by Leon Uris ‧ RELEASE DATE: April 20, 1984
We Arabs are the worst. . . ." That is the theme of this crude propaganda-novel by the author of Exodus, which traces the Palestinian-refugee problem up through 1956—blaming 100 percent of it on the British and the Arabs (Arab greed, decadence, laziness, backwardness, bestiality, etc.), putting the case into the mouths of a few relatively "good" Arabs. The title character is Ibrahim, who becomes the young chieftain of the Palestinian village Tabah in 1922. He feels affection for Gideon Asch, the noble Haganah leader who watches over the nearby kibbutz. ("He respected a fairness in Gideon that he was not able to practice himself.") But, culture-bound and constantly threatened by rival Arab leaders, Ibrahim must reject Gideon's offers of aid and friendship. Meanwhile, Ibrahim's youngest son Ishmael—the off-and-on narrator—is growing up during WW II, only half-brainwashed into Koran-based hatred. ("Why can't Islam share the world with other people?") Then, in 1947, comes the Israeli/Arab warfare: Ben-Gurion vows that "under no circumstances will we force out a single Arab"; for tactical, power-ploy reasons, however, the Arabs force the Palestinian villagers to evacuate—while the wealthy "Palestinian Arab leadership simply abandoned its country in a self-serving manner uncaring of the balance of the population." The Arabs spread false rumors of Jewish atrocities to cause mass flight; the women of Ibrahim's family are raped by rival Arab henchmen. And though the family survives, thanks to Gideon and a "very sympathetic" Irgun officer, their arrival in Arab territory on the West Bank is greeted by Arab disdain, neglect, cruelty. ("The Jews have never done to me and my people what has happened. . . at the hands of our own brothers.") They live in a cave, in refugee camps; "we rotted and complained. . . we became overpowered with self-pity." Israel secretly invites the repatriation of 100,000 Arabs—but the Palestinians become the passive, lazy pawns of ambitious Jordanians, Iraqis, and Egyptians: Ibrahim and other moderates are smeared or assassinated; Ibrahim's older son is murdered by Jordan, then turned into a supposed victim of the Zionists, "the first Palestinian martyr." All UN attempts at bettering the refugee situation are ruined by "tribal avarice." And finally, "no longer able to combat or cope with the evils of our society," Ibrahim slips back into primitivism—hating Israel, killing his daughter for abandoning traditional ways—while young Ishmael ends up in despair, knowing that his "culture" is the villain. . . and that "the Arabs alone have the resources to dissolve their refugee problem, if they wanted to." Are there elements of truth in Uris' anti-Arab version of Palestinian history? Unquestionably. Here, however, presented in a blurred fact/fiction format, his arguments come across as grossly biased, untrustworthy, drenched in bigotry. Gratuitous scenes of Arab sex-and-violence are inserted to remind us that this is a "savage people"; generalizations about the Arab "nature" abound. (Similar remarks about blacks or Jews would probably be considered unpublishable.) Furthermore, simply as storytelling, this is a sad comedown for veteran Uris: the narration is rudimentary, often clumsy; the dialogue is amateurish, riddled with anachronisms; flat little history-lessons are thrown in haphazardly; and there's no real characterization—just illustrations of the defects in Arab culture. In sum: a dreary, ugly lecture/ novel—sure to attract an audience, but likely to embarrass all but the most unthinking Jewish readers.
Pub Date: April 20, 1984
ISBN: 0553248642
Page Count: 548
Publisher: Doubleday
Review Posted Online: Oct. 6, 2011
Kirkus Reviews Issue: March 15, 1984
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
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
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by Sally Rooney ‧ RELEASE DATE: April 16, 2019
Absolutely enthralling. Read it.
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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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