Funny, fresh, and briskly written: a good start by a quick study.

HUNTING THE LAST WILD MAN

A raucous debut by Spanish author Vallvey, with Gypsies, jewel thieves, morticians, and sibling rivalry (female variant) all mixed into one palette like so many shades of lurid crimson.

A house of nine women and no men is going to be full of stories just about anywhere—but in Spain it will be a virtual Decameron. Perhaps that is why narrator Candela works at a morgue, where she is able to talk to her clients without being interrupted. Candela’s younger sister Gador has recently moved back home after discovering a cache of videotapes on which her husband Victor filmed himself committing serial adultery with a wide assortment of near-strangers. She and Candela share a room. Just down the hall are their sisters Carmina, Paula, Bely, and Brandy, their widowed Mama, and their Grandma and Aunt Mary. Compared to such a domestic hothouse, the morgue is an oasis of calm—until the arrival of Joaquin, the Gypsy patriarch who arrives for burial in a top hat and cane. Inside the cane (which rigor mortis has permanently attached to Joaquin’s right hand) Candela discovers a pile of diamonds and deftly pockets them. Later, she falls in love with Amador, Joaquin’s son, who apparently knew nothing of the cane’s contents. Did anyone, other than Joaquin himself? Imagine living in a madhouse where you have a fortune tucked away in some dresser drawer. Then ask yourself which is the better risk: sell the stolen goods that will purchase your freedom but might bring a long stint in jail; or stay cooped up with eight other neurotics like yourself. Don’t take too long answering that one.

Funny, fresh, and briskly written: a good start by a quick study.

Pub Date: March 1, 2001

ISBN: 1-58322-488-2

Page Count: 192

Publisher: Seven Stories

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2002

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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