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THE SANDGLASS

A beautifully crafted second novel from Booker finalist and Sri Lankan—born Gunesekera (Reef, 1995) tells of two warring families in contemporary Sri Lanka. Like the reluctant confession of a wayward spouse, the truth of the tale here is learned incrementally, teased out by inference and gradual revelation. Nor are there any stunning denouements—only a pervasive sadness as two accomplished families, like Sri Lanka’s two real-life warring factions, continue harming each other. The story of the feuding Ducal and Vatunas families is narrated by Chip, himself a Sri Lankan who immigrated in 1975 to London (where he lived in Pearl Ducal’s apartment). A year after Pearl’s death, Chip, in Sri Lanka on business, is anxious to catch up with Pearl’s son Prins, whom he suspects has gone into hiding for fear of his life. Cutting back first to the previous year, when Prins flew to London for his mother’s funeral, Chip continues afterward moving back and forth through time and place as he tells what he learned or intuited of a story beginning back in the 1930s, when Pearl married Jason Ducal. Jason turned out to be an astute businessman, but when he bought his dream house—next to the Vatunas family’s compound—the Ducal family’s troubles began: Esra, the Vatunas patriarch, conspired to undercut a business venture of Jason’s and was probably responsible for his murder in 1956; Esra’s son Tivoli may have been Pearl’s lover; and his grandson Dino seemed determined to block Prins— marriage to Lola Vatunas, Dino’s daughter, and tried to deter Prins— efforts to discover who killed Jason. As Pearl hints in deathbed reminiscences and in letters found afterward, living near the Vatunas family permanently blighted the Ducals— lives. Elegiac in mood and rich in evocations of character and setting, a novel that gracefully limns the origins of a domestic—and national—tragedy.

Pub Date: Oct. 1, 1998

ISBN: 1-56584-484-X

Page Count: 288

Publisher: The New Press

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1998

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THE SECRET HISTORY

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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THINGS FALL APART

This book sings with the terrible silence of dead civilizations in which once there was valor.

Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.

Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.

This book sings with the terrible silence of dead civilizations in which once there was valor.

Pub Date: Jan. 23, 1958

ISBN: 0385474547

Page Count: 207

Publisher: McDowell, Obolensky

Review Posted Online: April 23, 2013

Kirkus Reviews Issue: Jan. 1, 1958

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