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PARIS ECHO

A fun romp through Paris and history, one that nevertheless makes us understand that the sins of the past are not truly past.

A melancholy and mournful tale of the past's inextricable relationship to the present.

Faulks (Pistache Returns, 2017, etc.) gives us a novel that uses World War II as a way to think about the contemporary refugee crisis and nationalist politics in Europe. He brings us the story of Tariq, a lovelorn, disaffected, and perpetually aroused Algerian teenager whose unfulfilling studies and infatuation with his virginal classmate Laila fill him with romantic dreams of fleeing his home for the streets of Europe. The son of a half-French, half-Arab woman whose father was a French settler, Tariq eventually abandons Algeria for Paris. Meanwhile, an American academic named Hannah arrives in Paris in order to do research on a historical project about the lives of Parisian women under the Vichy government during the war. Hannah is more concerned with the past than the present, but she feels increasingly empty in her history-obsessed life. As Tariq floats through the streets of Paris, looking for shelter and work, his and Hannah's paths eventually cross; soon, Tariq is a lodger in Hannah's apartment. Eventually, however, Hannah's obsession with the past collides with Tariq's complicated family history. Tariq soon finds that the hatred and xenophobia that drove French complicity with Nazi Germany and the settling of Algeria have not evaporated but taken on more subtle manifestations. Narrated in the first person from both Hannah's and Tariq's perspectives, this is a briskly told and engaging novel that sets us in the bustling streets of mid-2000s Paris. However, the prose is workmanlike, even dull at times, never rising to the lyrical heights of books whose subject matter this shares. The comparison might be unfair, but it's hard not to recall novels like Sebald's gorgeous Austerlitz when reading this novel, which suffers for the comparison. Tariq's and Hannah's voices are occasionally unconvincing. Taking Tariq as a hard-up teenage Algerian runaway is difficult when, after running into a mysteriously familiar woman on the Paris Metro, he utters, "I felt she was meant for me as the man I could become, as the man I deep down already am—an older, better man beneath all the clumsy, unimportant stuff of being young and useless and being me." Most unfortunately, the novel's twists are easy to see coming. Still, this is an entertaining novel with memorable characters.

A fun romp through Paris and history, one that nevertheless makes us understand that the sins of the past are not truly past.

Pub Date: Nov. 6, 2018

ISBN: 978-1-250-30565-7

Page Count: 272

Publisher: Henry Holt

Review Posted Online: Sept. 1, 2018

Kirkus Reviews Issue: Sept. 15, 2018

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NORMAL PEOPLE

Absolutely enthralling. Read it.

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A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth

Review Posted Online: Feb. 17, 2019

Kirkus Reviews Issue: March 1, 2019

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THE BLUEST EYE

"This soil," concludes the young narrator of this quiet chronicle of garrotted innocence, "is bad for all kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear." And among the exclusions of white rural Ohio, echoed by black respectability, is ugly, black, loveless, twelve-year-old Pecola. But in a world where blue-eyed gifts are clucked over and admired, and the Pecolas are simply not seen, there is always the possibility of the dream and wish—for blue eyes. Born of a mother who adjusted her life to the clarity and serenity of white households and "acquired virtues that were easy to maintain" and a father, Cholly, stunted by early rejections and humiliations, Pecola just might have been loved—for in raping his daughter Cholly did at least touch her. But "Love is never better than the lover," and with the death of her baby, the child herself, accepting absolutely the gift of blue eyes from a faith healer (whose perverse interest in little girls does not preclude understanding), inches over into madness. A skillful understated tribute to the fall of a sparrow for whose small tragedy there was no watching eye.

Pub Date: Oct. 29, 1970

ISBN: 0375411550

Page Count: -

Publisher: Holt Rinehart & Winston

Review Posted Online: Sept. 30, 2011

Kirkus Reviews Issue: Oct. 1, 1970

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