Accomplished but deadening. Better would be Prozac and some therapy.
One man’s litany of loss, told in a letter to a son already perished.
Paul has three losses to confront: his mother; his son Euan; and then Ruth, Euan’s mother. From the start, we know that all three are gone and that Paul is driving back to the seashore where they used to gather. Tension comes from flashbacks about Paul’s upbringing in a motherless family (how did she die? he is always asking), about his courtship with Ruth, and about how Euan came to be and then not to be. That the memory of Euan is all Paul has left seems intended as the emotion to keep us buoyant, but as a narrative device it’s not as strong as it needs to be: These clipped remembrances may be meant to create sadness, but too often they come off like the monotone of a math teacher delivering theorems. And the tone, too, is out of sync with the recounting of happy times: Would a young father, in a letter to a dead son, refer so often to his own sexual arousal, his erections, his fixations with Ruth’s breasts, all as though these were the saddest of things? By the time we know how everyone has died or vanished, the sorrow has become a drain and Paul has become a friend you can no longer comfort: he needs to snap out of it, maybe seek help. British author Cowan (Common Ground, 1997, etc.) tries to save him, but only early does the prose ring true for his character: “And when she visits today . . . she can take whatever else remains in the house, if that’s what she wants. She knows now where I’ve come. The patch is still here in my pocket, and I can’t give it away, can’t pass it on. It is all that is left to me, all I shall keep, and like the love it is useless.”
Accomplished but deadening. Better would be Prozac and some therapy.Pub Date: March 1, 2001
ISBN: 0-312-28310-5
Page Count: 240
Publisher: Picador
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2002
BOOK REVIEW
BOOK REVIEW
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
"This soil," concludes the young narrator of this quiet chronicle of garrotted innocence, "is bad for all kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear." And among the exclusions of white rural Ohio, echoed by black respectability, is ugly, black, loveless, twelve-year-old Pecola. But in a world where blue-eyed gifts are clucked over and admired, and the Pecolas are simply not seen, there is always the possibility of the dream and wish—for blue eyes. Born of a mother who adjusted her life to the clarity and serenity of white households and "acquired virtues that were easy to maintain" and a father, Cholly, stunted by early rejections and humiliations, Pecola just might have been loved—for in raping his daughter Cholly did at least touch her. But "Love is never better than the lover," and with the death of her baby, the child herself, accepting absolutely the gift of blue eyes from a faith healer (whose perverse interest in little girls does not preclude understanding), inches over into madness. A skillful understated tribute to the fall of a sparrow for whose small tragedy there was no watching eye.
Pub Date: Oct. 29, 1970
ISBN: 0375411550
Page Count: -
Publisher: Holt Rinehart & Winston
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Oct. 1, 1970
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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