A green debut that yearns for the caustic wistfulness of Bret Easton Ellis or Nick Hornby, but just misses.
A young Oxford graduate spends his last night of university drinking and reflecting and drinking and drinking and drinking.
Like a literary version of Chumbawumba’s “Tubthumping,” the hero of this debut novel by Oxford-grad Masters gets knocked down—a lot. Eliot Lamb is a 21-year-old English student who is about to get expelled from the idyllic coziness of university. Despite being a textbook example of the British university system, Eliot swears he and his mates are different. “We don’t stand on these benches drunkenly railing the Latin creed at bloated dons and upper-class undergraduates. Nah. We are more likely to chant yob tunes and smack empty pint glasses upside down on our gelled heads,” Masters writes. For this Last Night, Elliot has gathered his tribe in the King’s Arms: There’s Jack, the best mate; Scott, the sensitive rugby player; and the girls, Ella, Abi and Megan, with whom Eliot’s crew shares lurid histories. Masters spikes the drunken ramble from pub to bar to club with flashbacks to Eliot’s university history, not least his heartbroken obsession with former girlfriend Lucy, who receives many the maudlin text message during the narrative. The novel is well-written and propulsive, but there’s a lack of experience that makes the book’s drama seem painfully naïve. “After all that’s happened, I can’t tell if finishing uni is a relief or a tragedy...all the drama; all the heartbreak and confusion. I think we share too much history to lose one another though; we’ve held our thorny secret for so long. But trying to keep it buried has done us no good.” Unfortunately, Elliot’s big “secret” is a worn-out trope found in every freshman creative writing class. The rest of the story, while readable and entertaining, amounts to Elliot’s regular punctuation of “Guzzle, guzzle, chug.”
A green debut that yearns for the caustic wistfulness of Bret Easton Ellis or Nick Hornby, but just misses.Pub Date: Oct. 9, 2012
ISBN: 978-0-307-95566-1
Page Count: 304
Publisher: Hogarth
Review Posted Online: Sept. 1, 2012
Kirkus Reviews Issue: Sept. 15, 2012
BOOK REVIEW
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
PERSPECTIVES
IN THE NEWS
SEEN & HEARD
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