Ferociously imagined, intensely atmospheric, often powerfully compelling, but nonetheless weakened by far too many...
Best known for such vivid and thoughtful literary thrillers as Spider (1990) and Asylum (1997), McGrath extends his range with this ambitious historical melodrama, a tale both as seductively fascinating and as ungainly as its boldly imagined antihero.
Harry Peake, a fatherless and willful Cornishman (with just a dash of Emily Brönte’s Heathcliff in his makeup), sublimates his volatile energies to become a successful fisherman and smuggler (as well as a largely self-taught “poet”)—until he impetuously causes the devastating fire in which his wife perishes, leaving Harry permanently crippled and reduced to supporting himself and his young daughter by exhibiting his deformity (as “the Cripplegate Monster”) and unlikely book-learning, in the taverns of late–18th-century London. In a series of rich Hogarthian scenes, McGrath memorably portrays the mutually dependent love between Harry and the fiercely devoted Martha, his surrender to the curse of drinking that his always plagued him, and the subsequent act of violence that destroys their closeness and separates them forever. Meanwhile, the “scientific” interest taken in Harry’s unique physical condition by wealthy anatomist Lord Drogo—which eventually occasions the telling of Harry’s story, to the young narrator Ambrose, who relays it to us, with his own embellishments—results in Martha’s emigration to safety with relatives in Massachusetts Bay Colony, on the eve of the American Revolution. A rather tortured plot twist involves her in an exchange of secrets whose upshot ironically casts her as a heroine and martyr to the Revolution, and McGrath brings it all to an even more ironic conclusion, as Ambrose discovers the full truth of Lord Drogo’s machinations and of Harry’s arduous final pilgrimage toward forgiveness and rest.
Ferociously imagined, intensely atmospheric, often powerfully compelling, but nonetheless weakened by far too many reversals, surprises, and interlocking narrative levels. Martha Peake delivers the goods, but wraps them in so much complexity and fustian that their brilliance is needlessly shrouded and muted.Pub Date: Oct. 13, 2000
ISBN: 0-375-50081-2
Page Count: 400
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2000
A deeply satisfying novel, both sensuously vivid and remarkably poignant.
Norwegian novelist Jacobsen folds a quietly powerful coming-of-age story into a rendition of daily life on one of Norway’s rural islands a hundred years ago in a novel that was shortlisted for the 2017 Man Booker International Prize.
Ingrid Barrøy, her father, Hans, mother, Maria, grandfather Martin, and slightly addled aunt Barbro are the owners and sole inhabitants of Barrøy Island, one of numerous small family-owned islands in an area of Norway barely touched by the outside world. The novel follows Ingrid from age 3 through a carefree early childhood of endless small chores, simple pleasures, and unquestioned familial love into her more ambivalent adolescence attending school off the island and becoming aware of the outside world, then finally into young womanhood when she must make difficult choices. Readers will share Ingrid’s adoration of her father, whose sense of responsibility conflicts with his romantic nature. He adores Maria, despite what he calls her “la-di-da” ways, and is devoted to Ingrid. Twice he finds work on the mainland for his sister, Barbro, but, afraid she’ll be unhappy, he brings her home both times. Rooted to the land where he farms and tied to the sea where he fishes, Hans struggles to maintain his family’s hardscrabble existence on an island where every repair is a struggle against the elements. But his efforts are Sisyphean. Life as a Barrøy on Barrøy remains precarious. Changes do occur in men’s and women’s roles, reflected in part by who gets a literal chair to sit on at meals, while world crises—a war, Sweden’s financial troubles—have unexpected impact. Yet the drama here occurs in small increments, season by season, following nature’s rhythm through deaths and births, moments of joy and deep sorrow. The translator’s decision to use roughly translated phrases in conversation—i.e., “Tha’s goen’ nohvar” for "You’re going nowhere")—slows the reading down at first but ends up drawing readers more deeply into the world of Barrøy and its prickly, intensely alive inhabitants.
A deeply satisfying novel, both sensuously vivid and remarkably poignant.Pub Date: April 7, 2020
ISBN: 978-1-77196-319-0
Page Count: 272
Publisher: Biblioasis
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
Young Starla is an endearing character whose spirited observations propel this nicely crafted story.
Crandall (Sleep No More, 2010, etc.) delivers big with a coming-of-age story set in Mississippi in 1963 and narrated by a precocious 9-year-old.
Due in part to tradition, intimidation and Jim Crow laws, segregation is very much ingrained into the Southern lifestyle in 1963. Few white children question these rules, least of all Starla Caudelle, a spunky young girl who lives with her stern, unbending grandmother in Cayuga Springs, Miss., and spends an inordinate amount of time on restriction for her impulsive actions and sassy mouth. Starla’s dad works on an oil rig in the Gulf; her mother abandoned the family to seek fame and fortune in Nashville when Starla was 3. In her youthful innocence, Starla’s convinced that her mother’s now a big singing star, and she dreams of living with her again one day, a day that seems to be coming more quickly than Starla’s anticipated. Convinced that her latest infraction is about to land her in reform school, Starla decides she has no recourse but to run away from home and head to Nashville to find her mom. Ill prepared for the long, hot walk and with little concept of time and distance, Starla becomes weak and dehydrated as she trudges along the hot, dusty road. She gladly accepts water and a ride from Eula, a black woman driving an old truck, and finds, to her surprise, that she’s not Eula’s only passenger. Inside a basket is a young white baby, an infant supposedly abandoned outside a church, whom Eula calls James. Although Eula doesn’t intend to drive all the way to Nashville, when she shows up at her home with the two white children, a confrontation with her husband forces her into becoming a part of Starla’s journey, and it’s this journey that creates strong bonds between the two: They help each other face fears as they each become stronger individuals. Starla learns firsthand about the abuse and scare tactics used to intimidate blacks and the skewed assumption of many whites that blacks are inferior beings. Assisted by a black schoolteacher who shows Eula and Starla unconditional acceptance and kindness, both ultimately learn that love and kinship transcend blood ties and skin color.
Young Starla is an endearing character whose spirited observations propel this nicely crafted story.Pub Date: July 2, 2013
ISBN: 978-1-4767-0772-3
Page Count: 320
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: May 20, 2013
Kirkus Reviews Issue: June 15, 2013
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