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This novel is impressive not only in the way Krauss handles characterization but in the unusual form and treatment of story development. Krauss executes an interesting variant on telling a story from multiple points of view—the story is told from the point of views of Leopold Gursky, an elderly Jewish holocaust survivor living in New York city, and of Alma Singer, a teenaged Jewish girl living in Brooklyn, neither of whom knows the other exists. Their lives do not actually intersect until the very last pages of the novel when Krauss allows the reader to fully connect the dots and even at that, the conclusion is less an O. Henry reveal than a general proposition about humanity (we have an essential obligation to take care of one another).

The novel exudes the aura of a mystery. Some readers might expect that as each detail is revealed and connected to others we will eventually be able to guess at the outcome, but in Krauss’ novel we piece together links that lead to no major plot revelations; rather, we discover a deeper level of character. The reader is kept in a suspended state of anticipation for the entire book, but rather than become agitated or pissed off I gladly went along for the ride.  It is significant that Leo’s profession was locksmith. Like a lock, the novel tenaciously holds on to its meaning until, finally, it releases its hold and the meaning is revealed, opened up, picked.

Krauss’ character development is careful, gradual, believable, and rich—we know all of their flaws, strengths and vulnerabilities and we want for the characters what they aren’t aware enough to want for themselves. We learn that Leo’s love of (his other) Alma is not what we thought. The history, to which the title refers, is not a specific, static history but rather edges toward the more general history of how humans learn love over time.

In form this novel is prodigious in mixing it up.  Letters written years before and retrieved from trash cans; diary entries read on the sly; chapters of books (as translated, as discovered in plain brown wrapping); first person narrative; recalled and real time overheard conversations; poems written to lovers—these all create the form of the novel yet it never seems contrived or busy or messy. Particularly interesting is the way the young Alma’s first person narrative is structured in numbered, titled sections.  This allows for immediate focus on the subject or theme at hand, eliminating the need for distracting and unnecessary exposition or transitions, and as a device does not, surprisingly, distract.

The notion of the presence of the divine is an overarching theme of the book and is seen not only in the preoccupation of Alma’s brother with his belief that he is a lamed vovnik (one chosen by God to do good), but in the repeated emphasis on the importance of devotion. This thematic thread is seen not only in the faux formality of the division of the book into sections, chapters, formal narration, but also at the level of language which repeats and through this repetition insists on the existence of an authority beyond that of human experience.  The repetition of “but” and “and yet” creates an incantatory, insistent drumbeat—the characters carry out their part in a plot line that is determined less by the volition than by preordination.

Krauss teaches whole volumes of writing technique in single sentences as in:

He thought of his colleagues at the daily, which reminded him of his desk with the divots in the wood he used to finger to help him think, which reminded him of his typewriter with the sticky S so that his copy always had sentences like hisss death leavesss a hole in the livesss of thossse he helped, which reminded him of the smell of his boss’s cheap cigars, which reminded him of his promotion from stringer to obituary writer, which reminded him of Isaac Babel, which was as far as he allowed himself to get before he stopped his longing in its tracks and hurried away down the street. (154)

There are dozens more examples of carefully crafted writing packed writing in this novel.

Take-home points:  Inventiveness and variety in form can be used to advance theme and need not be distracting; varying tone between characters and chapters is effective and necessary if the novel is short on action and instead emphasizes the interior lives of its characters; repetitions are useful as touchstones, but be careful to be judicious (Krauss gives just enough, no more); you can write about an old curmudgeon as long as he’s got an interesting mind.

I’m looking forward to reading her new novel, Great House. I’ll let you know how it goes.

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