by Pascal Mercier translated by Shaun Whiteside ‧ RELEASE DATE: Jan. 1, 2012
A slow-moving portrait of grief and dislocation by the author of the fast-moving Night Train to Lisbon (2007).
The Perlmann of the present novel—Swiss author Mercier’s first book, published in German in 1995—is a German linguist, the master of several languages, who has recently lost his wife and, with her, his interest in much of anything that has to do with his former life. Once he had been passionately committed to the world of language and the mind, even disengaging from his parents over their insistence on speaking their native Plattdeutsch (“they were increasingly led simply by the phrases and metaphors of the dialect, and by the prejudices that were crystallized in it”). Now Perlmann hangs around his apartment, avoiding the work he is supposed to be doing. All that changes when, at one of the conferences Perlmann still constantly attends, an Italian linguist, now employed by industry, recruits him to become part of a think tank of scholars devoted to questions of how language affects mind and vice versa. Perlmann finds himself out of his element in the political jockeying of the para-academic group, where battles of one-upmanship are played out with cigarette packs (this is Europe, after all, and everyone smokes); moreover, he’s frozen when he finds himself called on to deliver a keynote address, finally turning in desperation to the work of an unsung scholar that he thinks he can pass off as his own. Plagiarism thus hatched, Perlmann breathes a little easier—until, that is, he learns that the source of his stealing has scraped up the rubles necessary to travel to the conference. Writes Mercier, “There was only one thing he hadn’t thought about: that Leskov was a flesh-and-blood human being with his own will and pride.” The setup is worthy of a David Lodge or Malcolm Bradbury, but Mercier lacks the humor of either of those English satirists; instead, the novel settles into a kind of slow funk, the literary equivalent of moping, as Perlmann wrestles with what to do next, surprised by his own torpor and reluctance. But for readers of a philosophical bent, appreciative of slowly unfolding, elegant tales, this will be a pleasure.
Pub Date: Jan. 1, 2012
ISBN: 978-0-8021-1957-5
Page Count: 624
Publisher: Grove
Review Posted Online: Dec. 18, 2011
Kirkus Reviews Issue: Jan. 1, 2012
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by Pascal Mercier ; translated by Shaun Whiteside
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by Pascal Mercier & translated by Barbara Harshav
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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BOOK TO SCREEN
by Toni Morrison ‧ RELEASE DATE: Oct. 29, 1970
"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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by Toni Morrison edited by David Carrasco Stephanie Paulsell Mara Willard
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