Elegant, enigmatic, and haunting.
A mass high school shooting prompts a reckoning for a controversial talk show host and those around him in duBois’ (Cartwheel, 2013, etc.) third novel.
“He was Matthew Miller then,” remembers a man named Semi, the host's lover in the 1970s, who knew him as an idealistic lawyer and then a candidate for mayor of New York. But in 1993, when The Mattie M Show publicist Cel is struggling to defuse reports that two high school boys who gunned down multiple classmates watched his show regularly, Mattie presides over a TV carnival of people confessing to “vices and depravities the average viewer didn’t even know existed.” The show’s evolution from a substantive public affairs program to a wildly popular venue for “rubbernecking and mayhem” is more explicable than Mattie himself, an empathetic interlocutor of the damaged and deranged on camera but a mystery to his staff off the air. Semi’s recollections of their affair and break-up intertwine with Cel’s story to create an atmospheric chronicle of New York’s bohemian gay subculture in the freewheeling 1970s, a keening depiction of the AIDS-stricken '80s, and a poignant portrait of Cel, who got out of the rural working class via Smith but still lacks the self-confidence to claim—or even know—what she really wants. Mattie remains remote and enigmatic, even in his final encounters with Semi, which move him toward a fateful change of direction without readers ever really understanding him. This is not a fault but simply a given of duBois’ accomplished narrative, which ranges widely to investigate contemporary culture through the complicated human beings who inhabit it: Cel’s party-girl roommate and a judgmental pal from Smith, a predatory journalist, the TV show’s seen-it-all producer, and one of the shooters (via a scarily thoughtful letter to Mattie) are among the other characters sketched with acuity and perception. The ending respects Matte’s opacity but allows him to make some kind of amends to Semi, while Cel gets the fresh start she deserves.
Elegant, enigmatic, and haunting.Pub Date: April 2, 2019
ISBN: 978-0-8129-9588-6
Page Count: 352
Publisher: Random House
Review Posted Online: Dec. 22, 2018
Kirkus Reviews Issue: Jan. 15, 2019
PROFILES
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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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
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