As strange, musical, and carefully calculated as its unusual heroine.
A fast-talking young woman sets out to help her family at the height of Ireland’s recession in this language-driven debut.
From a young age, Gael Foess is a hustler: ambitious, arrogant, and more capable than most adults. After her father walks out, Gael must care for her unusual family on her own. There's her mother, Sive, conductor for Ireland’s National Symphony Orchestra, who struggles with an impenetrable depression and is largely distant toward her children, and Guthrie, Gael’s holier-than-thou younger brother, who suffers seizures from a mental disorder that result in beautiful visions. While Sive and Guthrie each possess artistic genius they don’t know how to spin into comfortable livelihoods, Gael’s true talent lies in convincing unsuspecting strangers to believe the stories she weaves out of air. “The recession made it worse: the false-humility epidemic,” thinks Gael. “But it’s not enough for your relatives to know your worth. For your gifts to be put in a cabinet like ornamental photo frames, destined to tarnish.” Instead, Gael wants her family to shine. She tries first to scam her way into London Business School, then steals her mother’s compositions to solicit interest from orchestras around the world, and finally flies to New York at the height of the Occupy movement to sell a stunning set of Guthrie’s paintings. When a trendy gallery shows interest but requires more paintings to secure a show, Gael hires an artist to forge her brother's work. This is both Gael’s crowning achievement and a move that isolates her from her loved ones. For a novel with a con-artist heroine, Hughes’ debut is oddly quiet and language-focused. Most of the action takes place off-stage or in long passages of dialogue relayed well after the fact. But Hughes delivers a compelling exploration of what it means to create art, skewering the arbitrary restrictions of art-world gatekeepers along the way. At the emotional heart of this book lies a darker question, though: What does it mean to make a performance of your own life, in service of your family, when the cost might be to lose them forever?
As strange, musical, and carefully calculated as its unusual heroine.Pub Date: July 10, 2018
ISBN: 978-1-5247-6110-3
Page Count: 352
Publisher: Hogarth
Review Posted Online: April 30, 2018
Kirkus Reviews Issue: May 15, 2018
BOOK REVIEW
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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