Rhodes has been acclaimed as one of England’s most promising young writers. No comment.
A taste for rough trade and an inclination toward bestiality lead the parade of perverse charms that trudges through this impishly outré first novel.
In an arch voice that intermittently resembles those of James Purdy and Ronald Firbank, British author Rhodes (Anthropology, stories, 2000) charts the mood swings that overpower his protagonist, a disgraced composer and former bandleader who calls himself Carthusians Cockroft, and now lives in the Italian countryside (Tuscany) in a seclusion punctuated only by a succession of live-in male lovers and by the presence of Cockroft’s beloved dog Timoleon Vieta, a soulful mongrel distinguished by its “irresistible” golden eyes. (If there’s any explanation of why man and beast bear these fey, cumbersome monikers, it’s not forthcoming.) A semblance of a plot develops when Cockroft takes in another stray, a handsome, semiarticulate drifter known only as “the Bosnian” (who, however, “had never even been to Bosnia and wasn’t sure he would be able to find it on a map”). In exchange for board and rent, the Bosnian performs assorted household repairs (and weekly oral sex), but proves to be incompatible with the equally temperamental mutt, which he persuades Cockroft to abandon on the unfamiliar streets of Rome. The remainder of the story crisscrosses among revelations of Cockroft’s scandal-plagued past and of the Bosnian’s true ethnicity and identity (both actually rather neat surprises) and the adventures of Timoleon Vieta on the prowl, complete with “backstories” for the several people the dog encounters during an instinctive journey homeward that eventually connects the novel with its (acknowledged) inspiration: Eric Knight’s sentimental classic Lassie Come Home. Rhodes’s tale has its amusing moments, but it’s sabotaged by inexcusable amounts of redundancy and padding, by the promiscuous deployment of characters and motifs that disappear and reappear quite arbitrarily, and by a creepy and really quite callous surprise ending.
Rhodes has been acclaimed as one of England’s most promising young writers. No comment.Pub Date: Aug. 1, 2003
ISBN: 1-84195-422-5
Page Count: 224
Publisher: Canongate
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2003
BOOK REVIEW
BOOK REVIEW
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.
Coelho is a Brazilian writer with four books to his credit. Following Diary of a Magus (1992—not reviewed) came this book, published in Brazil in 1988: it's an interdenominational, transcendental, inspirational fable—in other words, a bag of wind.
The story is about a youth empowered to follow his dream. Santiago is an Andalusian shepherd boy who learns through a dream of a treasure in the Egyptian pyramids. An old man, the king of Salem, the first of various spiritual guides, tells the boy that he has discovered his destiny: "to realize one's destiny is a person's only real obligation." So Santiago sells his sheep, sails to Tangier, is tricked out of his money, regains it through hard work, crosses the desert with a caravan, stops at an oasis long enough to fall in love, escapes from warring tribesmen by performing a miracle, reaches the pyramids, and eventually gets both the gold and the girl. Along the way he meets an Englishman who describes the Soul of the World; the desert woman Fatima, who teaches him the Language of the World; and an alchemist who says, "Listen to your heart" A message clings like ivy to every encounter; everyone, but everyone, has to put in their two cents' worth, from the crystal merchant to the camel driver ("concentrate always on the present, you'll be a happy man"). The absence of characterization and overall blandness suggest authorship by a committee of self-improvement pundits—a far cry from Saint- Exupery's The Little Prince: that flagship of the genre was a genuine charmer because it clearly derived from a quirky, individual sensibility.
Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.Pub Date: July 1, 1993
ISBN: 0-06-250217-4
Page Count: 192
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1993
SEEN & HEARD
SEEN & HEARD
BOOK TO SCREEN
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