2012/04/22/bl...
The story begins in the wake of the German invasion of the Soviet Union in 1941. The Nazis are closing in on the ghetto, somewhere in Ukraine, where ultimately almost a million Jews would be murdered by the Einsatzgruppen (SS paramilitary death squads). Hugo’s mother knows they are coming, and like other Jewish parents is desperately trying to find a refuge for her boy. His father has already ‘been sent to a labour camp’ and each day they see more people being rounded up in the square and trucked away. The squads are conducting house-to-house searches and there are ‘severe penalties’ for anyone caught hiding Jews.
Yet, remarkably, many of Hugo’s friends have already disappeared somewhere into the mountains, to be cared for by peasant families until it’s all over. All the characters in this novel, especially Hugo’s mother, have this deep-rooted understanding that one day it will be ‘all over’. The madness cannot possibly be a permanent state of affairs. ‘You must not despair’, Mama counsels the boy, as she prepares him for their separation…
To read the rest of my review (and access the links in the text) please visit http://anzlitlovers.com/2012/04/22/bl...
August 10, 2015
I cannot comment on this book without comparing it to another which I recently read,Clara's War . Both deal with the Holocaust and each relates the unbelievable experience of spending the war in hiding. Each is the tale of a wasted childhood. Clara's story, a non-fiction, is derived from diaries which she compiled while in concealment with her family and others. Hugo, in Blooms of Darkness: A Novelmakes some half-hearted attempts to also do so, but never quite achieves his goal.
Hugo, the son of a well-educated Jewish family, is left in the care of a prostitute, who is a friend of his mother. He is eleven years old and must spend the majority of his time locked away in a closet. Initially it seems clear that he does not understand the implications of his abandonment. He realizes that his father and others had to "go away". His thoughts while in this hideaway reflect a young child. It is difficult to picture how he survived so well in this cramped hideout. As the novel progresses and he gains some maturity one can view the changes in his thinking.
In Clara's War it is obvious that devastation, horror and cruelty abound. Hugo's situation differs in that he never seemed to be in imminent danger. Each "close call" was smoothly averted. The war itself seemed to be a distant situation. Little attention is given to the ruin caused by war until the conclusion. The telling of this is definitely more quietly and intimately narrated.
Despite my minor criticisms, Appelfeld has written a tender, thought provoking story.
Hugo, the son of a well-educated Jewish family, is left in the care of a prostitute, who is a friend of his mother. He is eleven years old and must spend the majority of his time locked away in a closet. Initially it seems clear that he does not understand the implications of his abandonment. He realizes that his father and others had to "go away". His thoughts while in this hideaway reflect a young child. It is difficult to picture how he survived so well in this cramped hideout. As the novel progresses and he gains some maturity one can view the changes in his thinking.
In Clara's War it is obvious that devastation, horror and cruelty abound. Hugo's situation differs in that he never seemed to be in imminent danger. Each "close call" was smoothly averted. The war itself seemed to be a distant situation. Little attention is given to the ruin caused by war until the conclusion. The telling of this is definitely more quietly and intimately narrated.
Despite my minor criticisms, Appelfeld has written a tender, thought provoking story.
November 11, 2018
Irgendwo auf dem Weg der Literaturgeschichte von Joseph Roth zu Philip Roth stößt man auf den großartigen Aharon Appelfeld. Blumen der Finsternis ist ein Holocaust-Roman ganz eigener Art, der in der Abstellkammer eines Freudenhauses spielt. Erzählt in einer einfachen, aber sehr wirkungsvollen Sprache.
Meine ausführliche Rezension:
https://buchuhu.wordpress.com/2018/11...
Meine ausführliche Rezension:
https://buchuhu.wordpress.com/2018/11...
July 17, 2017
Po knížce o Moskevských procesech jsem si řekl, že si dám něco lehčího a tak jsem se vrhl na druhou světovou, přesněji na knížku z literárního subžánru Guess who is in da closet.
Jedenáctiletý žid Hugo žije s rodičema lékárníkama kdesi u Karpat. Když začne válka a Ukrajinci začnou místo živijó živijó zpívat židijó židijó, rodiče ho dají k rodinné přítelkyni Marianě. Mariana je prostitutka a taky trochu džambulka, takže bez konaku nedá ani ránu. Hugo, místo toho, aby využil situace a v nekonečné tmě kumbálu se naučil všechny jména v kalendáři, aby s tím pak mohl do televizní show, se do Mariany zamiluje, především proto, že ho Mariana koupe ve vaně a říká mu bobeček. Takhle tam spolu Ujfaluši a džambulka žijí asi rok, někdy je to nahnutý a někdy zase ok. Prostě tradiční drama, když jste v bordelu a nemáte na zaplacení.
Pak se válka zvrtne, Němci utečou a do městečka přijížději Rusáci. Jak bych to přirovnal: to je jako kdybyste měli průjem a vyléčili ho tím, že jste umřeli hlady. Páreček se dá na útěk a my jen čekáme, kdy se něco stane. A ono se něco stane. Bohužel to ale pro mě nebylo vůbec šokující, páč se pravidelně dívám na Tv Barrandov, takže jsem docela otrlej. Pak knížka pomalu dojede do konce a za hodinu na ni člověk zapomene. Takže 3 hvězdy.
Jedenáctiletý žid Hugo žije s rodičema lékárníkama kdesi u Karpat. Když začne válka a Ukrajinci začnou místo živijó živijó zpívat židijó židijó, rodiče ho dají k rodinné přítelkyni Marianě. Mariana je prostitutka a taky trochu džambulka, takže bez konaku nedá ani ránu. Hugo, místo toho, aby využil situace a v nekonečné tmě kumbálu se naučil všechny jména v kalendáři, aby s tím pak mohl do televizní show, se do Mariany zamiluje, především proto, že ho Mariana koupe ve vaně a říká mu bobeček. Takhle tam spolu Ujfaluši a džambulka žijí asi rok, někdy je to nahnutý a někdy zase ok. Prostě tradiční drama, když jste v bordelu a nemáte na zaplacení.
Pak se válka zvrtne, Němci utečou a do městečka přijížději Rusáci. Jak bych to přirovnal: to je jako kdybyste měli průjem a vyléčili ho tím, že jste umřeli hlady. Páreček se dá na útěk a my jen čekáme, kdy se něco stane. A ono se něco stane. Bohužel to ale pro mě nebylo vůbec šokující, páč se pravidelně dívám na Tv Barrandov, takže jsem docela otrlej. Pak knížka pomalu dojede do konce a za hodinu na ni člověk zapomene. Takže 3 hvězdy.
October 24, 2016
Reading about the holocaust always leaves me saddened by the brutality and hatred that was directed toward the Jews. There were some kind souls that risked their lives to hide Jews. This book tells the story of a damaged women doing her best to protect a Jewish boy, in unconventional circumstances.
January 28, 2018
Protagonista asoluto di questo romanzo è Hugo, ragazzino ebreo di undici anni. Siamo nel periodo delle deportazioni degli ebrei e Hugo è ebreo. Ha imparato a non fare domande, sa che deve nascondersi, ha visto amici e parenti, tra cui il padre, venir catturati dai nazisti e portati via, chissà dove. Per salvarlo la madre lo affida a Mariana, una prostituta di straordinaria bellezza, che lo nasconde all'interno di uno sgabuzzino da cui Hugo non uscirà per un anno e mezzo e da cui sente e vede cose che un ragazzino della sua età non dovrebbe nemmeno immaginare.
Appelfield descrive la vicenda con semplicità e linearità, quasi una cronaca della vita di Hugo all'interno dello sgabuzzino, la sua vita con Mariana che pian piano lo seduce anche se con ingenuità e delicatezza.
Appelfield descrive la vita di Hugo senza sensazionalismo, ma comunica e trasmette emozioni con semplicità e incisività. Nonostante l'argomento, il libro si legge in maniera piacevole e veloce, ma conquista il cuore. Non mostra le brutture di quel periodo ma le lascia immaginare, attraverso gli occhi di Hugo, cos' pieno di vita da resistere alle difficoltà e uscire indenne dalla sua prigionia ancora integro e pronto a ricominciare, anche senza avere notizie dei genitori e trovandosi solo al mondo
Appelfield descrive la vicenda con semplicità e linearità, quasi una cronaca della vita di Hugo all'interno dello sgabuzzino, la sua vita con Mariana che pian piano lo seduce anche se con ingenuità e delicatezza.
Appelfield descrive la vita di Hugo senza sensazionalismo, ma comunica e trasmette emozioni con semplicità e incisività. Nonostante l'argomento, il libro si legge in maniera piacevole e veloce, ma conquista il cuore. Non mostra le brutture di quel periodo ma le lascia immaginare, attraverso gli occhi di Hugo, cos' pieno di vita da resistere alle difficoltà e uscire indenne dalla sua prigionia ancora integro e pronto a ricominciare, anche senza avere notizie dei genitori e trovandosi solo al mondo
April 14, 2018
Esperaba otra cosa... Supongo que la manera de estar redactado ha influido en ello
August 12, 2018
Such a difficult book to review because although I found Hugo's story incredibly sad especially the portrayal of his mother's desperate efforts to find him a place of safety, I was deeply troubled by how his protector, the generous prostitute, Mariana, seduced him and took away his innocence. Perhaps this act is a metaphor for the overall loss of his childhood and family but I am not convinced that this aspect of the plot was necessary. We would have understood Mariana enjoying having the boy beside her to keep warm and in so many ways, she was brave and kind but this flawed logic of hers in seeing him as the only one who loved her was truly warped. Tragic story on so many levels and the ending is particularly heartbreaking.
This entire review has been hidden because of spoilers.
June 22, 2018
Blooms of Darkness, by Aharon Appelfeld, reminds me of those times we hear about a female teacher seducing an underage boy. Though we make not speak it aloud many men will inevitably think, especially if the woman is attractive, "Where was she when I was in school?" This is a sharp difference from when the genders are reversed--then the male teacher is a predator and the underage girl is a traumatized victim.
I'm not smart enough to figure out why that is; I guess there's a long literary tradition of boys being taught sex by older women. That's the case in Blooms of Darkness, when a young Jewish boy hides out from the Germans in a brothel.
Appelfeld, who passed away recently, is about the age of his hero, Hugo, in the book--11 through 13. He is a child in the Ukraine, the son of two beloved pharmacists. His father is dragged away to a concentration camp, and his mother is going to flee, but first she leaves him in the care of her childhood friend, Mariana, who is plying her trade. Hugo is kept in the closet, but Mariana comes to have great affection for him, and vice versa. "In recent days Hugo has felt an agitation in his body, and when Mariana hugs him, the pleasure grows stronger. It seems to Hugo that this is a feeling it’s forbidden to express openly, but when he is lying in Mariana’s embrace in bed, he allows himself to kiss her neck."
She calls him her puppy and speaks of herself in the third person, often like a simpleton. But Hugo is naturally entranced by her. Though it is not specifically described, it is clear that Mariana takes him to her bed for sex.
While the war is still going on the two have to sweat out searching Germans, because anyone hiding a Jew will be executed. Then, after the war, the two take to the hills to find a home, while the victorious Russians will kill anyone, including prostitutes, who were friendly with the Germans.
I have no idea if this really happened to Appelfeld, but the book feels like a memory, the kind where a young person remembers their first love many years later with the wistful patina of nostalgia. The writing is simple and straightforward, and is at times too treacly, especially when Mariana carries on. But she does have some rules for life; "Wait a moment, I forgot the main thing—a bathtub. In our house there has to be a bathtub. Without a bathtub, life isn’t life. You have to lie in the bathtub for two or three hours every day. That’s the kind of life I foresee. What do you think?”
Blooms of Darkness is basically The Summer of '42 set during the holocaust. I suppose if one is going to be caught in such a bind, there are worst ways to spend it than in the closet of a whore with a heart of gold.
I'm not smart enough to figure out why that is; I guess there's a long literary tradition of boys being taught sex by older women. That's the case in Blooms of Darkness, when a young Jewish boy hides out from the Germans in a brothel.
Appelfeld, who passed away recently, is about the age of his hero, Hugo, in the book--11 through 13. He is a child in the Ukraine, the son of two beloved pharmacists. His father is dragged away to a concentration camp, and his mother is going to flee, but first she leaves him in the care of her childhood friend, Mariana, who is plying her trade. Hugo is kept in the closet, but Mariana comes to have great affection for him, and vice versa. "In recent days Hugo has felt an agitation in his body, and when Mariana hugs him, the pleasure grows stronger. It seems to Hugo that this is a feeling it’s forbidden to express openly, but when he is lying in Mariana’s embrace in bed, he allows himself to kiss her neck."
She calls him her puppy and speaks of herself in the third person, often like a simpleton. But Hugo is naturally entranced by her. Though it is not specifically described, it is clear that Mariana takes him to her bed for sex.
While the war is still going on the two have to sweat out searching Germans, because anyone hiding a Jew will be executed. Then, after the war, the two take to the hills to find a home, while the victorious Russians will kill anyone, including prostitutes, who were friendly with the Germans.
I have no idea if this really happened to Appelfeld, but the book feels like a memory, the kind where a young person remembers their first love many years later with the wistful patina of nostalgia. The writing is simple and straightforward, and is at times too treacly, especially when Mariana carries on. But she does have some rules for life; "Wait a moment, I forgot the main thing—a bathtub. In our house there has to be a bathtub. Without a bathtub, life isn’t life. You have to lie in the bathtub for two or three hours every day. That’s the kind of life I foresee. What do you think?”
Blooms of Darkness is basically The Summer of '42 set during the holocaust. I suppose if one is going to be caught in such a bind, there are worst ways to spend it than in the closet of a whore with a heart of gold.
November 25, 2012
Blooms of Darkness, by Aharon Appelfeld is a compelling and haunting novel that takes place during the Holocaust. The protagonist is an eleven-year old Jewish boy named Hugo. The ghetto he and his family live in is being evacuated by transports, on a a daily basis. His father has been sent away.
Blooms of Darkness is more than a dark story line, and it is haunting in its intensity due to the masterful writing of Appelfeld. It is a stark coming of age story, and one of sexual awakening.
Appelfeld writes with insight within the pages of the novel. He is concise and masterful in depicting Hugo’s thoughts and dreams.
Blooms of Darkness is more than a dark story line, and it is haunting in its intensity due to the masterful writing of Appelfeld. It is a stark coming of age story, and one of sexual awakening.
Appelfeld writes with insight within the pages of the novel. He is concise and masterful in depicting Hugo’s thoughts and dreams.
October 20, 2010
I feel terrible saying this but this book was like reading something written by a perverted teenager. It had potential to be good; a young boy being hidden by a prostitute. It sounds intriguing but it was just so odd. I felt like the same 10 sentences were recycled for each chapter. They all spoke like robots. Spoiler* not sure how Mariana caring for Hugo meant she should corrupt him and have sex with him. I hope something was lost in translation.
April 11, 2022
As a book about World War II, this takes clear aim at Nazis' genocidal plan, but it is actually the more indirect narratives that reveal its salient message: A single person in any given moment can be a savior or corrupt beyond saving. A society is most brittle when it denies the gray areas and instead is bent on black-or-white thinking, categorizing individuals based primarily on circumstances beyond their control.
November 16, 2013
ugh. so disappointing. there's a good story in there, but the way it's written is so annoying! i wonder how much was lost in the translation - the fact that the whole book is in short, choppy sentences is unbearable! and that one of the main characters constantly refers to herself in the third person - aaarrrggghhhh!!!
January 14, 2018
What a powerful and poignant story Appelfeld wrote!
As is the case with his other books his prose is blunt and sparse. But he still manages to portray people, places, and events in an extremely evocative and effective way.
Appelfeld demonstrates incredible insight and empathy in his development of the two main characters of this story: 11 year old Hugo and Mariana, the prostitute who was asked by Hugo's mother to hide and protect him from the Nazi's. Hugo struggles to find his way while still retaining his sense of himself and his love for his parents. Appelfeld effectively portrays how a child's dreams and fantasies might play a huge role in these efforts. These are effectively used in the story to depict how Hugo tries to keep the memories of his parents and their value systems alive in the midst of such chaos. Mariana valiantly struggles to protect what shred of self esteem she still might have despite all of the degradation she experiences. As someone with 30+ years of experience in trying to help people with alcohol and drug abuse problems I can confirm the depth and accuracy of Appelfeld's portrayal of the dynamics of alcohol abuse by a woman in Mariana's circumstances.
The evolution of their relationship into one of mutually protective love is depicted with great sensitivity and care. While some reviewers were troubled by what would be seen as sexual exploitation of a child by an adult woman in more 'normal' times, in the context of this story it becomes a deeply profound love story. Two people thrown together in the midst of such terrifying uncertainty trying to build and sustain a sense of security and safety in any way they can. In an interview Appelfeld did about this book with the Israeli newspaper Haaretz in 2010 he noted he is not 'judgmental' about his characters. In my opinion, this comes through with great clarity.
The book jacket notes that it has a '...heart rending conclusion' out of which '...Appelfeld once again crafts out of the depths of unfathomable tragedy a renewal of life and a deeper understanding of what it means to be human.' I concur completely.
The only 'criticism' I might offer is that at the completion of this book I was left wondering how Hugo might go on to find a way for himself in life. How would he cope with the tragic loss of his parents? How and where would he try to build a new life for himself? How would he deal with his introduction to intense emotional and physical intimacy with a woman at such a young age? When I am truly moved by a book, I often am left wanting to find out more about the character(s) I have read about. Sadly, Appelfeld passed away in 2017. So, I am left with my own musings on all of this and more.
This is a remarkable book that I will savor for many years to come.
As is the case with his other books his prose is blunt and sparse. But he still manages to portray people, places, and events in an extremely evocative and effective way.
Appelfeld demonstrates incredible insight and empathy in his development of the two main characters of this story: 11 year old Hugo and Mariana, the prostitute who was asked by Hugo's mother to hide and protect him from the Nazi's. Hugo struggles to find his way while still retaining his sense of himself and his love for his parents. Appelfeld effectively portrays how a child's dreams and fantasies might play a huge role in these efforts. These are effectively used in the story to depict how Hugo tries to keep the memories of his parents and their value systems alive in the midst of such chaos. Mariana valiantly struggles to protect what shred of self esteem she still might have despite all of the degradation she experiences. As someone with 30+ years of experience in trying to help people with alcohol and drug abuse problems I can confirm the depth and accuracy of Appelfeld's portrayal of the dynamics of alcohol abuse by a woman in Mariana's circumstances.
The evolution of their relationship into one of mutually protective love is depicted with great sensitivity and care. While some reviewers were troubled by what would be seen as sexual exploitation of a child by an adult woman in more 'normal' times, in the context of this story it becomes a deeply profound love story. Two people thrown together in the midst of such terrifying uncertainty trying to build and sustain a sense of security and safety in any way they can. In an interview Appelfeld did about this book with the Israeli newspaper Haaretz in 2010 he noted he is not 'judgmental' about his characters. In my opinion, this comes through with great clarity.
The book jacket notes that it has a '...heart rending conclusion' out of which '...Appelfeld once again crafts out of the depths of unfathomable tragedy a renewal of life and a deeper understanding of what it means to be human.' I concur completely.
The only 'criticism' I might offer is that at the completion of this book I was left wondering how Hugo might go on to find a way for himself in life. How would he cope with the tragic loss of his parents? How and where would he try to build a new life for himself? How would he deal with his introduction to intense emotional and physical intimacy with a woman at such a young age? When I am truly moved by a book, I often am left wanting to find out more about the character(s) I have read about. Sadly, Appelfeld passed away in 2017. So, I am left with my own musings on all of this and more.
This is a remarkable book that I will savor for many years to come.
May 6, 2018
As the Dutch remember their deaths and celebrate their freedom, I turned to this novel which long stood unread on my shelf.
I did read the Dutch translation and part of me is keen to see its English translation, as the Dutch was archaic, partly adding to the setting of WWII, partly making it stand in the way of the story.
We see through the eyes of an 11 y/o only child, whose parents are secular Jews, respected for their work and care towards anyone in need. The war has changed the world, but despite being 11 y/o the boy doesn’t understand that much, nor does he seem to care to understand. It was heartbreaking to read how the mother does what she thinks is best: they escape the unnamed city and she leaves him with a prostitute in a brothel. I won’t lie, his mother walking away, and not looking back, very nearly had me bawling.
In the brothel, he does nothing, wants nothing (eats nothing, at days) and this fills page after page. We get to know Mariana as a drunk, flawed prostitute. Hugo doesn’t judge, and slowly, like a caged dog, forms his behaviour towards what is expected.
As time passes, the reader knows the war is coming to an end, the nazi customers become brutal, desperate and then...stop coming. The boy focuses on keeping Mariana happy and since he’s an unreliable narrator, by age, and by the fact that she’s a drunk and lets him “drink cognac from her mouth” it’s through his eyes we understand he’s grown up, and willingly has sex with her. The book, by format of seeing through his eyes, doesn’t judge this. The boy wants more, she’s drunk or depressed enough to think he will be able to save her when the Russians are coming,
He can’t and it’s a sad end (no surprises there) but also weird as despite being now nearly 13 (that’s my guess) he still is as clueless as a 7 year old.
It’s nice to have read this book, the premise of a hiding place is nice, and there’s lots for the reader to fill in, particularly in the psychological field. Still...2 stars, as for me, the language didn’t add anything
I did read the Dutch translation and part of me is keen to see its English translation, as the Dutch was archaic, partly adding to the setting of WWII, partly making it stand in the way of the story.
We see through the eyes of an 11 y/o only child, whose parents are secular Jews, respected for their work and care towards anyone in need. The war has changed the world, but despite being 11 y/o the boy doesn’t understand that much, nor does he seem to care to understand. It was heartbreaking to read how the mother does what she thinks is best: they escape the unnamed city and she leaves him with a prostitute in a brothel. I won’t lie, his mother walking away, and not looking back, very nearly had me bawling.
In the brothel, he does nothing, wants nothing (eats nothing, at days) and this fills page after page. We get to know Mariana as a drunk, flawed prostitute. Hugo doesn’t judge, and slowly, like a caged dog, forms his behaviour towards what is expected.
As time passes, the reader knows the war is coming to an end, the nazi customers become brutal, desperate and then...stop coming. The boy focuses on keeping Mariana happy and since he’s an unreliable narrator, by age, and by the fact that she’s a drunk and lets him “drink cognac from her mouth” it’s through his eyes we understand he’s grown up, and willingly has sex with her. The book, by format of seeing through his eyes, doesn’t judge this. The boy wants more, she’s drunk or depressed enough to think he will be able to save her when the Russians are coming,
He can’t and it’s a sad end (no surprises there) but also weird as despite being now nearly 13 (that’s my guess) he still is as clueless as a 7 year old.
It’s nice to have read this book, the premise of a hiding place is nice, and there’s lots for the reader to fill in, particularly in the psychological field. Still...2 stars, as for me, the language didn’t add anything
August 26, 2025
Hésitation sur 3 ou 4 ⭐️… un beau roman sur la guerre et ses déportations, au travers des yeux d’un enfant, Hugo. Celui-ci est et confié par sa mère à une amie d’enfance Mariana, qui va le cacher dans un réduit de sa chambre de la maison close où elle vit. Il va grandir en décriptant ce qui se passe à travers les murs, et en s’attachant de plus en plus à Mariana. J’ai trouvé qu’il y avait quelques longueurs sur ce temps enfermé mais c’est voulu et cela nous permet de bien sentir ce qui se passe dans la tête de ce (très) jeune homme, qui comprend petit à petit les horreurs de la guerre tout en s’éveillant à la sexualité. Je n’ai pas toujours été très à l’aise sur l’attitude de Mariana mais tout reste très subtilement décrit par l’auteur. La fin du roman est très belle, au moment de la défaite allemande, il y a des passages très forts sur les retours des déportés, la chasse aux collaborateurs (dont les prostituées), marquant définitivement l’entrée d’Hugo dans l’âge adulte. Je voulais le lire avant de voir le film, je serai curieuse de le découvrir maintenant.
September 26, 2017
Escrita en 2006. Un niño judío de once años oculto en un prostíbulo de una ciudad de Ucrania durante la SGM. Sexo y religión son los motores de esta novela y de cómo ambos fallan. Tanto la religión como el sexo suponen una especie de alineamiento que marca indefectiblemente, y de forma trágica, el destino de las personas. Inteligentemente Appelfeld escribe una especie de anti-"diario de Anna Frank" y también tiene en cuenta la anterior narrativa sobre esa época, que él también ha frecuentado, para no caer ni en la repetición, ni en el victimismo, ni en aspectos escabrosos. Es una novela muy comedida en descripciones y con una sutil estructura que hace que la acción y los juicios se desarrollen en la cabeza del lector más que en la misma narración.
April 6, 2018
This year I have decided to nearly travel the world through BOOKS! Very convenient you see!
This book was from an Israeli writer.
I plan to read more books from Israel.
This is a story about love, loss, war, friendship and adaptation to life. It shows the willingness of a parent to safeguard thier children (jew) at a time of war and persecution. It shows the difficulty of a prostitute who doesnt know the difference between motherly love and lust-love. And it perfectly potrays a young boy's determination to love a woman despite all odds.
For those of you who have read/watched Room by Emma Donoghue, the plot does have faint (very) resemblance.
Recommending it to anyone who wants to read a well-told story with a backdrop of war.
This book was from an Israeli writer.
I plan to read more books from Israel.
This is a story about love, loss, war, friendship and adaptation to life. It shows the willingness of a parent to safeguard thier children (jew) at a time of war and persecution. It shows the difficulty of a prostitute who doesnt know the difference between motherly love and lust-love. And it perfectly potrays a young boy's determination to love a woman despite all odds.
For those of you who have read/watched Room by Emma Donoghue, the plot does have faint (very) resemblance.
Recommending it to anyone who wants to read a well-told story with a backdrop of war.
June 24, 2018
It must be hard to think of something new to say on the Holocaust, and Appelfeld has certainly tried: I have never read anything like this. Without ever being explicit, Blooms of Darkness communicates a disturbing sense of dislocation. The naivete of the narrator, justified perhaps in the early scenes, becomes increasingly jarring even though the child Hugo never sees a death camp, indeed, they are never even mentioned as such. No doubt many there were many strange eddies in that awful maelstrom, and something like this story could have been one of them. Although in some ways distasteful - a trivial complaint, maybe, in this context - this peculiar novel is also poignant, most of all in its final scenes, where the end turns out not to be the end at all.
August 13, 2017
I hate to say anything negative about a book about the Holocaust - it was an absolutely horrible time in the history of the world and it is always a difficult and uncomfortable subject to read about.
I have read many books about the Holocaust - this one tells the story from a young jewish boy's perspective. It is based on the author's real life experiences. He spent time in a concentration camp and then lived with a prostitute. Although I found the text rather boring and repetitive, maybe that was the author's point - that his life was boring and repetitive while he tried to survive the war.
I have read many books about the Holocaust - this one tells the story from a young jewish boy's perspective. It is based on the author's real life experiences. He spent time in a concentration camp and then lived with a prostitute. Although I found the text rather boring and repetitive, maybe that was the author's point - that his life was boring and repetitive while he tried to survive the war.
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November 14, 2024Una novel·la singular que parla de la persecució dels jueus durant la nefasta època del nazisme. Tot transcorre des de la mirada d'un nen que descobreix el patiment i la vida des del recambró d'una habitació de la casa de prostitució que l'amaga i l'empara. Allà descobreix el despertar del sexe, l'enyor de la família, l'espiritualitat que pot viure enmig del fang. Appelfeld és un autor singular, desplaçat, deportat, desposseït i desarrelat, una veu que situa el relat a mig camí de la paràbola i la història.
Més recomanacions de llibres al blog “Mirades”: https://agorafrancesc.wordpress.com/l...
Més recomanacions de llibres al blog “Mirades”: https://agorafrancesc.wordpress.com/l...
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