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MICKELSSON'S GHOSTS

One of Gardner's longest novels, most personal, most ambitious—and alas, too, the most shambling and ultimately incredible. Peter Mickelsson is a 40-ish philosopher, a famous ethicist now on the faculty of the State U. in Binghamton, N.Y. But he's sore beset at every turn: his divorcing wife is bleeding him dry financially; his son, an anti-nuke commando, is in hiding; the IRS is after Mickelsson for non-payment of years of back taxes; and the Pennsylvania-border farmhouse that he's just bought for a song (and is rehabilitating) is definitely and very scarily haunted. Still, all that is only level one of Mickelsson's woes. He has also become romantically torn between a sociologist named Jessie and a local teenage whore, Donnie; a student of his, meanwhile, is suicidal. And level three: Mickelsson, suffering the Raskolnikovian fumes of ethical relativism, goes out and kills a shadowy fat man in order to steal the man's thousands in order that Donnie will not abort Mickelsson's child. The murder is never pinned on Mickelsson. In fact, it's all but lost in the shuffle of ever-growing farfetchedness which the book slips into next: fanatic Mormon hit-squads (having to do, as well, with the ghosts in the Mickelsson house); illegal chemical dumping; various and constant crises of faith and nervous breakdowns that turn Mickelsson into a walking falling-rock-zone. Thus, the novel is simultaneously a ghost story, a chronicle of dark nights of the soul, an anthology (like Gardner's On Moral Fiction) of an astonishing array of soreheaded-nesses: there are flailing complaints against Wittgenstein, most music, Marxism, Ronald Reagan, industrial polluters, even college kids who don't smoke (). And Mickelsson is such a pathetic wreck that, despite the tremendous amount of water that's tread, there is something compelling here, mostly with his atmospheres: superb landscape pictures of the Southern Tier geography, biting fun made at faculty pretensions in the arts, and deft appearances of Mickelsson's troubles in the metaphorical guise of dogs (no doubt the dogs of Hell). Still, finally, despite its flickering power in engaging us with such a rattletrap character in extremis, this book is more unwieldy than anything else—like mountains and mountains of loose black coal, shifting and sliding but burning no fire and making no light. And Gardner's Tolstoyan intention—massive malediction and benediction at the same time—is gagged by ludicrousness, fatigue, by a plenary sloppiness that even the fiercest pain or philosophy or ghost can't scare into shape. In all: a fascinating, oddly depressing failure.

Pub Date: June 1, 1982

ISBN: 0811216799

Page Count: 612

Publisher: Knopf

Review Posted Online: March 29, 2012

Kirkus Reviews Issue: June 1, 1982

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LONESOME DOVE

A NOVEL (SIMON & SCHUSTER CLASSICS)

This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.

Pub Date: June 1, 1985

ISBN: 068487122X

Page Count: 872

Publisher: Simon & Schuster

Review Posted Online: Sept. 30, 2011

Kirkus Reviews Issue: May 15, 1985

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THE ALCHEMIST

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

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