Three Sisters

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This book was so well written, as were the previous books by this author, the the characters came to life in a way that you wanted to be there to help them, love them, hug them. And this is where the story begins. From there, the three sisters travel to Israel, to their new home, but the battle for freedom takes on new forms. Livia, Magda, and Cibi must face the ghosts of their past--and some secrets that they have kept from each other--to find true peace and happiness. These three sisters somehow survive and escape the death camps, moving across Europe, to Slovakia, and to Israel with astounding force and determination. Their love for each other and their unique bond knew no bounds. Heather Morris can do no wrong in my book and I look forward to reading more of her work in the future.

It would finally take the conjunction of a unique play, a playwright of genius, and an independent and innovative theatrical company to bring Chekhov’s dramatic vision to fruition and public acceptance. The end of the monopoly of the imperial theaters in St. Petersburg and Moscow in the 1880s that had contributed to a conservative and staid Russian dramatic tradition provided an opening for inventive and original private theaters. The most famous of these was the Moscow Art Theater, founded by Konstantin Stanislavsky (1863–1938) and Vladimir Nemirovich-Danchenko (1858–1943). Their company would emphasize ensemble acting and a scrupulous attention to stagecraft in which every aspect of a production—music, scenery, costumes, lighting, and especially acting styles—was joined into a unified dramatic whole. Stanislavsky, who would become one of the most important modern stage theorists, encouraged his acting troupe to replace the fashionable declamatory acting style with a psychological and emotional authenticity. These innovations perfectly suited Chekhov’s drama of subtext and atmosphere. The Moscow Art Theater’s second production was a revival of Chekhov’s The Seagull, his most innovative drama yet, written in Chekhov’s words, “contrary to all the rules of dramatic art.” Initially performed in St. Petersburg in 1896, its premiere was a disaster with actors who neither understood their roles nor their lines. Chekhov fled the theater during the second act, and critics blasted the play as inept and ridiculous. Nemirovich-Danchenko, however, was in attendance and convinced his partner, Stanislavsky, that the play had great potential. They managed to persuade Chekhov to let them take it on, and the Moscow Art Theater mounted it to great acclaim in 1898. The seagull would become the identifying logo of the Moscow Art Theater, which would go on to premiere Chekhov’s subsequent dramas and came to be called “the house of Chekhov.” The Seagull is a nuanced study of the nature of art and love in which conventional stage action takes place offstage. Traditional dramatic confl ict between characters is replaced by inner conflict within characters. Meaning is generated by counterpoint and juxtaposition of ideas and images, a dramatic method perfectly suited to the rich interplay of text, subtle stagecraft, and the psychological penetration pioneered by Stanislavsky and his company. Chekhov’s next play, Uncle Vanya (1899), a reworking of The Wood Goblin, continued the innovations of The Seagull; external action is minimal, dramatic interest is extended to several characters who refuse to conform to conventional categories of heroes and villains, and the overall force of the play depends on the unspoken and on its atmosphere and mood, as in a lyrical poem.Cuando los nazis invaden Eslovaquia, Livia es enviada al campo de concentración y su hermana Cibi la sigue para no dejarla sola, al cabo del tiempo, Magda, se unirá a ellas. And Magda, beautiful, gentle Magda, how did she get to be five so fast? He worries her sweet nature will make her vulnerable to being hurt and used by others. Her big blue eyes gaze at him and he feels her love, her understanding of his precarious health. He sees in her a maturity beyond her years, a compassion she has inherited from her mother and grandmother, and a fierce desire to care for others. When Menachem Meller died on the operating table, the bullet finally removed but the blood loss too great to survive, Chaya was left a widow and the girls fatherless. Yitzchak, Chaya’s father and the sisters’ grandfather, moved into the small cottage to offer help where he could, while Chaya’s brother, Ivan, lives in the house across from theirs. Overall, this was barely an “ok” read for me. Many readers will love this for being a heartwarming, lighter wartime read. I feel that readers who have followed along in this trilogy will find this last book less intense and impactful. It was more of a cute, feel-good story than a powerful, emotional one. It failed to offer anything new and felt drawn out and repetitive. I strongly recommend reading Book 1 & 2 in this series and then adjusting your expectations for this one as it’s a completely different kind of read. At the end of the book, Morris shares with us actual accounts from the sisters and their descendants which was done beautifully and truly makes you feel connected to each person in the book.

Chaya merely nods, now desperate for him to tell her what he needs to say. The years since the war broke out have changed her: her once smooth brow is lined, and she is so thin her dresses hang off her like wet laundry.

Featured Reviews

Dr. Kisely finds another chair and sits down. “I don’t want you to be scared by what I’m about to tell you.” A heartbreaking story of love and survival based on the incredible true story of the Meller sisters, as told to Heather Morris. This is the third in the series The Tattooist of Auschwitz. I've read all of them. Each book tells individual stories based on true survivors and events in history. The sisters courage and unwavering love for one another was so very inspiring. I'm truly thankful that I was able to hear their story through Heather's novel.