In a quixotic narrative that zigs and zags and turns back upon itself, an esoteric exploration of passion and love, memory...
Australian novelist Bail (Eucalyptus, 1998, etc.) offers a slim avant-garde novel with a narrative that cavorts through time and space.
Frank Delage invents a new concert grand piano, self-engineered at his Sydney, Australia, factory, a piano of "radical construction" from whose "logic and mechanical efficiency came the distinctive new sound." Delage travels from Sydney to Vienna, Austria, which he believes is the center of classical music, to demonstrate his invention. Delage’s piano befuddles Vienna’s insular musical society, but he serendipitously befriends Amalia von Schalla, a wealthy arts patron, then her husband, Konrad, a coldly dispassionate but prosperous investor, and finally her 30-something daughter, Elisabeth. Frank is forever misapprehending the women in his life. He feels sexually drawn to elegantly beautiful Amalia, who radiates eroticism but seems indifferent to him. However, Elisabeth, nearer his age, is attracted to Frank, but he's oblivious. Amalia alternately lures Frank and then rejects him while daughter Elisabeth attaches herself to him with what seems puzzling lassitude. In a post-modern, shape-shifting narrative that pushes Bail’s work into a near stream-of-consciousness dream state, Frank’s sojourn plays out in the past tense, a story told after he chooses to sail home on Romance, a German container ship equipped to carry a few passengers. The narrative unfolds and shifts from setting to setting—Sydney, Vienna, aboard ship—and from paragraph to paragraph and even sometimes within a single sentence. Bail uses no chapters, no delineations, offering the tale in third person. Exotic characters appear, disappear, reappear, including an art critic dressed all in black whose home burns down as he lectures; an experimental composer who destroys a Delage piano as it’s being played by a nude woman; and aboard the Romance, a newly divorced Dutchman, a pair of sisters and a quarreling English couple.
In a quixotic narrative that zigs and zags and turns back upon itself, an esoteric exploration of passion and love, memory and ambition is revealed in pointillist fashion.Pub Date: Feb. 4, 2014
ISBN: 978-1-62365-072-8
Page Count: 144
Publisher: MacLehose Press
Review Posted Online: June 24, 2014
Kirkus Reviews Issue: Dec. 15, 2013
BOOK REVIEW
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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