by Richard Wright ‧ RELEASE DATE: Jan. 8, 2008
Wright did not live to resolve the dilemma thus created. Furthermore, A Father’s Law is astonishingly awkwardly written, and...
When Richard Wright (1908–60) died, much too young and essentially a stranger in his own country who had found a more congenial “home” in postwar Paris, he was remembered, if at all, as a transitional figure. Between the handful of respected black American authors (such as Charles W. Chesnutt, Claude Mackay and Langston Hughes) and the later, more abrasive achievements of James Baldwin, Toni Morrison, John Edgar Wideman and others, there were Wright’s major books. His powerhouse debut novel Native Son, the bitter short stories collected as Uncle Tom’s Children, the impassioned autobiography Black Boy—all now enshrined in the Library of America—bore electrifying witness to the enduring relevance of a writer who made it his life’s mission to dramatize his people's struggles against racist intolerance and injustice.
Now comes A Father’s Law, a never-before-published, unfinished novel. The book was written during Wright’s last illness, which perhaps explains its ungainly, virtually inchoate state. In an introduction to the work, Wright’s daughter, Julia, candidly describes it as a “faulty, sketchy, sometimes repetitive draft.” The book attempts something genuinely new in his oeuvre—a metaphysical crime thriller—and it eerily echoes its author’s own experience. The story begins when veteran black Chicago policeman Rudolph “Ruddy” Turner is summoned to his station late at night and informed that he has been appointed Police Chief. The complication: A series of unsolved murders in the “independent municipality” of Brentwood Park, a hotbed of gambling, prostitution and worse, has become a number-one police priority. Ruddy’s problems are exacerbated at home, in his troubled relationship with his college-age son Tommy, a gifted student and athlete whose renegade intellect questions the legitimacy of laws his father is sworn to uphold—and gradually raises Ruddy’s suspicions that Tommy is implicated in the murders. For Tommy, like the young Richard Wright, has broken off his engagement to a girl afflicted with congenital syphilis (the story is briefly told in Michel Fabre’s 1993 biography The Unfinished Quest of Richard Wright). Was Tommy driven to crime, his father agonizes? Or was he attempting to seek punishment he felt he deserved, even for crimes he did not commit?
Wright did not live to resolve the dilemma thus created. Furthermore, A Father’s Law is astonishingly awkwardly written, and would surely not have been offered for publication without major revisions. Still, it lurks in Wright’s harsh oeuvre: a perhaps impenetrable enigma. We cannot salute it as major, even as significant work. But we can understand why Julia Wright thought we needed to see it.Pub Date: Jan. 8, 2008
ISBN: 978-0-06-134916-4
Page Count: 288
Publisher: Perennial/HarperCollins
Review Posted Online: May 19, 2010
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
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
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by George Orwell ‧ RELEASE DATE: Aug. 26, 1946
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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by George Orwell ; edited by Peter Davison
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by George Orwell & edited by Peter Davison
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