The Confessions of Max Tivoli was more inventive and more satisfying.
A woman inhabits three different selves in a time-travel novel from an author long fascinated by the manipulation of time (The Confessions of Max Tivoli, 2004, etc.).
Young men are dying like flies. It’s 1985, and AIDS is rampant, especially in Greenwich Village, where Greta Wells is mourning the death of her beloved twin brother, Felix. Not only that: Her longtime lover, Nathan, has left her for a younger woman. “Any time but this one” is what Greta yearns for. Her prayer is answered, sort of, when she begins a course of electroconvulsive procedures and finds herself, an earlier Greta, in 1918. Husband Nathan is away at war (about to end); on the homefront, Greta has an admirer, Leo, a virginal actor, while brother Felix, deep in the closet, is set to marry a senator’s daughter. After her next procedure, Greta is in 1941, shortly before Pearl Harbor. Here again, she and Nathan are married, with a small son; she’s recovering from a car accident. Felix, no longer in denial, is having a secret affair with Alan (by 1985, they’ll be all the way out); when he’s busted in a gay bar, his wife will divorce him. Another day, another procedure, another time shift. Greta is just a bird of passage in these other eras, which are quite as turbulent as her own: on the national scale, war and pestilence (the 1918 flu epidemic); on the domestic scale, infidelities (both earlier Nathans were cheating on her, while Greta’s one night with Leo led to her pregnancy). Greta is monitoring two emotional upheavals, her own and those of Felix; all this leads to more confusion than enlightenment. Punches are pulled (Greta fails to confront the 1941 Nathan over his adultery), and melodrama blooms. Was all the back and forth worth it when all it yields is a small epiphany?
The Confessions of Max Tivoli was more inventive and more satisfying.Pub Date: June 25, 2013
ISBN: 978-0-06-221378-5
Page Count: 304
Publisher: Ecco/HarperCollins
Review Posted Online: Feb. 24, 2013
Kirkus Reviews Issue: March 15, 2013
PROFILES
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
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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
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