A replete and readable portrayal of a fascinating character, and an all-around terrific novel.
A century’s worth of Mexican culture and politics is observed through the prism of the life of the eponymous protagonist of this big novel, the most lucid and satisfying fiction of Fuentes’s 40-year career (The Crystal Frontier, 1997, etc.).
“The years with Laura Díaz” (which begin in 1905) are “remembered” (as a framing prologue and epilogue reveal) by a young artist who imagines the life of the famous beauty he sees depicted in a mural, then by the descendant who vows he’ll tell her story. Early chapters concentrate on the (often romantic) history of Laura’s aristocratic German-Mexican family, her fascination with an imposing statue of a suffering woman (a resonant omen) encountered in a forest, marriage to an older man devoted to the Mexican Revolution and particularly the sufferings of the working classes, and her flirtation (made possible by the Díaz’s social connections) with Mexico City’s artistic circle. The story picks up considerable steam when Laura becomes an intimate of painter Frida Kahlo and her artist husband Diego Rivera (brought splendidly to life), stalls a bit during her long affair with Spanish diplomat and left-wing activist Jorge Maura (a true believer who’s a bit of a dull dog, for all his emoting and posturing), and recovers nicely when Fuentes focuses on Laura’s combative-loving relationships with her always-preoccupied husband (to whom she nevertheless always returns) and their contrasting sons: frail, sensitive Santiago (the namesake and image of Laura’s beloved half-brother, an early martyr to the Revolution) and extroverted (ironically named) Danton, whose rampant careerism blandly sidesteps all his family’s conflicting ideals. Even better are the final 200 pages, in which Laura becomes involved with American refugees from McCarthyite persecution (including the guilt-ridden film producer who becomes her latest lover), then finds in her 60s the perfect outlet for her complex energies, as well as “independence and fame,” as a successful photojournalist.
A replete and readable portrayal of a fascinating character, and an all-around terrific novel.Pub Date: Oct. 1, 2000
ISBN: 0-374-29341-4
Page Count: 544
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2000
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An illuminating read for anyone interested in the inner workings of the Catholic Church; for prelate-fiction superfans, it...
Harris, creator of grand, symphonic thrillers from Fatherland (1992) to An Officer and a Spy (2014), scores with a chamber piece of a novel set in the Vatican in the days after a fictional pope dies.
Fictional, yes, but the nameless pontiff has a lot in common with our own Francis: he’s famously humble, shunning the lavish Apostolic Palace for a small apartment, and he is committed to leading a church that engages with the world and its problems. In the aftermath of his sudden death, rumors circulate about the pope’s intention to fire certain cardinals. At the center of the action is Cardinal Lomeli, Dean of the College of Cardinals, whose job it is to manage the conclave that will elect a new pope. He believes it is also his duty to uncover what the pope knew before he died because some of the cardinals in question are in the running to succeed him. “In the running” is an apt phrase because, as described by Harris, the papal conclave is the ultimate political backroom—albeit a room, the Sistine Chapel, covered with Michelangelo frescoes. Vying for the papal crown are an African cardinal whom many want to see as the first black pope, a press-savvy Canadian, an Italian arch-conservative (think Cardinal Scalia), and an Italian liberal who wants to continue the late pope’s campaign to modernize the church. The novel glories in the ancient rituals that constitute the election process while still grounding that process in the real world: the Sistine Chapel is fitted with jamming devices to thwart electronic eavesdropping, and the pressure to act quickly is increased because “rumours that the pope is dead are already trending on social media.”
An illuminating read for anyone interested in the inner workings of the Catholic Church; for prelate-fiction superfans, it is pure temptation.Pub Date: Nov. 22, 2016
ISBN: 978-0-451-49344-6
Page Count: 304
Publisher: Knopf
Review Posted Online: Sept. 6, 2016
Kirkus Reviews Issue: Sept. 15, 2016
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
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
