The Porcelain Maker

Freethy’s underwhelming debut revolves around a protracted love affair between a German Christian artist and an Austrian Jewish architect. Bettina Vogel, the artist, meets Max Ehrlich for the first time in 1925 Weimar Germany, where they share a mutual interest in the Bauhaus school of art. As the Nazis rise to power in the 1930s, Bettina’s brother joins the party and opposes her romance with Max. Eventually, Max disguises his Jewish identity and gets work as a porcelain sculptor. In a parallel narrative set in 1993, Bettina’s daughter, Clara, pursues the mystery of her paternity. She finds a clue in a 1941 photo from the Dachau death camp depicting her mother and two other men, one of whom is identified as Max. Clara’s visit to her dying mother early on discloses that Bettina survived WWII, leaving only Max’s fate, and his role in Clara’s life, as open questions. Freethy keeps up momentum with the story of Clara’s search, but her depiction of the concentration camps feels cursory, and torrid prose doesn’t help (“Their mouths met and merged, melting in a white heat that should, by rights, have burned them both entirely”). This doesn’t stand out amid the glut of WWII fiction. (Nov.)