A skillful dramatization of the consequences of making and inhabiting your own world. The Stones ought to write a song about...
The often self-destructive misadventures of “young people severed from all ties to the ordinary world” are chronicled in Lazar’s alluringly creepy second novel (Aaron, Approximately, 1998).
It tells three linked stories, each populated by iconic figures of the late 1960s. Beautiful-boy drifter and sometime rock musician Bobby Beausoleil wanders into the orbit of a charismatic “messiah” named Charlie, whose southern Californian “family” obediently isolate themselves in order to articulate his vision of uncompromising “love.” A few years earlier, several young males survive a frigid winter in an unheated London flat, devoting themselves to the creation of a driving musical style compounded of ingeniously mingled influences and raw technical virtuosity. As Mick, Brian, Keith et al. become the Rolling Stones and their “aloof antistyle” makes them famous, an introverted California boy, Kenneth Anglemyer, having survived the late Depression years and converted his fear of his physically abusive father into an artistic passion, becomes a furtive homosexual cruiser and the celebrated underground filmmaker Kenneth Anger, creator of such abrasive cinema as Scorpio Rising and Flaming Creatures. As pansexual Bobby glides in and out of Anger's life, the Stones grow ever more famous, abuse various substances and one another and attract the attention of the itinerant Anger—who sees in Mick Jagger’s polymorphous perversity the “Angel of Light” Lucifer, for which role Anger had groomed the unstable Bobby. The novel moves swiftly, and Lazar handles the numerous segues from one story to another with a veteran film editor's finesse. The novel drags, so to speak, when focused on the Stones’s sartorial campiness, the suicidal shenanigans of their least energetic member Brian Jones and the sniping brought on by sexual sharing of notorious rock molls Anita Pallenberg and Marianne Faithfull. But the ending has a powerful kick, and we're still hearing its echoes.
A skillful dramatization of the consequences of making and inhabiting your own world. The Stones ought to write a song about it.Pub Date: Jan. 7, 2008
ISBN: 978-0-316-11309-0
Page Count: 224
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2007
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Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
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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
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