A murky and elliptical descent into darkness.
German writer from the former GDR, Wolf offers her latest intellectual-personal foray (Medea: A Modern Retelling, 1998, etc.): a somber, spare, sensitive treatment of pain, illness and memory.
Having been brought to the hospital by ambulance because of abdominal pain, the unnamed narrator, who moves somewhat ambiguously from first to third person, offers a blow-by-blow testament of her treatment and deteriorating condition. Under the care of the taciturn head of surgery, Herr Chefarzt, and a succession of busy nurses, the patient is left helpless, vulnerable to the invading army around her who “inspect the drains, change the IV bottles, wash and reposition the thing my body is for them.” Laid low by a “runaway body,” the character’s mind cracks under the pain and drugs she’s subjected to, and a long life of memories begins to intrude. She recalls her relationships with a wily fellow East German and perhaps lover, Urban, who moves into high office and subsequently hangs himself in the woods after a crisis of conscience; a colleague and friend from the university, Renate, who loves Urban and is made miserable by him; and Aunt Lisbeth, who, in 1944 Berlin, has a child out of wedlock by a Jew. The patient is enchanted by mythical associations surrounding the name of one of her nurses, Kora Bachmann, who “will lead me into darkness. . . she’ll watch over me, keep an eye on my heartbeat, I’m reassured.” The speaker mines a kind of collective memory of Communist rupture and reinvention, and, lest the reader of English miss her literary and political allusions, the translator has provided a list of endnotes. Wolf deconstructs words such as collapse, cut, and expose, moving from the personal (pathological) definitions to the political. After meeting with Urban in the Underworld, the woman begins to emerge into health and light again, and yet the lasting impression of this work is dour and pedantic.
A murky and elliptical descent into darkness.Pub Date: Jan. 1, 2005
ISBN: 1-56792-267-8
Page Count: 144
Publisher: Godine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2004
Once again, Hilderbrand displays her gift for making us care most about her least likable characters.
Hilderbrand’s latest cautionary tale exposes the toxic—and hilarious—impact of gossip on even the most sophisticated of islands.
Eddie and Grace Pancik are known for their beautiful Nantucket home and grounds, financed with the profits from Eddie’s thriving real estate company (thriving before the crash of 2008, that is). Grace raises pedigreed hens and, with the help of hunky landscape architect Benton Coe, has achieved a lush paradise of fowl-friendly foliage. The Panciks’ teenage girls, Allegra and Hope, suffer invidious comparisons of their looks and sex appeal, although they're identical twins. The Panciks’ friends the Llewellyns (Madeline, a blocked novelist, and her airline-pilot husband, Trevor) invested $50,000, the lion’s share of Madeline’s last advance, in Eddie’s latest development. But Madeline, hard-pressed to come up with catalog copy, much less a new novel, is living in increasingly straightened circumstances, at least by Nantucket standards: she can only afford $2,000 per month on the apartment she rents in desperate hope that “a room of her own” will prime the creative pump. Construction on Eddie’s spec houses has stalled, thanks to the aforementioned crash. Grace, who has been nursing a crush on Benton for some time, gives in and a torrid affair ensues, which she ill-advisedly confides to Madeline after too many glasses of Screaming Eagle. With her agent and publisher dropping dire hints about clawing back her advance and Eddie “temporarily” unable to return the 50K, what’s a writer to do but to appropriate Grace’s adultery as fictional fodder? When Eddie is seen entering her apartment (to ask why she rented from a rival realtor), rumors spread about him and Madeline, and after the rival realtor sneaks a look at Madeline’s rough draft (which New York is hotly anticipating as “the Playboy Channel meets HGTV”), the island threatens to implode with prurient snark. No one is spared, not even Hilderbrand herself, “that other Nantucket novelist,” nor this magazine, “the notoriously cranky Kirkus.”
Once again, Hilderbrand displays her gift for making us care most about her least likable characters.Pub Date: June 16, 2015
ISBN: 978-0-316-33452-5
Page Count: 384
Publisher: Little, Brown
Review Posted Online: May 20, 2015
Kirkus Reviews Issue: June 1, 2015
PERSPECTIVES
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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