The lawgiver

Title:

The lawgiver

Author:

Wouk, Herman, 1915-

Personal Author:

Wouk, Herman, 1915-

ISBN:

9781451699388

Edition:

1st Simon & Schuster hardcover ed.

Publication Information:

New York : Simon & Schuster, 2012.

Physical Description:

234 p. : ill. ; 25 cm.

Abstract:

A tale told through correspondence, articles, and text messages traces the efforts of a group of movie makers, including a brilliant young writer-director who has rejected her rabbinical father's strict upbringing, to create a movie about the life of Moses.

Personal Subject:

Moses (Biblical leader)-Fiction.

Wouk, Herman, 1915--Fiction.

Subject Term:

Fiction -- Authorship -- Fiction.

Motion pictures -- Production and direction -- Fiction.

Geographic Term:

Hollywood (Los Angeles, Calif.) -- Fiction.

Genre:

Epistolary fiction.

Summary:

Holds:

Available:*

Library	Material Type	Shelf Number	Status
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Summary

For more than fifty years, legendary author Herman Wouk has dreamed of writing a novel about the life of Moses. Finally, at age ninety-seven, he has found an ingeniously witty way to tell the tale in The Lawgiver, a romantic and suspenseful epistolary novel about a group of people trying to make a movie about Moses in the present day. The story emerges from letters, memos, e-mails, journals, news articles, recorded talk, Skype transcripts, and text messages.

At the center of The Lawgiver is Margo Solovei, a brilliant young writer-director who has rejected her rabbinical father's strict Jewish upbringing to pursue a career in the arts. When an Australian multibillionaire promises to finance a movie about Moses if the script meets certain standards, Margo does everything she can to land the job, including a reunion with her estranged first love, an influential lawyer with whom she still has unfinished business.

Two other key characters in the novel are Herman Wouk himself and his wife of more than sixty years, Betty Sarah, who, almost against their will, find themselves entangled in the Moses movie when the Australian billionaire insists on Wouk's stamp of approval.

As Wouk and his characters contend with Moses and marriage, and the force of tradition, rebellion, and reunion, The Lawgiver reflects the wisdom of a lifetime. Inspired by the great nineteenth-century novelists, one of America's most beloved twentieth-century authors has now written a remarkable twenty-first-century work of fiction.

Reviews (1)

Kirkus Review

The nonagenarian novelist takes a curious, epistolary path toward the epic about Moses that has long defeated him. In his 2000 memoir, The Will to Live On, novelist Wouk (A Hole in Texas, 2004, etc.) wrote of his decades-long struggle to write The Lawgiver, which he intended to be a doorstopper about the life of Moses. This Lawgiver is a slighter, more madcap and more meta affair, focused on an effort to produce a film version of the story that would out-DeMille DeMille. Wouk has written himself into the plot: As the story opens, he's approached by a high-powered film producer to consult on a script by an untested young director, Margolit. The flurry of memos, emails, Skype-session transcripts, news clippings, etc., that make up the novel roughly cohere into a comedy of errors. The chief financier is determined to marshal algae as an alternative energy source, Margolit's favorite candidate for the role of Moses is a modest Australian actor stuck with a pernicious agent, her old shul-mates are coming out of the woodwork, and an old flame is pursuing her yet again. Wouk doesn't pretend to make this anything more than a lighthearted romp--cameos abound of Wouk's wife cautioning him not to take this Lawgiver business too seriously. Still, Wouk expends little energy connecting the dots among the algae-fuel business, the romantic subplot, Margolit's estranged father and the theology of the Moses back story, which Wouk clearly takes seriously but touches upon only lightly. At 97, Wouk still has plenty of enthusiasm for assembling the broad cast of characters that marked widescreen works like The Winds of War. The difference here is how it results in a weak, shtick-y assemblage of riffs on a fickle God and stereotypical film impresarios. A breezy romp about movies and religion that gives both short shrift.]] Copyright Kirkus Reviews, used with permission.