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A masterful first novel—the sort of book that warms even as it devastates, that forces serious reflection and yet charms.

In the early 19th century, a man quests into the American West and finds a world teetering between extinction and dreams.

A decade or so after the Lewis and Clark expedition, John Cyrus Bellman, a widower and mule breeder, reads in the newspaper of the discovery of “monstrous bones…sunk in the salty Kentucky mud” and is convinced that “the same gigantic monsters still [walk] the earth in the unexplored territories of the west.” Promising to write frequently, Bellman leaves his preteen daughter, Bess, on his Pennsylvania farm and heads west. What follows is the story of Bess’ waiting and Bellman’s wandering; the story of the letters Bellman sends and their unlucky eastward journeys; the story of Bellman’s guide, “an ill-favored, narrow-shouldered Shawnee boy who bore the unpromising name of Old Woman From A Distance” and whose tribe—after being harassed by settlers and paid off in trinkets—has recently undertaken its own less-voluntary western migration. Bess dreams of her father’s return while struggling to evade the predatory attentions of two local men. Bellman, a soft-spoken Ahab, suffers winters “harder than he’d thought possible” yet remains enthralled by “the notion that…there were always things…you hadn’t dreamed of.” Old Woman From A Distance is at once “angry about the past, but ambitious for the future” and must eventually decide whether to undertake a quest of his own. Welsh author Davies’ (The Redemption of Galen Pike, 2017, etc.) slim, complex, and achingly beautiful first novel is a sculpture of daring shifts and provocative symmetries welded together by lyrical, fast-paced prose. Davies dispenses with troublesome thousand-mile wildernesses in a sentence and dashes between the minds of both principal and ancillary characters. The result is a choral performance, reminiscent of those by Penelope Fitzgerald: The reader enjoys a story far greater in its sweep and better-linked in its causes than any of that story’s participants can appreciate. Deployed on the stage of the midlapsarian American frontier, Davies’ chorus manages to weave threads of myth and hope into the gnarly chords of historical tragedy.

A masterful first novel—the sort of book that warms even as it devastates, that forces serious reflection and yet charms.

Pub Date: April 24, 2018

ISBN: 978-1-5011-7934-1

Page Count: 160

Publisher: Scribner

Review Posted Online: Feb. 5, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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NORMAL PEOPLE

Absolutely enthralling. Read it.

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  • Kirkus Reviews'
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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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THE BLUEST EYE

"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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