George Mills, who lives in St. Louis and makes his living by moving furniture out of the apartments of evicted-black-folks, claims to be "saved." True, there's little in George that obviously seems to justify this state of grace. But saved he says he is. And, to support his claim, there are historical flashbacks here to his ancestors—all the other dirty-worker, shlemazl George Millses of the past, people (like the Jews in history) who have been handed unimaginable misfortune . . . but who have also therefore been granted spiritual and physical survival. Elkin gives us a George Mills in medieval Poland, for instance, lost and looking for a Crusade. ("Kille killee smash balls son bitchee pagan mothers? Killee killee bang chop for Jeezy? Which way Moslem bastards?") And we meet the George Mills who's trapped in an 18th-century Turkish seraglio and must pretend to be a eunuch. But, though very funny about half the time, these Mel-Brooks-style flashbacks (contemporary vernacular in period costume) are the weaker half of this eccentric, loosely assembled, overlong Elkin-thon. Better by far are some of the contemporary sequences. There's the episode in which the modern George Mills takes a side job as an aide to a rich, young, dying woman: they go to Mexico together, to a laetrile clinic—and Elkin manages to make this grand-guignol material into a hilarious circus. There's the detailing of George's job as the evictor of poor blacks—with Elkin's fearless portrayal of despicable people and acts in all their ambiguity. And there's the story of Cornell Messenger, a professor/novelist (and Meals-on-Wheels volunteer) who takes an emotionally fraught trip to Nashville with his clutzy, illiterate son Harve: a skin-prickling vignette of fatherly love and shame. Great set-pieces? Absolutely: Elkin's dark frolics are nothing short of marvelous at their best—full of risk and rich, clotted-cream prose. So, though this 488-page novel is a leaky collection of parts rather than one whole strong book (Elkin is a short-form writer no matter how he's packaged), connoisseurs of comic fiction will consider it required reading: a brilliant set of flags blowing the irrepressible wind of Elkin's fierce, bold comedy.
Pub Date: Oct. 25, 1982
ISBN: 1564782921
Page Count: 548
Publisher: Dutton
Review Posted Online: March 28, 2012
Kirkus Reviews Issue: Oct. 1, 1982
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
© Copyright 2024 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.
