For readers who relish extravagant language, scathing wit and philosophical heft, this book wastes nothing.
Miles’ panoramic second novel (Dear American Airlines, 2008) is structured around differing definitions of waste.
In a novelistic stratagem that has become increasingly prevalent in recent times, several characters relay the narrative until their voices and paths coalesce, more or less neatly, at novel’s end. In Miles’ version, the convergence is somewhat less wieldy but no less enjoyable. Elwin Cross Sr., an octogenarian historian now confined, due to Alzheimer’s, in a nursing home on Henry Street in Manhattan, is stuck on page 235 of his treatise on genocide as a byproduct of civilization. Elwin Cross Jr. is a linguist who has been summoned to assist in a federal project to devise a warning sign (for a nuclear waste dump) that humans will still understand 10,000 years hence. This presents a conundrum because Cross Jr., whose specialty is language death, knows that no mere verbiage can survive that long. Micah, a dreadlocked 20-something nature child who was raised in the wilderness by a religious fanatic, has brought her lover, Talmadge, from Burning Man to a squat near Henry Street, where they Dumpster-dive for all of life’s necessities. Their idyll is threatened when Matty, Talmadge’s skateboarding best friend from Ole Miss, shows up fresh out of prison. Sara, whose trader husband died on 9/11, was robbed even of the consolation of grief when she learns of the torrid affair he was carrying on. Since marrying the unscrupulous and sexually insatiable Dave—who has profited hugely by collecting from the country’s most vulnerable and gullible debtors—Sara has grown increasingly alarmed by the cynical affinity Dave has cultivated with her teenage daughter Alexis. Emotionally stunted by her father’s erasure from her life, Alexis may be pregnant but doesn’t want to know for sure. Tethered by the sheer weight of back story—each of these characters could merit a whole novel—and disquisitions on disposables of every kind, the novel eventually achieves exhilarating liftoff.
For readers who relish extravagant language, scathing wit and philosophical heft, this book wastes nothing.Pub Date: Nov. 5, 2013
ISBN: 978-0-547-35220-6
Page Count: 400
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Aug. 3, 2013
Kirkus Reviews Issue: Aug. 15, 2013
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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