by Bernard MacLaverty ‧ RELEASE DATE: Sept. 8, 1997
A lyric novel about music and motherhood. Catherine McKenna is an Irish-born pianist and composer whose emotional turbulence sets the tone for a significant part of the story's soft yet visceral verbal music. Catherine's unusually delicate sense of psychic balance is thrown off by two events in particular: the birth of her first child, Anna, and the sudden death of her estranged yet beloved father. Catherine is not married; her mate is a (mostly) lovable drunkard. As an iconoclastic only child who left her family's home in a small town near Belfast for a university education and career in Scotland, the adult Catherine rarely visits or phones her disappointed parents. Her musical career, though, is flourishing, with the BBC broadcasting her work and commissions coming her way at last. Using flashbacks, interior monologues, and dialogue, MacLaverty very gradually creates a complex, dimensional character, until the third-person narrative seems to speak directly to us from Catherine's struggling soul: ``It gave Catherine a strange feeling, this invisible cascade of darkness. She felt suffocated by it quilting downwards—whatever it was. This diminuendo of light brought about by something intangible—odourless—invisible.'' The drawback of MacLaverty's mildly impressionistic approach is the slow, even anticlimactic pace of some scenes, those portraying the domesticity of Catherine's relatively cloistered life, for example, or those, especially, involving her father's death, which open the story. Catherine's character, as it emerges from the fragmentary narrative, tends to overshadow everyone else in a novel guided less by ``story'' than by musical tides and perturbations. It's clear that MacLaverty (Walking the Dog, 1995, etc.) has tried to do something rather difficult: to suggest the interior life of an artist struggling to balance the urgent demands of creating music and the equally pressing demands of life. Very often, he succeeds in this complex portrait of a woman who is, first and foremost, an artist.
Pub Date: Sept. 8, 1997
ISBN: 0-393-04542-0
Page Count: 288
Publisher: Norton
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: Aug. 1, 1997
Categories: LITERARY FICTION
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by George Orwell ‧ RELEASE DATE: Aug. 26, 1946
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
Categories: LITERARY FICTION
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by George Orwell ; edited by Peter Davison
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by George Orwell & edited by Peter Davison
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by Sally Rooney ‧ RELEASE DATE: April 16, 2019
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth/Crown
Review Posted Online: Feb. 18, 2019
Kirkus Reviews Issue: March 1, 2019
Categories: LITERARY FICTION
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