Works of art may overcome the living here, but artifice and insufferable blather do the job on its reader.
Reduced to a shadow of his former self in imitating Wilde’s The Picture of Dorian Gray, Self (How the Dead Live, 2000) vaults into life’s viscera to lampoon England’s upper crust while skipping across the art/drug/gay culture on both sides of the Atlantic.
Dorian Gray this time around is initially the independently wealthy plaything of a video-installation artist, Baz, whose work Cathode Narcissus, with its iterated imagery of Dorian in the buff, is the combined product of Baz’s drooling passion for his subject and of a drug-laced modeling session. But Baz’s aristo friend and drug benefactor Henry Wotton also takes a guiding hand in Dorian’s development, and in the process a lascivious monster is born. Dionysian debaucheries consume Wotton and his coterie, culminating in a party to celebrate Baz’s installation, now in Dorian’s house, at which Herman, a homeless black hunk Dorian fancies, is so thoroughly used that he immediately goes back to his squat and ODs. A decade later, Baz, Wotton, and Dorian are all HIV-positive, the first two having already started their death spirals. Dorian, however, is still in the lip-smacking bloom of his youth (although something uncanny is happening to his image on the Narcissus videotapes); as Baz visits Wotton in a London AIDS ward, he recounts his adventures with Dorian in 1980s Manhattan, where the golden boy became the toast of the town while Baz kicked his drug habit. Dorian reenters their lives at a dinner party soon thereafter, but that same night Baz is butchered by the man he adored. Other grisly murders follow, as Dorian fights to protect his secret, but Wotton lingers on against all odds. He finally succumbs, though—leaving behind the manuscript that was the novel thus far, a work that triggers a startling transformation in Dorian when it comes into his hands.
Works of art may overcome the living here, but artifice and insufferable blather do the job on its reader.Pub Date: Jan. 1, 2003
ISBN: 0-8021-1729-5
Page Count: 288
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2002
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
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