by Jack Kerouac ‧ RELEASE DATE: June 18, 2011
An impressive framework for the full-tilt multimedia treatment that, one hopes, will surely follow. Gadget freak and...
The Beat Generation’s enduring classic dons new high-tech clothes in this excellent digital treatment.
The story of the making of On the Road, first published in 1957, is much told and much embellished, and the business of Kerouac’s banging out a draft in a sitting on a 120-foot-long teletype roll is a bit more complex than all that. (That’s what occasioned Truman Capote’s famous remark, “That’s not writing. That’s typing.”) Literary scholar Howard Cunnell does a solid job, in a long and circumstantial essay presented in the section called “Publication,” of recounting Kerouac’s years-long project of writing On the Road, in which, in some instances, he worked in “a large, pleasant room in Chelsea” rather than in the more fraught demimondes of the novel. Still, there was indeed a scroll, portions of which are presented here, and it’s fascinating to see the differences between it—the draft therein written in 1951—and Kerouac’s 1957 edition. In fact, this redlined version is worth the price of admission, and literary scholars ought to be clamoring for the whole scroll done in this way. The most important thing about the book is, of course, the book, and one wishes it had been given grander treatment, with abundant photos and hyperlinks and vignettes of Kerouac reading his work viva voce—the stuff, one might imagine, of a deluxe edition down the road. As it is, the text is easily navigated and bookmarked, and it’s nicely designed: It looks like a real book, rather than an afterthought. Other features of this digital edition include too-brief biographies of the players in the book (there is much more to say about such figures as Herbert Huncke and Alan Harrington, for instance).
An impressive framework for the full-tilt multimedia treatment that, one hopes, will surely follow. Gadget freak and tinkerer Neal Cassady would have dug it.Pub Date: June 18, 2011
ISBN: N/A
Page Count: -
Publisher: Penguin
Review Posted Online: April 2, 2012
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by Max Brooks ‧ RELEASE DATE: June 16, 2020
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
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New York Times Bestseller
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
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BOOK TO SCREEN
by Colleen Hoover ‧ RELEASE DATE: Aug. 2, 2016
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...
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IndieBound Bestseller
Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.
At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.Pub Date: Aug. 2, 2016
ISBN: 978-1-5011-1036-8
Page Count: 320
Publisher: Atria
Review Posted Online: May 30, 2016
Kirkus Reviews Issue: June 15, 2016
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