First Sentence: Elena narrowed her eyes against the dazzling sunlight reflected off the sea.
On a vacation in Italy with
her sister Margot, Elena Stanford meets Walter Mann and Ian Newton. An immediate attraction causes Elena to go
with Ian to Berlin after a message compels him there. A shocking
event and a request from Ian sends Elena on to Berlin, and into a danger from
which she may not escape.
Perry masterfully sets
the stage, lulling one into a sense of elegance, music and possible
romance. How effectively she dispels one
of that notion. She describes the
emotional environment of the time, --"Fifteen years after the war,
everyone still had their griefs: loss of
someone, something, a hope or an innocence, if not more. And fear of the future."--conveying the
almost frenetic gaiety and desperation for emotional connection so well. Perry is such an evocative writer, and her
characters are dimensional and interesting, but it's her perspective which
causes one to pause, consider and want to share what one has read with
others. She also understands pacing;
taking one seamlessly from tranquility into the threat of danger.
The story is told from
several POVs. One may smile at the
timelessness dismissiveness with which the younger generation considers
the older one, and of Elena's brother's view of her talent and ambition. Elena's resourcefulness,
strength, and determination; a hallmark of Perry's female characters, is impressive even
though one may question the suddenness of Elena's decisions.
There is great lyricism
to Perry's writing, particularly in her descriptions of nature, yet there is
also a touch of pathos. In 1933, one is
witnessing the rise of Hitler, Mussolini's move toward fascism. It is somewhat painful to realize how much of
the 1930s are reflected in that which is happening today. The book does
have a strong historical and political message.
While some may object and possibly be offended, others may decide to
learn from it –"Hitler is either assuming more power for himself or appointing
bloody awful men to do it for him."
It is Perry's
description of those who have been in a war and suffer from what we now know as PTSD,
and her portrait of the time's events—"The violence is increasing,
and the oppression. They're building
camps to put prisoners in, not people who've committed crimes, but people who
are born guilty of being …" that truly brings to bear the reminder that the
more things change, the more they stay the same.
When Perry switches
gears, it is sudden, surprising, and very effective. She triggers our suspicions and then makes us question them.
The plot isn't perfect.
There are points of repetitiveness, a lack of focus, and what feels to be plot holes.
The female characters are occasionally too trusting, but that's part of the
plot. On the other hand, there is excellent suspense and a very effective sense
of danger. One has a real sense of the fear people experienced during this time.
Elena's determination to photograph the events she witnesses, and then to keep
the film safe, were a strong element one hope to see continued. One must give Perry
credit for making this time in Berlin painfully real and for teaching us details
of history we've not known.
"Death in Focus" is a somewhat painful, but highly relevant read. It does contain a well-done red herring, and
a wicked twist leading to a very good ending.
DEATH IN FOCUS (HistSusp-Elana
Stanford-Europe-1933) – G+
Perry, Anne – 1st in series
Ballantine
Books – Sept 2019