A persistently dour story that’s energized by the author’s command of character and mood.
A badger baiter and a farmer have an existential pas de deux in rural Wales in this slim, piercing novella, the author’s first to be published in the United States.
The fourth novel by the Welsh author is set in modern times—there are trucks and cellphones—but Jones’ voice makes its setting feel either prehistoric or post-apocalyptic. That’s mainly because his language and imagery are persistently visceral when it comes to both men they depict. One is an unnamed “big man” who roots out badgers that are illegally pitted against dogs for sport; the other, Daniel, is a livestock farmer whose wife recently died after she was kicked in the head by a horse. In both cases, Jones’ language is deep in the rank muck of rural life: He describes Daniel helping to birth a newborn lamb, grabbing its hooves in the womb, feeling “its fast heartbeat in the chicken-bone cage of its ribs, still wet in his hands from the grease of birth”; after a badger hunt, a wounded dog’s artery “was a fraction above the cut and he could see it pump thickly through the dog’s skin.” The plot is simple, building to a climax as the “big man” encroaches on Daniel’s property, but Jones’ language is the main point of entry here. Like Cormac McCarthy, Jones can make the everyday sound fraught and biblical: “The townsmen were not used to such darkness nor this level of quietness and they were not restful in it.” But though primal, rough-hewn imagery abounds, the novel’s chief strength is its depiction of Daniel’s grief; in his struggle to keep the farm running on his own and in his recurring memory of happier times with his wife, he’s a deeply memorable character who’s simply rendered.
A persistently dour story that’s energized by the author’s command of character and mood.Pub Date: April 14, 2015
ISBN: 978-1-56689-393-0
Page Count: 176
Publisher: Coffee House
Review Posted Online: Jan. 17, 2015
Kirkus Reviews Issue: Feb. 1, 2015
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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