Overwritten and murky, but there’s life in it—will appeal most to fans of Smilla’s Sense of Snow.
A former circus clown’s efforts to save endangered children is the unusual premise of the bestselling Danish author’s labyrinthine fifth novel (Tales of the Night, 1998, etc.).
The carefully layered narrative, reminiscent of both Høeg’s Smilla’s Sense of Snow and Borderliners, unfolds through the experiences, intuitions and memories of Kasper Krone, in his early 40s and retired from the circus. Kasper is gifted (cursed?) with “absolute hearing”: the ability to sense and comprehend other people through the distinctive sound waves they emit. He’s also a passionate devotee of classical music (especially Bach) and a former gambler and tax-evader whom the Danish government threatens to deport. Then a convent well-connected to secular government activities offers Kasper a way out of his dilemma. Agreeing to safeguard a group of children who possess paranormal powers akin to his own, he’s whirled into a maelstrom of intrigue involving strategies to reverse the recent pattern of devastating floods caused by earthquakes, the disappearance (and likely kidnapping) of a strangely prescient preadolescent girl, KlaraMaria, and evidence of exploitation of children that may include sexual abuse and is perhaps condoned by the Church (represented by the figure of an enigmatic abbess, the Blue Lady). All this is formidably complicated, and made even more baffling by oddly juxtaposed past and present scenes and by Høeg’s habit of jump-cutting to the middle of a scene, which he subsequently presents in full. The novel is portentous, clogged with discursive detail (much of which is genuinely interesting) and—particularly in the unconvincing climactic action—rather cloyingly sentimental. But the real mystery is absorbing, and Høeg generates great intensity by developing his characters through their interactions and confrontations. Kasper is fascinating, as are his moribund father (and collaborator) Maximilian, several spirited women (including Kasper’s former lover Stina) and, of course, the elusive “quiet girl” KlaraMaria.
Overwritten and murky, but there’s life in it—will appeal most to fans of Smilla’s Sense of Snow.Pub Date: Nov. 8, 2007
ISBN: 978-0-374-26369-0
Page Count: 416
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2007
BOOK REVIEW
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
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
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IN THE NEWS
SEEN & HEARD
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