Although centered on a violent murder/suicide that takes place early on, this is essentially a meditative, multi-voiced examination of the guilts, prides and lonely accommodations to social class and family myth-making—matters also addressed in A Mother and Two Daughters (1982)—among members of an unhappy North Carolina family immobilized under "layer upon layer of debilitating resentments and intrigues." "It's like being inside a drama in which good influences and bad influences are being played out. . .it's impossible. . .to affix blame," comments urbane Felix, musing on the family of his lover, 40-ish Clare. What caused 28-year-old Theo Quick—a failure in both career and marriage, and father of young Jason—to shoot to death his girlfriend while her child watched, and then kill himself?. Each member of the grieving Quick family, Clare's childhood friend Julia, and Theo's divorced wife, the "hillbilly" Snow, bear their bewildered grief into the dark comers of their recent histories. Theo's father, Ralph, a selfmade man now bankrupt and disillusioned, from a "middling" background, too late tries to redeem the son he'd locked out. Ralph's wife Lily, self-elevated from husband and children, realizes—also too late—that it was Theo, rather than son Rare, she'd "trusted most to love her." Rare, in therapy, painfully calls to mind Theo's "flirting with the idea of his self-destruction." Meanwhile, plain-spoken Snow, who will win a custody battle for Jason, and who shares with Lily (they despise one another) a "secretive separateness" from family, sees a Theo plain, stripped of the caul of the family—yet aches for the essential good man who was buried-in-life. Clare (successful novelist and Lily's daughter by a first marriage), Julia, and Felix attempt to weigh the influences of class and origins on the Southern family, and shade in the portrait of Theo that is never complete—an echo of Theo's criticism of Clare's work: she should write something "that can never be wrapped up." A "slow march" (Clare's expression) of meditations in voices that sound somewhat similar (except for Snow's tangier diction), brightened by Godwin's acute sense of people paralyzed by circumstances—this is thoughtful chipping away at one family's crystalline certainties and disparate dreams.
Pub Date: Oct. 2, 1987
ISBN: 0380729873
Page Count: 548
Publisher: Morrow/HarperCollins
Review Posted Online: Sept. 24, 2011
Kirkus Reviews Issue: Sept. 15, 1987
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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
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