A clever and kinky theatrical romp with a big heart.
In this fantasy novel, a disastrous theater troupe specializes in Shakespeare.
In Limerick, Ireland, the Midsummer Players have been presenting Shakespeare’s comedy A Midsummer Night’s Dream for 19 years. Director Terence Devlin hopes that the upcoming 20th anniversary performance will be the one that garners the hardworking, though unevenly talented, company some renown. The Players, however, don’t realize that every fey character mentioned in the famous work is obligated to attend, thanks to a devious bargain with Shakespeare himself. And among the countless productions the fey King Oberon and Queen Titania have witnessed, Devlin’s is one of the worst. Enter the real fairy Puck, who’s come via portal to the mortal world to find a mischief-maker who can infiltrate the Players and halt the show. Del Chapman, who’s just unleashed a computer virus on his employer and made his getaway in a stolen BMW, is stunned when Puck appears in the passenger seat. After causing a car crash to prove his powers, Puck explains to Del that the fairy can’t directly interfere with the Players. Despite misgivings about his acting abilities, Del agrees to ingratiate himself with the troupe and derail the performance. Of course, this chaos agent doesn’t anticipate the long-brewing complications among the actors. In this ribald fantasy, Dash (An Other Place, 2016, etc.) gifts fans of the Bard a nuanced comedy that comments heavily on the travails of monogamy. Almost all of the Players are dysfunctional couples, including Devlin and his middle-aged wife, Anna; Felix Hill and Nuala Shay; and Don Magill and Ingmar Van Dorslaer. Rising star—and Devlin’s secret lover—Kate Pummel and shy banker Diarmid Garrigan are wild cards with whom Del and Puck cause mayhem. The author spices events further by sending Diarmid to the fey realm, where nudity is unremarkable. He laments to Titania and Oberon: “In the human sphere, bodies have different meanings. There is sex in that land, and one is always aware of it.” A duality emerges in the novel, speaking both to the benefits of unfettered sex and the frustration at mortals’ preoccupation with the act.
A clever and kinky theatrical romp with a big heart.Pub Date: June 21, 2018
ISBN: 978-1-71720-021-1
Page Count: 458
Publisher: CreateSpace
Review Posted Online: July 28, 2018
Review Program: Kirkus Indie
This is a masterly novel. It will appeal to all lovers of fiction of the first order.
This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana.
The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense.
This is a masterly novel. It will appeal to all lovers of fiction of the first order.Pub Date: June 1, 1985
ISBN: 068487122X
Page Count: 872
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: May 15, 1985
IN THE NEWS
SEEN & HEARD
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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