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THE BIRD SKINNER

Name: THE BIRD SKINNER
Author: Alice Greenway
ISBN: 978-0-8021-2104-2

by Alice Greenway ‧ RELEASE DATE: Jan. 2, 2014

Sensitive and finely written.

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A visit from a wartime companion’s daughter stirs up unwelcome memories for an embittered ornithologist in this follow-up to Greenway’s Los Angeles Times Book Award–winning debut White Ghost Girls (2006).

Ignoring his doctor’s warnings to quit drinking and smoking, Jim Carroway winds up having a leg amputated in the winter of 1973. No longer able to get around Manhattan independently, he abruptly abandons his work at the American Museum of Natural History and retreats to his childhood summer home on Fox Island in Maine. Jim seems likely to drink himself to death there, perhaps as penance for the unspecified disaster that claimed his wife, Helen, many years earlier, perhaps to finally extinguish the bleak knowledge that “[h]e’d been stuck since the war.” He’s not thrilled to be distracted by the arrival of Cadillac, whose father, Tosca, worked with Jim as a scout in the Solomon Islands, preparing for the U.S. invasion in the summer of 1943. Cadillac is headed to medical school at Yale, and it gives Jim some pleasure to know that the bird-skinning skills imparted to Tosca long ago played a role in lifting his family from poverty and getting his daughter educated. But bleak memories—of Jim’s mean, judgmental grandfather; of his beloved, ultimately doomed Helen; of his grim experiences on Layla Island—make it clear how damaged Jim is. The foreboding mood is somewhat alleviated by the tender friendship that grows between Cadillac and Jim’s son Fergus, but frequent references to Hemingway and to Treasure Island (a book with which Jim is obsessed) do not bode well. Readers who don’t mind the novel’s leisurely pace and brooding tone will appreciate Greenway’s limpid, poetic prose; her richly nuanced portraits of a nicely varied cast of characters on both Fox and Manhattan islands; and her evocative depiction of natural landscapes and the birds whose study gave Jim the only peace he has known.

Sensitive and finely written.

Pub Date: Jan. 2, 2014

ISBN: 978-0-8021-2104-2

Page Count: 320

Publisher: Atlantic Monthly

Review Posted Online: Oct. 4, 2013

Kirkus Reviews Issue: Oct. 15, 2013

Categories:

LITERARY FICTION

- PROFILES
Migration Patterns

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CONCLAVE

by Robert Harris ‧ RELEASE DATE: Nov. 22, 2016

An illuminating read for anyone interested in the inner workings of the Catholic Church; for prelate-fiction superfans, it...

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Harris, creator of grand, symphonic thrillers from Fatherland (1992) to An Officer and a Spy (2014), scores with a chamber piece of a novel set in the Vatican in the days after a fictional pope dies.

Fictional, yes, but the nameless pontiff has a lot in common with our own Francis: He’s famously humble, shunning the lavish Apostolic Palace for a small apartment, and he is committed to leading a church that engages with the world and its problems. In the aftermath of his sudden death, rumors circulate about the pope’s intention to fire certain cardinals. At the center of the action is Cardinal Lomeli, Dean of the College of Cardinals, whose job it is to manage the conclave that will elect a new pope. He believes it is also his duty to uncover what the pope knew before he died because some of the cardinals in question are in the running to succeed him. “In the running” is an apt phrase because, as described by Harris, the papal conclave is the ultimate political backroom—albeit a room, the Sistine Chapel, covered with Michelangelo frescoes. Vying for the papal crown are an African cardinal whom many want to see as the first black pope, a press-savvy Canadian, an Italian arch-conservative (think Cardinal Scalia), and an Italian liberal who wants to continue the late pope’s campaign to modernize the church. The novel glories in the ancient rituals that constitute the election process while still grounding that process in the real world: the Sistine Chapel is fitted with jamming devices to thwart electronic eavesdropping, and the pressure to act quickly is increased because “rumours that the pope is dead are already trending on social media.”

An illuminating read for anyone interested in the inner workings of the Catholic Church; for prelate-fiction superfans, it is pure temptation.

Pub Date: Nov. 22, 2016

ISBN: 978-0-451-49344-6

Page Count: 304

Publisher: Knopf

Review Posted Online: Sept. 6, 2016

Kirkus Reviews Issue: Sept. 15, 2016

Categories:

GENERAL THRILLER & SUSPENSE | LITERARY FICTION | RELIGIOUS FICTION | SUSPENSE | SUSPENSE

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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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.