Download Disguise epub book
Author: Hugo Hamilton
ISBN13: 978-0007314706
Title: Disguise
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ePUB size: 1315 kb
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Language: English
Category: Contemporary
Publisher: Fourth Estate Ltd (July 23, 2009)
Pages: 288

Disguise by Hugo Hamilton

Hugo Hamilton (born Johannes Ó hUrmoltaigh, 1953) is an Irish writer. Hamilton's mother was a German Roman Catholic who travelled to Ireland in 1949 on a pilgrimage, married an Irishman, and settled in the country. His father was a strict nationalist who insisted that his children should speak only German or Irish, but not English, a prohibition the young Hugo resisted inwardly.

Book's title: Disguise Hugo Hamilton. National Bibliography Number: GBA856257 bnb. National Bibliographic Agency Control Number: 014589104 Uk. International Standard Book Number (ISBN): 9780007192168 (pb. International Standard Book Number (ISBN): 0007192169 (pb. System Control Number

Disguise Hugo Hamilton Hugo Hamilton, the internationally acclaimed author of ‘The Speckled People’ and ‘Sailor in the Wardrobe’, turns his hand back to fiction with a compelling drama. For Coman and Theresa. detail from ‘Szene aus der Hirschjagd/Scene from Staghunt’ by Joseph Beuys). One. They must have been out of their minds with fear. They ran down to the basement holding hands, shouting, still half asleep, crashing into each other in the blackout. The children could feel the adults shaking.

Read unlimited books and audiobooks on the web, iPad, iPhone and Android. In his first novel since the best-selling memoir The Speckled People, Hugo Hamilton has created a truly compelling story of lost identity, and a remarkable reflection on the ambiguity of belonging. Read on the Scribd mobile app. Download the free Scribd mobile app to read anytime, anywhere. Publisher: HarperCollins UKReleased: Apr 11, 2013ISBN: 9780007380381Format: book. carousel previous carousel next.

Author: Hugo Hamilton. Publisher: Fourth Estate, London, 2012. Hugo Hamilton, the internationally acclaimed author of ‘The Speckled People’ and ‘Sailor in the Wardrobe’, turns his hand back to fiction with a compelling drama tracing Berlin’s central historical importance throughout the twentieth century. At the end of the second world war in Berlin, a young mother loses her two-year-old boy in the bombings.

Strange kind of book from Hugo Hamilton. Struggled through to the end, but not a book I particularly enjoyed. Just seemed to have no real sense of direction and storyline wasn't that interesting. Hamilton's most recent novel, Disguise was published on June 6, 2008. Hugo Hamilton lives in Dublin, Ireland. Books by Hugo Hamilton. Mor. rivia About Disguise.

In his first novel since the best-selling memoir The Speckled People, Hugo Hamilton has created a truly compelling story of lost identity, and a remarkable reflection on the ambiguity of belonging. Imprint: Fourth Estate.

html?hl ru&id QC1RJBBYP8kC. Here, in the calmness of the orchard, along with his ex-wife Mara and son Daniel, Gregor tries to unlock the secret of his past.

Hugo Hamilton's new novel Disguise is far too low-key to be termed a tragedy, but it does explore the consequences of the roles adults make their children fit, and how those rules can define a life in unexpected ways. Disguise is of that peculiar literary genre which features a great many exciting touchstones-war, Nazis, torture, betrayal, jazz music-but no actual direct excitement. Which isn't a bad thing, exactly; Hamilton achieves a soothing, elegiac tone that fits the introspective struggles of his central character, treating the horrors of history with a respect that doesn't bog the narrative down in misery. The problem comes when the novel reaches its close, and it becomes clear that the various incidents are never going to build to any cohesive finish.

Hugo Hamilton, the internationally acclaimed author of `The Speckled People' and `Sailor in the Wardrobe', turns his hand back to fiction with a compelling drama tracing Berlin's central historical importance throughout the twentieth century.1945. At the end of the second world war in Berlin, a young mother loses her two-year-old boy in the bombings. She flees to the south, where her father finds a young foundling of the same age among the refugee trains to replace the boy. He makes her promise never to tell anyone, including her husband - still fighting on the Russian front - that the boy is not her own. Nobody will know the difference.2008. Gregor Liedmann is a Jewish man now in his sixties. He's an old rocker who ran away from home, a trumpet player, a revolutionary stone-thrower left over from the 1968 generation. On a single day spent gathering fruit in an orchard outside Berlin with family and friends, Gregor looks back over his life, sifting through fact and memory in order to establish the truth. What happened on that journey south in the final days of the war? Why did his grandfather Emil disappear, and why did the Gestapo torture uncle Max? Here, in the calmness of the orchard, along with his ex-wife Mara and son Daniel, Gregor tries to unlock the secret of his past.In his first novel since the best-selling memoir `The Speckled People', Hugo Hamilton has created a truly compelling story of lost identity, and a remarkable reflection on the ambiguity of belonging.
Reviews: 5
I like Hugo Hamilton. I liked his autobiography "the speckled people", and I had a similar fractured multi-lingual upbringing with forced and forbidden identities. Disguise started with such promise, but fell flat.
OK, I was hoping for a resolution to the mystery (I thought the dentist in Dublin was going to turn out to be a relative!). Stupid, I know. Life doesn't give us answers gift-wrapped, but the angry son Daniel has a point. Do a DNA test! You can at least prove you're not a Liedmann.
I think what annoyed me most about Disguise is what a selfish prick Gregor is. So you may be an orphan. And? Does that mean you have to hate and turn your back on the parents who raised you? You want to be Jewish? OK, learn about the culture and religion then. He expects everything to be handed to him, but when it is, he turns and runs away. Why did he leave his wife and son? Is he that ashamed of being exposed as a liar? I don't understand his motivations, and spent most of the book just wanting to slap him and yell "snap out of it you whiner!"
My other problem with the book is Hamilton's sloppy writing. For someone as immersed in German culture as he is, how can he describe an irate driver in West Germany giving the finger? That happens now - pre 1989, people gave the cuckoo sign, which was unbelievably considered highly offensive. Likewise, would he ever pick the instrument Gregor plays? It's the guitar- no wait, the trumpet- or oh yeah, it's the piano. Yes musicians can be versatile, but if they're making their living in bands, they specialise. And come on, Hugo...Liedmann isn't exactly an Aryan name to begin with, now is it?
Other reviewers have pointed out that the supporting characters are not well drawn out, which makes Gregor such a frustrating character. I wanted to sympathise with someone, but his martyr caricature mother and wife were hard to identify with.
An interesting well-written book. The first book I've read by this author. One of the problems I encountered was that the first chapter was so engaging and well-written that the second and those that followed seemed to fall flat. The premise being -- and this is no surprise, given away in that very first chapter -- a boy dies in a bomb raid on Berlin in WWII and is substituted for by another boy, perhaps a Jewish orphan, under a deep and unwavering secret, leaving the boy wondering throughout his life, and all those around him, as well, who he really is. Is his discovery through memory, without "proof" that he is not the person people think, a fantasy or reality?

After the first, intense chapter, the reading went slow, but picked up speed and became more engaging towards the end of the book, when the reader is looking to see how all the emotional loose ends will be tied up. An emotional read at times, but sometimes the narration seems a little distant. And the characters are not overly engaging and developed, but the suspense -- will the truth ultimately be revealed? -- did hold my interest.

All in all, this is a book I would recommend. -- Mitchell Waldman, author of PETTY OFFENSES AND CRIMES OF THE HEART
How we shape our identity, and how we inherit our instability, marked Hamilton's fiction long before his memoir of growing up under an Irish-speaking father and a German refugee mother in 1960s Dublin, "The Speckled People," introduced him to many readers. I've admired each of his books; many today may not know much about his first three novels, all about Germany. (I reviewed this trio along with his stories in "Dublin Where the Palm Trees Grow" on Amazon.)

"Disguise" continues the searches of earlier families where after the war someone seeks his parent or her child. A son learns how his mother accompanied a Nazi officer who may have fired "The Last Shot"; another German mother faces Stasi-era duplicity in her quest to reunite through "The Love Test"; an Irishman delves into the GDR upbringing of his hosts before and after the fall of the Berlin Wall in that "Surrogate City."

These novels all satisfy; "Disguise" enriches Hamilton's treatment here subtly, and elegantly. I'd estimate, having read his previous eight books, that he's aiming here for targets closer to the haunted legacies of countrymen John Banville or Sebastian Barry. There's a control of phrase and pacing here that recalls also European models. "Every now and again, an apple falls to the ground with a bony kind of thud, such as the sound of a hoof on the earth. The discovery of gravity each time." (47) Or, as uncertainty advances: "His entire existence was in Mara's hands, in her imagination, in what she agreed to believe and what she would dismiss. She held him like a porcelain figure, at her mercy, waiting to be dropped to the floor in tiny pieces." (148) Hamilton selects his words patiently, mulling over simple phrases. His own tri-lingual upbringing (English, Irish, and German) may account for his style, which attains a filtered quality distinguishing it from his contemporaries.

He takes on the fringes of a topic that's often overwhelmed the talents of imaginative as well as historical talents: the Holocaust. Hamilton, typically, engages the difficult question asked by Gregor Liedmann (note symbolic echoes), with grace and poise. Was Gregor a Jewish orphan who replaced Marie Liedmann's boy, who died in a bombing near the end of the war? She refuses to admit this to herself or her husband, after he returns from Soviet imprisonment.

The plot alternates between Gregor's 2008 day picking apples (with his estranged wife, Mara, their son, Daniel, and some old hippie friends) and Gregor's exploration of his roots while growing up in the GDR. An omniscient narrator does not admit much more that we need to know, but a reader may be assured that the information given beyond the indirect first-person perspectives of Marie, Mara, or Gregor must be compared with crucial expository details given in the first chapter that are beyond Marie's immediate knowledge, if I am correct. Hamilton's skilled in producing a novel that scans very quickly, yet flows vividly, mixing poetry with philosophy.

Sentences, too many to cite (I jotted down eighteen representative references easily), reveal Hamilton's in top form. There's nuance and power evoked by wartime havoc and lasting grief. The tragedy that cloaks Germany burdens all. Gregor comes of age as if, in Mara's mind, he's unable to foster a talent for love. Mara learns from Marie a conflicting narrative that claims her son's always been such. Mara too enters an uncertain realm where the loyalty to present-day family contends against unsubstantial, unsubstantiated claims to the contrary, that tug him back to a vague allegiance. Early in her relationship with Gregor, she resolves: "Together they would work and travel and reinvent the void he had come from. They would reimagine his true origins like a lost part of music that had been burned in a fire." (66)

The tension of Gregor's reinvention stretches until the final chapter. I'm withholding plot points so as not to spoil your experience. Not a thriller, but as emotionally cathartic for more honesty and less melodrama in confronting the legacy of modern German loss, rage, and shame, Hamilton integrates his study, his family's own past, and his authorial observations into a thought-provoking analysis of survivor's guilt. As in his début novel, "Surrogate City," Berlin now celebrates enduring rather than dreams of greatness. Today, Hamilton finds comfort in a humane response, as in apple orchards, to earlier slaughter as faced by the elder Liedmann, Emil, in WWI, when the cows grazed among the dead in other fields nearby. Skillfully, as with armed Emil facing a battalion of enemy (Russian?) women, or when in a few phrases the whole absurdity of GDR behind the Wall sums itself up by a schoolboy's innocent questions, Hamilton's able to compress much into little space.

One small admission: Daniel, his partner Juli, as well as Mara's sometime lover and Gregor's old friend Martin, needed filling out. Their friends on the apple-gathering day also flit about like extras in a film, when perhaps Hamilton's application of the telling detail for each of them might have fixed their roles better for our appreciation. The Irish sojourn, again, as with the dentist Mr Eckstein, could have been deepened or eliminated; as it is there's either not enough substance or too much digression. John Joe could have been a contender for a truly memorable figure, but he, too, lingers in the supporting cast. Gregor wanders about a lot, but you fail to feel his desires on the road when doing so compared with Mara or Marie's own struggles.

Hamilton in his memoirs and fiction has roamed around Germany, Ireland, and Europe. He addresses cultural encounters within larger problems but strives, at his best here, to keep contact with immediate, recognizable people. He does not let ideas take over his major characters. This is a intelligent consideration of how we can all be warped by dreaming rather than loving, by yearning instead of accepting. Perhaps, as Mara wonders, to cope with our turmoil we all need a disguise, an invented identity?