by Ayn Rand ‧ RELEASE DATE: Oct. 10, 1957
One finds oneself virtually under an indefinable compulsion to keep reading once caught in the mesh of sheer story telling as Ayn Rand weaves the strands of her fantasy. With one part of reason, one tries to reject the grim horror of the portrait she draws of the final bastion of the once free world falling into a new sort of Dark Ages. The sins of the power magnates are taking their toll. In terror over the threat to their security contained in the ruthless drive of a few leaders of industry, they sell out their initiative, their imagination, their creative powers, their right to independence of thought and action to government, in exchange for imagined security of regulation and strangulation. The thinkers, the creators, the doers, the free spirits fade out of the picture; those who remain label them deserters and traitors. But a few of them, under the leadership of the freest spirits, lay the groundwork for a new social order. Their philosophy has much that will shock the conventional; their oath — "...I will never live for the sake of another man, nor ask another man to live for mine" — seems to contain a negation of the code of humanity. There seems a warped sort of approach to a materialistic touchstone. The insistence on the godlike quality of the leader is never quite carried out in the characterization. In fact, for this reader, most of the characters are unconvincing, overdrawn to represent symbols rather than people. This- for me- was true of The Fountainhead some 14 years ago. Then, too, the machinery of the story was compelling, fascinating; the philosophic content had something faintly phoney; the characters were two dimensional.... Atlas Shrugged holds a terrifying immediacy, if one can envision today's prosperity holding the seeds of tomorrow's decadence. Except in the isolated cases of unrealized potentials of invention, she has tapped few of the now-evident clues to our immediate mechanical future. One finds it difficult to gauge the time span here. The market? Curiosity will be high pressured by the promotion and publicity:- an unheard of advance to the author; a tremendous advertising appropriation; a spirited bidding for subsidiary rights; a predicted advance sale of 60,000 copies out of an initial 75,000 printing... The sheer size of the book — about 1150 pages — is a magnet for an astounding number of readers.... The story is a challenging one; the manner of the telling holds reader interest, despite the unnecessary length; there's enough of sex to provide its mead of shockers; and there is the odd allure of fantasy, a sort of science fiction appeal. And one can count, too, on a goodly number who will discuss the social philosophy with heated arguments, pro and con — plus the intellectual snob appeal of those who like to feel they've plumbed a new code of ethics. It is not a book that leaves one unscathed.
Pub Date: Oct. 10, 1957
ISBN: 0452011876
Page Count: 1168
Publisher: Random House
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Oct. 1, 1957
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by Genki Kawamura ; translated by Eric Selland ‧ RELEASE DATE: March 12, 2019
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
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