It’s inevitable that Setz will be compared to Thomas Pychon, for his narrative has a similar complexity, nuance and, yes,...
The title doesn’t refer to the Indigo Girls, Mood Indigo or indigo buntings but rather to a bizarre childhood disease that causes dizziness and nausea in anyone who approaches the infected children.
Setz is definitely exploring a postmodern landscape here. There’s no central narrative thread, for example, but rather a complex series of intertwined and overlapping perspectives. One of the narrators is not-so-coincidentally named Clemens Setz, and he’s been writing articles on the phenomenon of the Indigo children (sometimes referred to pejoratively as “dingoes”). The author's fictional double taught math at the Helianau Institute in Austria, which housed these children, until he was fired. Another narrator is Robert Tätzel, a former Indigo child himself and still concerned about lingering effects both of the illness and of the relocation of Indigo children by Dr. Otto Rudolph, the eccentric head of the Helianau Institute. In fact, the ultimate fate of the children remains quite mysterious. Robert is exceptionally knowledgeable about Batman, and he frequently quotes odd little snippets from the 1960s Adam West TV series. Setz the author—as opposed to Setz the narrator—is comfortable expanding his narrative by sharing photographs, for example of Tommy Beringer, supposedly the first child to catch the Indigo illness, and of a Tatzelwurm (think Robert) supposedly found near Meiringen, Switzerland, in 1934. He also alludes meaningfully to Arvo Pärt, Bruce Lee and Star Trek, providing a dense texture to the novel.
It’s inevitable that Setz will be compared to Thomas Pychon, for his narrative has a similar complexity, nuance and, yes, even paranoia.Pub Date: Nov. 11, 2014
ISBN: 978-0-87140-268-4
Page Count: 416
Publisher: Liveright/Norton
Review Posted Online: Aug. 24, 2014
Kirkus Reviews Issue: Sept. 15, 2014
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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"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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