Again, as in many of his recent short stories, Trevor devotes this immaculate new novel to the insidious legacy, the spreading stain, of random acts of violence—specifically those rooted in Ireland's "continuing battleground." The most richly kind and gentle of people—like the mill-owning Quintons of Kilneagh—can become the fools of fortune in the wake of violence, as recalled by William Quinton in the novel's first section. William remembers himself at age eight in 1918, tutored by Father Kilgarriff, a mysteriously unfrocked priest, in a "scarlet dining room fragrant with the scent of roses." He recalls his father, a "bulky, lazy-looking" man who favors a teddy-bear dressing gown and walking down a silent avenue of beech trees trailed by his dogs; pretty English-born Mother, who wields untroubled authority; two small sisters; and, in the "orchard wing" of Kilneagh, Aunt Fitzeustace of "notable jaw" and timid Aunt Pansy. But this rose-scented idyll will be blasted apart after the Quintons, foes of injustice, welcome revolutionist Michael Collins at Kilneagh: the children are thrilled and horrified by the obscene execution of Doyle, one of Father's mill workers, who has been spying for the Black and Tans. And then an English spy named Rudkin, Doyle's contact, will wave a friendly greeting on a street comer to Father and Willie—the day before Father's body smoulders on the stairs of Kilneagh, the two screaming little girls dying in flames. . . while bullets splatter and the dogs' barking abruptly stops. In the years that follow, while Mother sinks into grieving alcoholism, Willie finds cruelty and hatred at school but finds love with his English cousin Marianne. And though, after Mother dies of self-inflicted violence, Willie fulfills a vengeful legacy and leaves Ireland, Marianne will bear his child: Imelda, who'll be raised, fatherless, in the ruins of Kineagh, sealed into the bitter past by Marianne and those aging wraiths of the orchard wing. So, even decades later, the screams of burning children will still sound over the scent of roses—in the mind of mad, middle-aged Imelda. Like the story "Matilda's England" in Lovers of Their Time: a masterly tracing of the shadow of violence through time, muted but never canceled out by love—in a restrained, elegant, austerely affecting family-tale.
Pub Date: Oct. 1, 1983
ISBN: 0143039628
Page Count: 207
Publisher: Viking
Review Posted Online: Oct. 6, 2011
Kirkus Reviews Issue: Oct. 1, 1983
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
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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