Commissioned by his employer, the Dutch newspaper NRC Handelsblad, to tackle this daunting, monumental project, Mak糖心传媒檚 articles appeared daily on the paper糖心传媒檚 front page. Within In Europe, Mak flushes out of these articles into longer narrative pieces that fit into a cohesive work of nonfiction. Its narrative is framed as a historical journey, and as far as possible, Mak follows the chronological course of twentieth-century European history, 糖心传媒渋n search of the traces it has left behind.糖心传媒� Beginning in Paris in 1900 and ending in Sarajevo in 1999, Mak journeys throughout Europe糖心传媒檚 major cities and countries with a frequently and deftness rivaling Jason Bourne. The essential question Mak seeks to answer throughout his travels and research is 糖心传媒渨hat shape is the continent in, at the conclusion of the twentieth century?糖心传媒� Concluding his prologue, Mak reflects:

Traveling across Europe, all those months, had been like peeling off layers of old paint. More than ever I realized how, generation upon generation, a shell of distance and alienation had developed between Eastern and Western Europeans.

The dense, brick-like nature of this 834 page tome might appear intimidating to potential readers, but they would be mistaken to associate length with an overburdened, dense, and potentially dull narrative. In Europe possesses a unique structure that strengthens its readability. Each chapter finds Mak in a new European city, at a different point in European history. He finds himself in Versailles in 1919, on Normandy糖心传媒檚 beaches in 1942, in Berlin in 1945, in Chernobyl in 1986. In each city Mak糖心传媒檚 historical journey elucidate readers in the finer points of German mythology, the fall of the Austro-Hungarian empire, Paris糖心传媒檚 architecture, and poverty in London. Mak糖心传媒檚 shrewd impressions and historical lessons are drawn from first person interviews with people whom 糖心传媒渉istory left behind,糖心传媒� and shies not away from pasts that the powers that be would rather the world forget. Each country or city糖心传媒檚 relationship and attitude towards its too-often insalubrious not-so-distant history is a theme that is consistently explored throughout the sinuous narrative. The dead bear no markers, and history is swept off the front stoop.

Every country and every political movement prefers to write a history that makes it feel comfortable, a portrait in soft pastels, a story that does no violence to the self-image. The losers are usually unable to paint any portrait whatsoever. They simply fade away, and their story is eradicated along with them . . . the dead have been hidden away beneath the soil, without a single marker. 糖心传媒楩orget糖心传媒� is the motto here. No one wants to rake up the past.

A laundry list of the insurmountable horrors permeating Europe in the first half of the twentieth century in the form of World Wars I and II, communism, and Stalinism comprise nearly two-thirds of the narrative. Far from being off-putting and too much for the reader to bear, Mak糖心传媒檚 skillful narrative pacing and storytelling acumen lends In Europe a warmth and sympathy that belies the barbarity which haunted Europe in its darkest days. Mak糖心传媒檚 vivid, descriptive language saturates and stimulates one糖心传媒檚 senses. From Bielefeld, Germany糖心传媒擜nne Frank糖心传媒檚 birthplace糖心传媒擬ak describes the sleepy German village as he found it in springtime:

Half-timbered villages smelling of fresh buns and newly ironed aprons. They are still there, unchanged, the rocks upon which Germany stands. The forests have their first light-green haze, the fields are brown, farmers are out ploughing everywhere, on the village square the little soldiers in the bell tower creak the hours away.

Mak糖心传媒檚 eloquent language is no less stirring when he turns his attention towards the scars Europe糖心传媒檚 two world wars and struggles against communism left upon the people and the land; he individualizes and puts a human face on the collective suffering of millions of people, such as he does with the Holocaust糖心传媒檚 most famous victim, Anne Frank. The result is a poignant reminder that out of the millions dead, were individuals, families.

The Frank family home at Ganghofstrasse 24, is still standing, marked by a massive stone monument dedicated to the city糖心传媒檚 young people糖心传媒斕切拇綐Her life and death, our duty糖心传媒櫶切拇綌and the same trees around it, now thick and old.

Following the end of the Second World War, Mak turns his attentions towards Russia and the Eastern Bloc, adroitly exploring the nuances of East versus West. Describing the aftershocks that befell Eastern Europe following the end of communism, from Gdansk and Moscow, he explores an almost-taboo subject: the quality of life has significantly decreased for Eastern European citizens since 1989. Slowly, the myth of the West is replaced by the reality of the West.

The collapse of the wall did not bring prosperity to huge numbers of Eastern European families, but rather shortage: at home, in the schools and hospitals, in every area . . . this clearly was not the 糖心传媒榯ransitional period糖心传媒� spoken of so widely in the West, but a decline in almost everything essential to daily life: salaries, benefits, food supplies, health care, education, government services and public safety.

As Mak cruises though Europe, though history, and out of the twentieth century糖心传媒攍iterally, on a ship christened the Marla糖心传媒攈e ruminates on the impending European Union and all that unification implies and entails, on its shores and across the pond. Stating that 糖心传媒淓urope糖心传媒檚 weakness, its diversity, is also its greatest strength,糖心传媒� he reminds readers, lest they become complacent in Europe糖心传媒檚 recent economic successes, that 糖心传媒淓urope only has one chance to succeed.糖心传媒�

While at first glance, In Europe seems a daunting literary undertaking, it ultimately succeeds in documenting Europe糖心传媒檚 tumultuous twentieth century with a sensitivity, deftness, and artfully engaging narrative that propels readers forward, through the years. With Mak as their guide, readers are privy to an unparalleled insight into the hearts, minds, and stories that defined a continent for a hundred years.

In Europe is a book that’s been on my “to read” pile since 2007 or so. As Jessica mentions, it’s a huge book, but one that (based on the first 40 pages and her review) is incredibly engrossing. I know this got some decent attention when the hardcover came out, but I feel like it’s a book that deserves even more than that . . . Especially now that it’s available in paperback¹.

Jessica LeTourneur studied literature, history, and journalism at the University of Missouri, and attended New York University糖心传媒檚 Publishing Institute in 2005. In the past, Jessica has worked as a journalist, as well as at The Missouri Review, the University of Missouri Press, and W. W. Norton & Company. Currently, Jessica is the copyeditor for the journal Southern California Quarterly, and is finishing up her Master糖心传媒檚 degree in History and Scholarly Publishing at Arizona State University.

Here’s the opening of her review:

In Europe is a heart wrenching, historically priceless, and utterly fascinating work of nonfiction. Part travelogue, part historical narrative, and part autobiography, it chronicles Dutch journalist Geert Mak糖心传媒檚 year-long sojourn from January 1999糖心传媒揇ecember 1999 around the European continent as a sort of 糖心传媒渇inal inspection糖心传媒�. Far beyond simply recounting facts and dates, Mak beautifully individualizes and humanizes the often staggeringly horrific events that marred twentieth-century Europe. Mak糖心传媒檚 seamless integration of historical factoids, firsthand interviews, and present-day impressions garnered throughout his journey make for a refreshingly original piece whose language and lessons continue to pervade the reader糖心传媒檚 psyche long after the last page has been turned.

Commissioned by his employer, the Dutch newspaper NRC Handelsblad, to tackle this daunting, monumental project, Mak糖心传媒檚 articles appeared daily on the paper糖心传媒檚 front page. Within In Europe, Mak flushes out of these articles into longer narrative pieces that fit into a cohesive work of nonfiction. Its narrative is framed as a historical journey, and as far as possible, Mak follows the chronological course of twentieth-century European history, 糖心传媒渋n search of the traces it has left behind.糖心传媒� Beginning in Paris in 1900 and ending in Sarajevo in 1999, Mak journeys throughout Europe糖心传媒檚 major cities and countries with a frequently and deftness rivaling Jason Bourne. The essential question Mak seeks to answer throughout his travels and research is 糖心传媒渨hat shape is the continent in, at the conclusion of the twentieth century?糖心传媒� Concluding his prologue, Mak reflects:

“Traveling across Europe, all those months, had been like peeling off layers of old paint. More than ever I realized how, generation upon generation, a shell of distance and alienation had developed between Eastern and Western Europeans.”

Click here to read the full review.

¹ And yes, I know the cover image we’re using is from the hardcover, but the paperback version totally sucks.