Synopses & Reviews
A spellbinding new novel of contraband masterpieces, tragic love, and the unexpected legacies of forgotten crimes, Ayelet Waldman’s Love and Treasure
weaves a tale around the fascinating, true history of the Hungarian Gold Train in the Second World War.
In 1945 on the outskirts of Salzburg, victorious American soldiers capture a train filled with unspeakable riches: piles of fine gold watches; mountains of fur coats; crates filled with wedding rings, silver picture frames, family heirlooms, and Shabbat candlesticks passed down through generations. Jack Wiseman, a tough, smart New York Jew, is the lieutenant charged with guarding this treasure—a responsibility that grows more complicated when he meets Ilona, a fierce, beautiful Hungarian who has lost everything in the ravages of the Holocaust. Seventy years later, amid the shadowy world of art dealers who profit off the sins of previous generations, Jack gives a necklace to his granddaughter, Natalie Stein, and charges her with searching for an unknown woman—a woman whose portrait and fate come to haunt Natalie, a woman whose secret may help Natalie to understand the guilt her grandfather will take to his grave and to find a way out of the mess she has made of her own life.
A story of brilliantly drawn characters—a suave and shady art historian, a delusive and infatuated Freudian, a family of singing circus dwarfs fallen into the clutches of Josef Mengele, and desperate lovers facing choices that will tear them apart—Love and Treasure is Ayelet Waldman’s finest novel to date: a sad, funny, richly detailed work that poses hard questions about the value of precious things in a time when life itself has no value, and about the slenderest of chains that can bind us to the griefs and passions of the past.
"This lush, multigenerational tale by Waldman (Bad Mother) of loves lost and found begins at a portentous historical starting point: the so-called Hungarian Gold Train. Waldman traces the path of a single pendant taken from this notorious shipment of Nazi-confiscated treasures, which the U.S. seized at the end of WWII but largely failed to return to the original owners, many of them Hungarian Jews. The pendant's decoration, an enameled peacock, is a symbol of bad fortune, boding ill for the young U.S. Army lieutenant, Jack Wiseman, who takes it from the Gold Train in 1945. In the present, he passes the pendant on to his unlucky-in-love granddaughter, Natalie, imploring her to return it to its rightful owner. With that request, the narrative leaps back in time, showing Jack's doomed romance with Ilona, a Holocaust survivor, and the life-changing early-20th-century friendship between pioneering female medical student Nina and dwarf suffragette Gizella Weisz. It also focuses on present-day Syrian-Jewish art dealer Amitai Shasho's attempts to come to grips with his past. Inventively told from multiple perspectives, Waldman's latest is a seductive reflection on just how complicated the idea of 'home' isÂÂ and why it is worth more than treasure. Agent: Mary Evans, Mary Evans Inc. (Apr.)" Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
From the best-selling author of Red Hook Road
, Bad Mother
, and Love and Other Inpossible Pursuits
: a spellbinding new novel of hidden artworks, romantic love, and the legacy of theft, that has at its center the fascinating story of the Hungarian Gold Train in the Second World War.
In 1945 on the outskirts of Salzburg, American soldiers discover a train filled with unspeakable riches: gold watches, fur coats, and wedding rings, along with picture frames and Shabbat candlesticks. Jack Wiseman is the lieutenant charged with guarding this treasure-a responsibility that grows more complicated when he meets Ilona, a beautiful Hungarian woman who has lost everything.? Seventy years later, amid the shadowy world of art dealers who profit off the sins of previous generations, Jack's granddaughter, Natalie Stein, searches for the portrait of a woman she has never met, a woman who may help her understand the guilt her grandfather took to his grave. A masterly story whose roster of brilliantly drawn characters is filled out with flirtatious art historians, a crooked psychiatrist, traveling circus performers, and desperate lovers, Love and Treasure is a fabulously entertaining, impeccably researched novel from a bright literary star.
About the Author
Ayelet Waldman is the author of the novels Red Hook Road, Love and Other Impossible Pursuits, and Daughter’s Keeper, as well as of the essay collection Bad Mother: A Chronicle of Maternal Crimes, Minor Calamities, and Occasional Moments of Grace and the Mommy-Track Mystery series. She lives in Berkeley, California, with her husband and four children.
Reading Group Guide
The questions, discussion topics, and reading list that follow are intended to enhance your reading group’s discussion of Love and Treasure, Ayelet Waldman’s ambitious and mesmerizing novel that weaves love, intrigue, and politics against the true story of the Hungarian Gold Train.
1. Love and Treasure is a novel that illuminates the shifting nature of identity. In the beginning of the novel, Jack Wiseman is described as a New York Jew whose father’s parents are of “authentic German Jewish stock,” (page 18) yet he finds it a struggle to connect with both the American soldiers under his command and the European Jews he encounters. How does Jack’s definition of himself change over the course of the novel? How do Jack’s fellow soldiers view him? How is he viewed by the Hungarian civilians he meets? What does this say about the how cultural heritage is assigned or interpreted?
2. On page 12, Jack admits that for many years the “contents of the pouch had been a kind of obsession” to him. In what ways does his granddaughter internalize this obsession and make it her own? What drives Natalie’s quest? Did Jack send her on this mission out of duty to the owner or to renew the “glimmer of interest” (page 13) in his granddaughter that had been destroyed by her divorce? Both?
3. When Jack first meets Ilona, he declares that she is all “wire and sparks” (page 29). How does her presence help Jack to better understand his identity as a Jew? As an American? How does she challenge his views about the war or its aftermath?
4. Throughout the novel, Jack is caught between his duty to country (in maintaining his position of watching over the train) and his duty to the people of Hungary (in trying to ensure that the goods are returned to their rightful owners). How do these two missions conflict with each other?
5. Chart Jack’s view of the military over the course of the novel, taking into account his interactions with his fellow American soldiers. Does he relate to any of the soldiers? If so, who? Discuss his conversation with Lieutenant Hoyle at the bar after his breakup with Ilona. How did you interpret the violence at the end of this encounter?
6. Jack’s encounters with Aba Yuval give him a more fully realized understanding of the political situation facing the Jews of Europe. What is Jack’s mind-set going into the trip where he helps smuggle the refugees over the border? What are his feelings toward the group’s goal by the end of the mission? How does this encounter challenge his understanding of nationalism?
7. Ilona and Natalie are described as physically similar, with both having fiery red hair. Is the author’s choice to have the two women share this feature purposeful? What else, if anything, do the two women share?
8. On page 139, Natalie struggles to admit to Amitai that the pendant is stolen, instead saying her grandfather “found” it during the occupation. Why does she stumble over these words? What does her hesitation say about the definition of discovery? Of ownership? How are these problems echoed throughout the novel? How are they reflected in the world of stolen paintings that Amitai deals in?
9. Compare and contrast the failed marriages of Amitai and Natalie. How do their failed marriages prepare them for meeting each other? Discuss the symbolism of Natalie wearing the pendant to her wedding to Daniel.
10. Why is Amitai hesitant to share his military past with Natalie? What other sins of omission occur throughout the novel? ( page 156)
11. Amitai is Israeli but he craves “the anonymity of the immigrant, to be a man with a vague accent in a city of vague accents” (page 175). How does this desire for erasure contrast with Natalie’s desire to understand her cultural heritage? How do their respective homelands encourage or complicate those desires?
12. When Natalie Stein becomes Natalie Kennedy, she meaningfully disrupts the established script for her behavior. What does this say about the fluidity of identity? How does this transgression embolden her?
13. On page 221, the pendant is returned to as close to its rightful heir as possible. What was your reaction to Dalia’s request to get the necklace appraised? What does her indifference to the physical object say about the dilution of history over time? Of personal connection to the Holocaust? To kin?
14. On pages 224–225, Natalie and Amitai fill out the Page of Testimony for Vidor Komlós, Gizella Weisz, and Nina Einhorn. What is the significance of this act?
15. The events of part three are narrated from the perspective of Dr. Zobel, a Freudian analyst. Why do you think the author to choose to include this point of view? Is the doctor reliable as a narrator? What textual evidence exists to
16. Gizella and Nina are introduced as strong-willed women who are ahead their time: Nina dreams of medical school, and Gizella is active in radical politics. What challenges do these early feminists face, both from their countrymen and from their families? Why do you think Zobel seeks them out years later?
17. Stealing is a motif in the novel: Jack pockets the pendant; the American soldiers freely “shop” from the Gold Train; Natalie lifts a painting; Amitai deals in the world of stolen paintings. How do the motivations for these acts differ? Who is morally right in his actions? What does the novel as a whole assert about ownership?
18. Love and Treasure is a novel that weaves intricate plotlines among stunning character portraits, bringing to life a historical event with fictitious details. Yet as the history unravels, gaps emerge and often disrupt a clear narrative. What does this assert about memory, both collective and personal? About how history is interpreted or reinterpreted over time?