Ferré at her best (as in Eccentric Neighborhoods) can be a soaring, marvelous writer. But Flight of the Swan never gets off...
Ferré bases her third novel written in English on a real historical incident: ballerina Anna Pavlova’s prolonged stay in Puerto Rico (where she was performing) when the Russian Revolution broke out in 1917.
What a bland, disappointing book, almost totally devoid of the swirling momentum and vivid specificity that made Ferré’s generational sagas The House on the Lagoon (1995) and Eccentric Neighborhoods (1998) so memorable. Not that “Madame” (as she’s addressed by her former student and all-purpose handmaiden Masha, who narrates) isn’t a charismatic and appealing figure: a woman of pronounced populist sentiments despite the image projected by her trademark “ . . . solo The Dying Swan . . . [as] the personification of the aristocrats’ agony.” The problems are created by the heavy weight of exposition that clogs the first hundred pages, and by imperfectly made connections between Pavlova’s love affair with (the much younger) revolutionary dilettante Diamantino Marquez (“For the first time Madame was insisting that Love was more important than Art,” Masha complains), and an awkward subplot in which Diamantino’s arranged marriage to an heiress is threatened by the presence of his rival, her father’s illegitimate son. The inflamed passions and colorful set pieces (including climactic doings at the Juan Ponce De Lémon Carnival) do help, but can’t overcome a superfluity of undigested research, which frequently takes the form of leaden references to the ballerina’s contemporaries (Nijinsky, Diaghilev, Isadora Duncan, et al), and largely pointless cameo appearances by such celebrities as “Lone Eagle” American pilot Daniel Dearborn (in other words, Charles Lindbergh). One gets the impression that Ferré undertook this novel without having decided how Anna Pavlova, the Russian Revolution, the class struggle in Puerto Rico, and a woman’s right to express herself artistically and sexually (a constant undercurrent theme) were logically—much less fictionally—related.
Ferré at her best (as in Eccentric Neighborhoods) can be a soaring, marvelous writer. But Flight of the Swan never gets off the ground.Pub Date: June 1, 2001
ISBN: 0-374-15648-4
Page Count: 256
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2001
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
PERSPECTIVES
IN THE NEWS
SEEN & HEARD
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
