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It is the summer of 1940, and Lisbon, Portugal, is the only neutral port left in Europe—a city filled with spies, crowned heads, and refugees of every nationality, tipping back absinthe to while away the time until their escape. Awaiting safe passage to New York on the SS Manhattan, two couples meet: Pete and Julia Winters, expatriate Americans fleeing their sedate life in Paris; and Edward and Iris Freleng, sophisticated, independently wealthy, bohemian, and beset by the social and sexual anxieties of their ...
It is the summer of 1940, and Lisbon, Portugal, is the only neutral port left in Europe—a city filled with spies, crowned heads, and refugees of every nationality, tipping back absinthe to while away the time until their escape. Awaiting safe passage to New York on the SS Manhattan, two couples meet: Pete and Julia Winters, expatriate Americans fleeing their sedate life in Paris; and Edward and Iris Freleng, sophisticated, independently wealthy, bohemian, and beset by the social and sexual anxieties of their class. As Portugal’s neutrality, and the world’s future, hang in the balance, the hidden threads in the lives of these four characters—Julia’s status as a Jew, Pete and Edward’s improbable affair, Iris’s increasingly desperate efforts to save her tenuous marriage—begin to come loose. This journey will change their lives irrevocably, as Europe sinks into war.
Gorgeously written, sexually and politically charged, David Leavitt’s long-awaited new novel is an extraordinary work.
"Brave and risky... Leavitt is a fluent, clever writer... [with] page-turning craft." - The New York Times Book Review
"Set in the summer of 1940, The Two Hotel Francforts, David Leavitt's lean, stylish novel, unfurls like a classic Hollywood film, crackling with intrigue and illicit romance...[Leavitt] employs coolly elegant prose to evoke the era's glamour and dread... He transports the reader to a wayward world racked by historic upheavel and intimate demons." - O, the Oprah Magazine
"An intriguing tale of love and secrets…The Two Hotel Francforts cuts in two directions at once: It’s a refugee story with something of the atmosphere of an Alan Furst novel, and at the same time it’s the story of a brief but intense gay love affair… Leavitt handles complicated material with proficient craft." - Buffalo News
"Readers who crave... secrets and ambiguities in their fiction will be sated by David Leavitt's deft historical novel, The Two Hotel Francforts." - Wall Street Journal
"Leavitt is superb at comedy of manners, his dialogue is witty and tight and his characters constantly reveal themselves while trying to keep their true feelings hidden... Leavitt has never been in greater command of his talents... In is best work yet, Leavitt is a smart, literate American novelist in the British tradition of Iris Murdoch and E. M. Forster."- Shelf Awareness
"This is a brittle tale told with effortless ease." - Bookpage
"Leavitt brings to mind Edith Wharton and E.M. Forster, two novelists whose pointed observations about class sometimes belied their elegant prose...The Two Hotel Francforts stands with his very best work." - Lambda Literary Review
"[A] smart, well-crafted story... [A] clever, engaging tale of marriage’s hidden shadows, lies, and half-truths." Publishers Weekly, starred review
"Leavitt’s new novel establishes a brisk pace from page... [It's] a dramatic story that Leavitt weaves with compelling authority and empathy." - Booklist, starred review
"Leavitt writes beautifully and fluently, his scenes studded with precise detail... Prove[s] Leavitt as much a master of clarity as he is of confusion." - Gay City News
"Brings to mind the classic film Casablanca... Told from different perspectives, this multilayered tale intrigues with its twists and turns of plot and viewpoint. Leavitt's graceful depiction of same-sex romance will have universal appeal. Highly recommended." - Library Journal
"An artfully crafted story of two marriages... Very fine work." - Kirkus
"We can always count on David Leavitt to bring buried desires to the surface and give the uncertainties of an era startling clarity in his fiction. Here in his glorious new novel, with his characters on the run from war and suspended in a precarious state of exile, he traces their efforts to create meaningful lives amidst the turmoil surrounding them. The result is a book that is artful, gripping, delicate, and fierce." - Joanna Scott, Pulitzer Prize finalist and author of FOLLOW ME
It's hard to imagine, now that marriage equality has become almost commonplace, but David Leavitt's short story "Territory," published in The New Yorker in 1982, was the first openly gay fiction in the magazine. A sensitive exploration of tensions that arise when twenty-three-year-old Neil brings home his male lover for the first time, the story is tame by today's standards — or even in comparison to Leavitt's 1997 novella, The Term Paper Artist, which was pulled from publication in Esquire over what the magazine's editor called "a taste question." But in its crossover appeal to gay and straight readers alike, it helped break down the ghettoization of gay fiction. Nowadays, it sometimes seems as if it's the rare novel that doesn't have at least one gay character.
The Two Hotel Francforts, Leavitt's eighth novel, has no openly gay characters, though it features a brief but torrid homosexual affair between what not so long ago could have been simply described as two unhappily married men but now needs to be clarified as two men in unhappy marriages with women. Set in Lisbon, Portugal, in June 1940, where hordes who have fled occupied France gather to await passage to safety, it offers a different sort of crossover appeal — to readers of both historical and domestic fiction.
Spanning just a few weeks and 250 pages, The Two Hotel Francforts is a stylish model of narrative compression and economy. Despite the escalating Nazi threat that forms its backdrop, its focus is alienation of affection rather than annihilation.
Pete Winters and Edward Freleng, American expatriates in their early forties, meet cute at a popular café in Lisbon when Edward accidentally steps on Pete's eyeglasses — rendering him blind to what's coming. Both men are killing time with their wives while waiting for the SS Manhattan, which has been commandeered to retrieve Americans stranded by the war. Both are also staying in the Hotel Francfort — though, as it turns out, two different hotels that share the same name because they were formerly owned by feuding brothers. The novel is Pete's account of the fortnight or so that profoundly changes the two couple's lives.
Leavitt hooks us by the third page, with this sentence: "I should mention — I can mention, since Julia is dead now and cannot stop me — that my wife was Jewish, a fact that she preferred to keep under wraps." The same paragraph ends: "For she had sworn, when we had settled in Paris fifteen years before, that she would never go home again as long as she lived. Well, she never did."
Of course our minds flood with questions, which Leavitt deftly keeps in play until the end of the book: Why was she so loath to go home? How did she die? When? Killed by the Nazis? Destroyed by her husband's dalliance with another man? Suicide? Foul play? A staged, "apparent" suicide like the one in the detective novel that Edward and his wife, Iris, are writing under their pen name, Xavier Legrand?
Julia, as described by her admittedly disenchanted husband, is not a character we're sad to see go. Upset about having to leave their elegant Paris apartment — featured in a copy of Vogue that has become dog-eared from her constant thumbing — she is "too worried about what we were losing to care about those who were losing more." This is a woman who spent her days shopping or playing a version of solitaire called, aptly enough, Beleaguered Castle.
Pete, who we're supposed to believe is a car salesman originally from Indianapolis, ignored every warning signal about Julia "until a morning came when I woke and found that the burden of her care was crushing the life out of me." Yet he still feels duty-bound to protect her and is convinced that the prudent path, considering her Jewish heritage, is to ignore her "Over my dead body" objections and insist they leave Europe while they can. By the time he learns the reason for her recalcitrance, it is too late.
If the Winters' marriage is a bad deal for Pete, the Frelengs' is even worse for Iris — though at least they appreciate each other intellectually and share a devotion to their aged terrier, Daisy. Iris, a long-necked and awkwardly tall British Raj orphan, met Edward while he was studying philosophy at Cambridge University — before he was thrown out for flouting the rules. Since leaving their "feeble-minded" daughter in a California institution near Edward's mother (who rescues her), they've spent the past eighteen years flitting around Europe on Iris's inheritance. Their peripatetic existence is broken up by occasional rest cures, where the alternately dazzling and despondent (and seemingly bipolar) Edward can recover from his periodic suicidal "episodes." Their popular Xavier Legrand whodunits, including the significantly titled The Noble Way Out, came about as a diversion during these recuperative interludes. Their marriage is sexless — unless you count their creepy arrangement, in which Iris sleeps with the men Edward craves but sends her way. Pete, both Frelengs tell him, was earmarked for Iris, but — something happened.
Leavitt's novel has some of the snap of a comedy of manners and the hard-boiled moodiness of Casablanca. With Noël Coward's "World Weary" playing in the background, Edward and Pete drink absinthe at the Estoril casino, brush knees under the table, and discuss "this weird vitality, this sense that you can do things you wouldn't normally let yourself do" that accompanies the fear, panic, and uprootedness of wartime.
Leavitt has written of sex between men as "really a matter of exorcism, the expulsion of bedeviling lusts," and this holds true for the intense but quickly passing physical communion in The Two Hotel Francforts. As Pete and Edward search for privacy in a city teeming with spies and refugees, Lisbon becomes a party to their affair. After taking refuge on the Bica Elevator, which scales the city's steep cliffs, Pete comments, in a sentence that could well spark a book group discussion: "Now it occurs to me that marriage itself is a kind of funicular, the regular operation of which it is the duty of certain spouses not just to oversee but to power."
Leavitt first ventured into historical fiction in 1993 with his third novel, While England Sleeps, a homosexual love story set in 1930s England and Spain. It caused an uproar — and necessitated a revised edition — because of its unauthorized debt to Stephen Spender's 1951 memoir, World Within World. After several books in the more contemporary vein of his earlier work, his most recent novel, The Indian Clerk (2007), blended fact and fiction to explore the relationship between two great early-twentieth-century mathematicians, one of whom he characterizes as a closeted gay man, the other his Indian protégé.
Despite its wartime setting and its concern with issues of guilt and responsibility, The Two Hotel Francforts offers a bouncier read than Leavitt's previous novels, with an especially satisfying, almost jaunty ending. A book group might want to start by considering how Leavitt uses historical fiction not just to illuminate the past but to shed light on contemporary issues — including how different are the options for men like Edward today.
Heller McAlpin is a New York–based critic who reviews books for NPR.org, The Los Angeles Times, Washington Post, San Francisco Chronicle, Christian Science Monitor, and other publications.
Reviewer: Heller McAlpin
Posted January 21, 2014
I greatly enjoyed David Leavitt's new book the Two Hotel Francforts. The historical setting (Lisbon in 1940, a limbo country for ex-pats, esp. Americans, during the escalating violence of WW II) is perfectly rendered, and yet the human dynamics--the dynamics which drive any great novel--are what make you want to keep reading. There are all the usual elements of a great novel here--betrayal, intrigue, love (and hopeless, desperate love at that) and yet there is a fresh element to the unfolding of the story that hooked me from the first chapter. I read this book in just a few days, due to its fast pace and engaging characters and story. I would highly recommend it! --Zacc DukowitzWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted January 3, 2014