Such thoughts are roused by a tiny new little book, a mere slip of a thing, God Bless You, Dr. Kevorkian, from Kurt...
If, in modern times, melody could disappear from music and recognizable image from art, is it possible that the novel can also, at long last, grow free of its imprisoning burden of “story”?
As far back as 1927, E.M. Forster wished for that very thing, lamenting in Aspects of the Novel that “Yes- oh, dear, yes – the novel tells a story…[And] I wish that it was not so, that it could be something different – melody, or perception of the truth, not this low atavistic form.” It may be that all true art struggles against the confines of its own medium – and the more intense the struggle, the greater the art. In fiction, the escape from “story” goes back at least to Laurence Sterne, with his hilarious blank pages in Tristram Shandy. And there was of course Gertrude Stein, who carried the effort about as far as possible, while Virginia Woolf strove valiantly in the name of truth against the fossilizings of tale. In our own time the “story-novel” has pretty clearly run out of steam, functioning no longer as art at all but, high-brow or low-, as a form of entertainment (or infotainment) entirely content within its old shoe of a medium. And yet maybe, as a result, something new is afoot – the stirrings again of the anti-novel. There’ve already been the “experimental” novels of, say, Alain Robbe-Grillet or the late Natalie Sarraute. But those, all art and no play, have grown dusty and are gone. So consider just a few recent treasures from current rebels against the old “he said, she said” novel – Julia Blackburn’s The Book of Color; Gordon Lish’s Arcade or How to Write a Novel; Ben Marcus’s The Age of Wire and String; Jason Schwartz’s A German Picturesque; David Markson’s Reader’s Block. Little known? Little sold? Little recognized? Ah, yes, but their day may come.
Such thoughts are roused by a tiny new little book, a mere slip of a thing, God Bless You, Dr. Kevorkian, from Kurt Vonnegut, that great and resilient writer who more than any other has labored to pierce the rusty armor of “story,” coming up with book after book of wit, depth, hilarity, profundity, grace, and sorrow. This little one is no exception, but you’d better grab it – it’s so very tiny – before it disappears altogether. Like, maybe, the novel.Pub Date: Jan. 15, 2000
ISBN: 1-58322-020-8
Page Count: 80
Publisher: Seven Stories
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 1999
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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