Lock deftly tells a visceral story of belief and conflict, with abundant moments of tragedy and transcendence along the way.
A man with a long connection to Emily Dickinson loses his faith in the midst of battle.
Narrator Robert Winter is a chaplain in the United States Army in the mid-19th century—giving him a firsthand view of the fracturing of society leading to the Civil War. The novel is structured as Robert’s correspondence with Dickinson, whose ideals and aesthetics serve as a contrast to his own loss of faith. Lock does a fine job of making Winter feel like a man of his time: Though he’s progressive by the standards of a white man of his day, his blind spots are pointed out by some, including a young Samuel Clemens. As he moves from conflict to conflict, Robert’s own mind becomes more tortured. “There is no way to tell of it in words,” he writes, regarding war, before offering up a grotesque metaphor. The novel is enlivened by signs that Robert is, while not an unreliable narrator, possibly a selective one. Several major life events happen to him in passing between two of the book’s sections, and his own (chronologically) first encounter with Dickinson isn’t revealed on the page until a good distance into the book—which, in turn, prompts the reader to re-evaluate some of the pair’s earlier interactions. Although this is the story of Robert’s growing loss of faith, he shows a propensity for using Jesus’ life as a metaphor for his own. As with each installment of Lock’s The American Novels series (A Fugitive in Walden Woods, 2017, etc.), this work stands on its own entirely well, though readers of his prior books will find connections both thematic and literal.
Lock deftly tells a visceral story of belief and conflict, with abundant moments of tragedy and transcendence along the way.Pub Date: June 5, 2018
ISBN: 978-1-942658-38-2
Page Count: 288
Publisher: Bellevue Literary Press
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
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
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"This soil," concludes the young narrator of this quiet chronicle of garrotted innocence, "is bad for all kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear." And among the exclusions of white rural Ohio, echoed by black respectability, is ugly, black, loveless, twelve-year-old Pecola. But in a world where blue-eyed gifts are clucked over and admired, and the Pecolas are simply not seen, there is always the possibility of the dream and wish—for blue eyes. Born of a mother who adjusted her life to the clarity and serenity of white households and "acquired virtues that were easy to maintain" and a father, Cholly, stunted by early rejections and humiliations, Pecola just might have been loved—for in raping his daughter Cholly did at least touch her. But "Love is never better than the lover," and with the death of her baby, the child herself, accepting absolutely the gift of blue eyes from a faith healer (whose perverse interest in little girls does not preclude understanding), inches over into madness. A skillful understated tribute to the fall of a sparrow for whose small tragedy there was no watching eye.
Pub Date: Oct. 29, 1970
ISBN: 0375411550
Page Count: -
Publisher: Holt Rinehart & Winston
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Oct. 1, 1970
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