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My father's house' is set in wartime Rome, occupied by the Nazis and lead by Gestapo commander Paul Hauptmann, who takes a hands on approach to his work. But there’s one place he can’t reach - Vatican City. The story in ‘My father’s house’ is always building to Christmas Eve, 1943, when a mission (code name Rendimento) takes place. The final chase scene has a cinematic quality with high stakes and increasing tension and reminded me of Donald Sutherland in ‘don’t look now,’ with the dark alleys, water and piazzas at night. It's another part of the book where O'Connor excels, such is his attention to detail of the buildings in the basilica. It’s wonderfully atmospheric and builds to a superb climax. My father’s house’ is a literary thriller, based loosely on a true story, and knowing this makes me want to investigate further. It was based on what was known as the 'Rome escape line,' where people risked their lives to save thousands. It's incredible how they helped so many escaped prisoners and Jews, with money, medicine, papers, clothes - whatever they needed, also hiding them using every bit of available space.
Book club: My Father’s House by Joseph O’Connor Book club: My Father’s House by Joseph O’Connor
Certainly would make a great movie, and it becomes natural to draw comparisons with Oscar Schindler. It's thought that through O'Flaherty, with the help of his choir and surrounding network, over 6,000 people were saved. I found this a strong work of historical fiction, strengthened by the fact that it was based on a true story, and is very much about compassion, love, faith, and resilience during the most extreme of circumstances. This is book one of the Rome escape line trilogy, so I'll be looking forward to the next two release from Joseph O’Connor. The Vatican City is an independent country within Rome. And Monsignor Hugh O’Flaherty, along with an unlikely group of friends called ’the choir’, continue to provide refuge to those who can reach them. It’s an incredibly dangerous but tightly-run clandestine operation, and O’Flaherty remains frustratingly out of Hauptmann's grasp.