When first seen at his second death, the solitary despot who has lived for a conjectural 107 to 232 years, lies in his dungheap "house of castaways," vultures pecking at his body while a cow appears on the balcony where he delivered his pronunciamentos. His "autumn" lasted a long time after his first death—that of his lookalike—and he became a "sunset old man" anxious to leave the world of untruth and brutality he had created. Created, to be sure, with the help of foreign powers—Marines are stationed in the harbor. Cut down in size or years, he might remind you of real Caribbean lookalikes—perhaps Papa Doc or Trujillo. But then Garcia Marquez' patriarch is mythical, having sired 5000 children and grown a third set of teeth at the age of 150. Story follows story of his regime, a "stew of destruction," and of those closest to him: his favorite, the General, who ended up on a silver tray stuffed with pine nuts and herbs; or his mother mourned until his own dying—that innocent peasant mother who painted bird pictures, orioles; or his only spouse, Leticia, the novice he kidnapped from a convent and imported in a crate marked "fragile. . . this side up." Leticia educated and refined him and was destroyed, with their son, by killer dogs. The vertigo of images and scenes matches the momentum of those sentences, those ever-ongoing sentences, pages at a clip, which suggest an eternity of days and years. Read it as a magnification of fable, or as violent grand guignol, or as political allegory of a world which defies and stops time, much as the patriarch attempted to; read it as a canticle to the "miseries of glory" and mortality, remembering that "the most feared enemy is within oneself"; read it as a dazzling work of imaginative conjure; read it. . . .
Pub Date: Nov. 3, 1976
ISBN: 0060882867
Page Count: -
Publisher: Harper & Row
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Nov. 1, 1976
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
"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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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