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GLOVER’S MISTAKE

Another sharply observed book by a very funny writer, though this time there’s more charm than depth.

Laird (Utterly Monkey, 2006, and the husband of novelist Zadie Smith) returns with a comedy of manners concerning romance in the transcontinental art world.

A native of Northern Ireland who later lived in London and now teaches in New York, Laird has positioned himself perfectly with this book. The fast-paced setup quickly engages the reader: A 35-year-old teacher and sometimes art blogger named David Pinner learns of a London exhibition by his former teacher, an American artist named Ruth Marks. David remembers Ruth as having a profound effect on his life, and he was apparently more than a little smitten with her, but an age gap of 13 years seemed insurmountable then. David remains undaunted when Ruth has no memory of him, and the two renew (or start) a friendship that David plainly hopes will blossom into something more. Yet his wishes go awry once Ruth meets David’s 23-year-old flat mate, James Glover, a bartender who is considerably less cultured but much better looking. Perhaps because she inhabits a world of aesthetics, the thrice-married Ruth falls hard for this innocent less than half her age, though some crucial character revelations make it hard for them to consummate their relationship. Though James is the titular character, the novel is more about David—how he seethes and schemes, revealing so much of his character in his attempts to subvert the relationship between the two people to whom he apparently feels closest. There’s a romantic triangle, though Ruth barely acknowledges David’s interest as more than friendship (making him feel “like a eunuch,”) while James intuits that David might be more jealous of Ruth’s claim on James than vice versa. As David begins an online flirtation and continues to write supercilious, self-serving blog entries for the deliciously named Damp Review, the reader must discover whether Ruth or David is James Glover’s Mistake.

Another sharply observed book by a very funny writer, though this time there’s more charm than depth.

Pub Date: July 13, 2009

ISBN: 978-0-670-02097-3

Page Count: 256

Publisher: Viking

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 2009

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THE SECRET HISTORY

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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THE TESTAMENTS

Suspenseful, full of incident, and not obviously necessary.

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  • New York Times Bestseller


  • Booker Prize Winner

Atwood goes back to Gilead.

The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.

Suspenseful, full of incident, and not obviously necessary.

Pub Date: Sept. 10, 2019

ISBN: 978-0-385-54378-1

Page Count: 432

Publisher: Nan A. Talese

Review Posted Online: Sept. 3, 2019

Kirkus Reviews Issue: Sept. 15, 2019

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