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ACROSS THE RIVER

A thoughtful and powerfully written war novel.

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A Confederate spy becomes caught between duty and love in this Civil War drama. 

In 1863, Judson Walker, a Confederate captain and a member of the infamous Morgan’s Raiders, is sent to Furnass, Pennsylvania—deep in enemy territory—on a sensitive mission disguised as a Union officer. Jonathan Reid, an engineer, accompanies him. The two are tasked with determining if the road engines invented by Colin Lyle could be modified to make Gatling guns even deadlier, a technological innovation that could sway the outcome of the war. Walker does his best to keep up the ruse that he’s a Union soldier despite his Southern accent, since “if someone exposed him right now as a Southern spy,” there were people who “would probably run from their houses and beat him to death, tear him limb from limb for being a traitor.” Walker frets anxiously that Libby, Colin’s wife, suspects him—she too is a Southerner, originally from South Carolina, and quickly detects his accent—but he also begins to have irrepressible feelings for her that could compromise his operation. Meanwhile, Reid observes Walker’s growing attachment to Libby and is confronted with the possibility that he’ll have to take matters into his own hands. Snodgrass (All Fall Down, 2018, etc.) sensitively investigates the ways in which the lines between the North and South could be hazily drawn—Walker realizes that “by some definitions he was a Northerner himself.” Reid loathes Walker for his incarnate representation of everything wrong with the South, “the backwoods mentality, the backwater view of the world.” The author’s meticulous, measured prose is well-suited to his principal literary task: the depiction of ambiguity that resides in the interstices between heavy-handed extremisms. Walker is a grippingly complex character. An educated man—he’s a lawyer—he’s willing to risk his life for the South, but he’s hardly an ideological partisan. And Colin, too, is more layered than he at first seems—a scientific fanatic, he’s so committed to his invention he’s either incapable or unwilling to notice the electricity between Libby and Walker. But despite Colin’s professional commitments, he’s not coldly rational either: “Maybe that’s why I find machines easier to deal with than people. When a machine doesn’t do what you want it to, you simply make a new gear or whatever. Maybe someday we’ll be able to make one for the human heart.” Snodgrass artfully infuses the plot with tantalizing suspense that feels like a cord pulled taut that could break at any moment. This is not a formulaic rendering of the distance between the personal and the obligatory but something deeper and more profound. Walker’s burgeoning love for Libby compels him to re-evaluate the very nature of his obligations, as if his feelings produced a new clarity. The author’s impressive achievement is to upend the simplistic interpretation of the Civil War: two sides warring against each other out of perfectly confident and implacable hate. 

A thoughtful and powerfully written war novel. 

Pub Date: N/A

ISBN: 978-0-9997699-1-1

Page Count: 329

Publisher: Calling Crow Press

Review Posted Online: March 27, 2019

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THE ALCHEMIST

Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.

Coelho is a Brazilian writer with four books to his credit. Following Diary of a Magus (1992—not reviewed) came this book, published in Brazil in 1988: it's an interdenominational, transcendental, inspirational fable—in other words, a bag of wind. 

 The story is about a youth empowered to follow his dream. Santiago is an Andalusian shepherd boy who learns through a dream of a treasure in the Egyptian pyramids. An old man, the king of Salem, the first of various spiritual guides, tells the boy that he has discovered his destiny: "to realize one's destiny is a person's only real obligation." So Santiago sells his sheep, sails to Tangier, is tricked out of his money, regains it through hard work, crosses the desert with a caravan, stops at an oasis long enough to fall in love, escapes from warring tribesmen by performing a miracle, reaches the pyramids, and eventually gets both the gold and the girl. Along the way he meets an Englishman who describes the Soul of the World; the desert woman Fatima, who teaches him the Language of the World; and an alchemist who says, "Listen to your heart" A message clings like ivy to every encounter; everyone, but everyone, has to put in their two cents' worth, from the crystal merchant to the camel driver ("concentrate always on the present, you'll be a happy man"). The absence of characterization and overall blandness suggest authorship by a committee of self-improvement pundits—a far cry from Saint- Exupery's The Little Prince: that flagship of the genre was a genuine charmer because it clearly derived from a quirky, individual sensibility. 

 Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.

Pub Date: July 1, 1993

ISBN: 0-06-250217-4

Page Count: 192

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 1993

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 21, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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