Dramatic material that has been better explored elsewhere, notably in Giorgio Bassani’s 1962 novel The Garden of the...
Levi’s English-language debut, 2001 winner of the Moravia Prize in Italy, uses a romance to dramatize the plight of Jews under Mussolini.
It’s love at first sight when Dino Carpi approaches the beautiful young woman lying on the ballroom floor in his parents’ hotel in Rome. She has broken her leg in a fall. Dino is a teacher, a classicist and an admirer of the Greek poet Pindar, who prized the harmony which Sonia exemplifies. This happened in 1930. It’s now 1967, and Dino, an old man in Tel Aviv, is writing his life story as a long letter to a recipient in Italy whose identity will remain unknown until the end. (It’s an awkward device.) The story hinges on the fact that Sonia is a Gentile and Dino is a Jew, though only the twice-a-year kind (Yom Kippur and Passover). She reciprocates his love, and the nonobservant Dino accedes to the demands of Sonia’s father, a wealthy banker and ardent fascist, that their marriage be Catholic and his Jewish roots stay hidden from their prospective children. Such a wimp does not make a stirring protagonist, and there’s no drama in Dino’s plodding account of his relationship with the equally passive Sonia. Their wedding and honeymoon barely rate a mention. Sonia’s family are reactionary bores, with the exception of rebellious kid sister Lorenza and witty, iconoclastic cousin Gherardo. They provide the only sparks of life until 1938, when Mussolini turns up the heat with his anti-Semitic proclamations. Dino is fired; his father sells the hotel. Pliant as ever, Dino goes along with Sonia’s plan (hatched by her father) for him to disavow paternity of his six-year-old son Michele; he even agrees to the annulment of his marriage. Only when militantly antifascist Lorenza dies in a suspicious “accident” does Dino express his outrage, but it’s too little, too late, and his solo flight to Palestine is anticlimactic.
Dramatic material that has been better explored elsewhere, notably in Giorgio Bassani’s 1962 novel The Garden of the Finzi-Continis.Pub Date: Sept. 1, 2009
ISBN: 978-1-933372-93-8
Page Count: 224
Publisher: Europa Editions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2009
BOOK REVIEW
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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