An initially ungainly but ultimately poised consideration of war’s long impact on feeling and faith.
An elderly Belgian woman takes a bittersweet look back on her war-torn youth, deliberately (and queasily) blending carnage and romance.
Helena, the narrator of Mortier’s third novel translated into English, opens her story with extended ruminations on old age and loss—we know that her parents are dead, as are her husband, daughter and brother, though the circumstances aren’t initially made clear. Her woolly, quasi-Proustian musings on time and God test the reader’s patience, and it’s not until about 100 pages in that her story—and the reasons she postponed telling it—comes more clearly into view. At the beginning of World War I, she moved with her mother from their bourgeois family enclave in Flanders to the home of some relatives in France, where they’re safer but still close to the shelling. During one assault, the pair are comforted by a British army photographer, Matthew, whom Helena promptly falls for. Her reminiscences about her sexual awakening with him gain a gauzy eroticism that’s pitted against her memories of the grotesque impact of the war. In the latter mode, Mortier is superb, particularly in one set piece describing the death of a young girl in detail, from her playing dress-up to getting killed by a stray piece of shrapnel to Helena’s role in carrying and preparing her body for burial. The push and pull of ugliness and beauty Helena witnessed plays into her conviction about humanity’s random and godless state of existence, as the title suggests: “give us back our mealy-mouthed petit-bourgeois world,” she writes, knowing that such comforts have been stripped from her. And as the novel moves toward its mordant close, Mortier gives Helena’s hard edges a moral and emotional justification—a strong closing that justifies its wobbly beginning.
An initially ungainly but ultimately poised consideration of war’s long impact on feeling and faith.Pub Date: Feb. 10, 2015
ISBN: 978-1-78227-017-1
Page Count: 368
Publisher: Pushkin Press
Review Posted Online: Nov. 28, 2014
Kirkus Reviews Issue: Dec. 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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