Grandiose, feverish, opaque.
Virtually all of McCarthy's idiosyncratic fiction (The Orchard Keeper, Child of God, Suttree) is suffused with fierce pessimism, relentlessly illustrating the feral destiny of mankind; and this new novel is no exception—though it is equally committed to a large allegorical structure, one that yanks its larger-than-life figures across a sere historical stage.
“The kid”—a Tennessee teenager—wanders aimlessly into the Texas Indian wars of the 1850s. First he's taken on by a wandering troop of ex-American soldiers, planning its own raid into Mexico. Then, after thoroughgoing slaughter of the troops by the Indians, the kid survives to be recruited as a scalp-hunter in a band of Mexican-financed marauders—led by a madman named Glanton, along with his associate: The Judge, a hairless God-or-devil figure who is capable of great ingenuity (when the men run out of gunpowder, The Judge alchemizes a new batch) but who also indulges in eccentric sermons to explain his bloodthirsty brand of philosophy. (“If God meant to intrude in the degeneracy of mankind would he not have done so by now?...The way of the world is to bloom and to flower and die but in the affairs of men there is no waning and the noon of his expression signals the onset of night. His spirit is exhausted at the peak of its achievement. His meridian is at once his darkening and the evening of his days.”) McCarthy, even more than in previous novels, strains for prophetic, Bible-like tones here—with a cast of allegorical types (a judge, a fool, an ex-priest, the kid) and an archaic vocabulary that lurches from “kerfs” and “bedight” to “rimpled” and “thrapple.” But, though there's something stubbornly impressive about McCarthy's unwavering gloom, the novel's unceasing slaughter sometimes suggests a spaghetti-western without a hero, all gore and blazing sun—while its stentorian, pretentious prose will quickly dissuade most readers from attempting to share McCarthy's dark vision. (“He'd long forsworn all weighing of consequence and allowing as he did that men's destinies are given yet he usurped to contain within him all that he would ever be in the world and all that the world would be to him and be his charter written in the urstone itself he claimed agency and said so and,” etc.).
Grandiose, feverish, opaque.Pub Date: March 1, 1982
ISBN: 0679728759
Page Count: -
Publisher: Random House
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Feb. 15, 1985
SEEN & HEARD
PERSPECTIVES
IN THE NEWS
A thoughtful, boldly imagined ripsnorter that broadens inventive possibilities for the antebellum novel.
High adventure fraught with cliffhanger twists marks this runaway-slave narrative, which leaps, sails, and soars from Caribbean cane fields to the fringes of the frozen Arctic and across a whole ocean.
It's 1830 on the island of Barbados, and a 12-year-old slave named George Washington Black wakes up every hot morning to cruelties administered to him and other black men, women, and children toiling on a sugar plantation owned by the coldblooded Erasmus Wilde. Christopher, one of Erasmus’ brothers, is a flamboyant oddball with insatiable curiosity toward scientific matters and enlightened views on social progress. Upon first encountering young Wash, Christopher, also known as Titch, insists on acquiring him from his brother as his personal valet and research assistant. Neither Erasmus nor Wash is pleased by this transaction, and one of the Wildes' cousins, the dour, mysterious Philip, is baffled by it. But then Philip kills himself in Wash’s presence, and Christopher, knowing the boy will be unjustly blamed and executed for the death, activates his hot air balloon, the Cloud-cutter, to carry both himself and Wash northward into a turbulent storm. So begins one of the most unconventional escapes from slavery ever chronicled as Wash and Titch lose their balloon but are carried the rest of the way to America by a ship co-captained by German-born twins of wildly differing temperaments. Once in Norfolk, Virginia, they meet with a sexton with a scientific interest in dead tissue and a moral interest in ferrying other runaway slaves through the Underground Railroad. Rather than join them on their journey, Wash continues to travel with Titch for a reunion with the Wildes' father, an Arctic explorer, north of Canada. Their odyssey takes even more unexpected turns, and soon Wash finds himself alone and adrift in the unfamiliar world as “a disfigured black boy with a scientific turn of mind…running, always running from the dimmest of shadows.” Canadian novelist Edugyan (Half-Blood Blues, 2012, etc.) displays as much ingenuity and resourcefulness as her main characters in spinning this yarn, and the reader’s expectations are upended almost as often as her hero’s.
A thoughtful, boldly imagined ripsnorter that broadens inventive possibilities for the antebellum novel.Pub Date: Sept. 19, 2018
ISBN: 978-0-525-52142-6
Page Count: 336
Publisher: Knopf
Review Posted Online: July 1, 2018
Kirkus Reviews Issue: July 15, 2018
BOOK REVIEW
BOOK REVIEW
PROFILES
BOOK TO SCREEN
A compelling, beautifully rendered tale of passion and pain.
Rome, past and present, serves as the setting for a sparkling historical novel.
Smith (Free Men, 2016, etc.) bounds through 2,000 years of history, following four indelible characters as they grapple with questions of faith, freedom, and transgressive love. Tom, a biologist working in contemporary Rome, is studying ostracods, tiny crustaceans that thrive in polluted, agitated environments. “Are they adapting in the face of disadvantage or are they opportunists of collapse?” Tom asks, aware that his question about ostracods could just as well apply to his own emotional agitation. The married father of a 9-year-old daughter, he has met a young woman who enchants him, impelling him to confront his desperate desire for “an unleashing” and for a love deeper than what he feels for his wife. A child playing in the water where he is investigating suddenly shrieks in pain, pierced by a piece of bent metal, “scaly with corrosion, its silver marred with patches of orange rust.” It is a fishhook—maybe a castoff with no value or perhaps an ancient relic: uncanny, miraculous. The fishhook reappears as Smith leaps back to the Renaissance, where it falls into the hands of Giulia, a mixed-race princess newly married to a Medici, pregnant with another man’s child. For Giulia, her fortunes embroiled in political and religious rivalries, the fishhook evokes a holier time, before corruption and hypocrisy sullied the church. In ninth-century Rome, Felix, a 60-year-old monk, is tormented by his youthful, forbidden love for Tomaso; assigned to watch over the decaying bodies in the putridarium, Felix comes into possession of the fishhook, guessing—wishing—that it belonged to the martyred St. Prisca, who perhaps “got it direct from Jesus.” In the year 165, Prisca did indeed find the hook, secreting it as a precious token. Drawn to worshipping Christ rather than pagan gods, 12-year-old Prisca stands defiant against her violent tormenters. Perhaps Smith’s most appealing character is Satan, whose weary, ironic comments punctuate a narrative that shines with lyrical, translucent prose.
A compelling, beautifully rendered tale of passion and pain.Pub Date: March 24, 2020
ISBN: 978-0-06-287364-4
Page Count: 352
Publisher: Harper/HarperCollins
Review Posted Online: Dec. 8, 2019
Kirkus Reviews Issue: Jan. 1, 2020
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