Somehow, it makes sense that when Walter Mosley puts forth a novel of ideas, it arrives with the unexpected force of a left...
The versatile, justly celebrated creator of Easy Rawlins, Leonid McGill, and other iconic crime solvers raises the stakes with this tightly wound combination of psychological suspense and philosophic inquiry.
Every now and then, Mosley (Down the River Unto the Sea, 2018, etc.) likes to pitch a change-up to his detective novel devotees with forays into racy melodrama (Debbie Doesn’t Do It Any More, 2014) and science fiction (Inside a Silver Box, 2015). Here he weaves elements of both the erotic and the speculative into a taut, riveting, and artfully edgy saga of a charismatic and controversial history professor at a mythical southwestern university. If his name, which is the same as the novel’s, sounds like an alias, it is an alias: In a previous life, John Woman’s name was Cornelius Jones, a shy teenage bookworm filling in for his invalid father, Herman, a projectionist in a silent-movie repertory theater in Manhattan’s East Village. Cornelius, or CC, finds his unassuming life disrupted when the theater’s owner barges into the projection booth threatening to fire his dad. CC kills the owner and hides his corpse in a trunk that he stows in a built-in bookcase concealed from view. After his father dies, Cornelius changes his identity, attends both City College and Harvard, and eventually heads for the New University of the Southwest, where, as professor Woman, he achieves a reputation as a demanding instructor of “deconstructionist historical devices,” intended to challenge students to think outside conventional definitions of recorded time. Woman’s provocative approach to his subject bewilders most of his students (at first) while ticking off fellow faculty members enough to look for any reason to dismiss him. In the meantime, Woman makes things hotter for himself with an affair with a student and is chilled by the enigmatic shadows stalking him, whether it’s a mysterious billionaire auditing his class or anonymous notes he finds on his kitchen table alluding to his deadly past.
Somehow, it makes sense that when Walter Mosley puts forth a novel of ideas, it arrives with the unexpected force of a left hook and the metallic gleam of a new firearm.Pub Date: Sept. 4, 2018
ISBN: 978-0-8021-2841-6
Page Count: 384
Publisher: Atlantic Monthly
Review Posted Online: June 17, 2018
Kirkus Reviews Issue: July 1, 2018
BOOK REVIEW
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Absolutely enthralling. Read it.
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
"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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BOOK REVIEW
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