There’s not much new here, but Farrier sounds a convincing argument all the same.
Elegiac views of the Anthropocene, an age of decline in everything but the consumption of plastics.
There have been many recent books on the environmental terrors of the present era, from Elizabeth Kolbert’s Sixth Extinction to Gaia Vince’s Adventures in the Anthropocene and Barry Lopez’s Horizon. Farrier (English Literature/Univ. of Edinburgh; Anthropocene Poetics: Deep Time, Sacrifice Zones, and Extinction, 2019, etc.) adds a side note to these more urgent and compelling books with a fruitful premise: It’s up to us, to some degree or another, to determine what we’ll leave in the fossil record, and those future fossils will in turn “record whether we carried on heedlessly despite the dangers…or whether we cared enough to change our course.” Though the great British ecologist James Lovelock has lately expressed doubt that our kind is smart enough to fix the mess we’ve caused, Farrier takes a more generous view. On the matter of plastics, for instance, he doesn’t dispute that at first, they seemed a wonderful thing, a substitute for so much else that was fragile or scarce. However, as the author puts it, if the world’s factories were producing 2 million metric tons of plastic in 1950, “by 2015, it was four hundred million,” and not only that, but “it is likely that every single piece of plastic ever produced and not incinerated still exists somewhere in some form.” Elsewhere, Farrier looks at the structure of landfills, the nature of cities, the alarming decline in the quantity not just of terrestrial species and their members, but also those of microbiota, the collapse of coral reefs—a collapse that can be bandaged but not undone by, yes, plastic poultices—and the eerie silences that surround a world in collapse even amid all the noise humans make. The feel of the text is matter-of-fact melancholic, a too-little, too-late somberness. If those other books (and others besides them) have already reported most of the data, the author captures a moment that finds us standing on the brink.
There’s not much new here, but Farrier sounds a convincing argument all the same.Pub Date: March 3, 2020
ISBN: 978-0-374-15733-3
Page Count: 320
Publisher: Farrar, Straus and Giroux
Review Posted Online: Nov. 25, 2019
Kirkus Reviews Issue: Jan. 1, 2020
Whether you call this a personal story or nature writing, it’s poignant, thoughtful and moving—and likely to become a...
An inspired, beautiful and absorbing account of a woman battling grief—with a goshawk.
Following the sudden death of her father, Macdonald (History and Philosophy/Cambridge Univ.; Falcon, 2006, etc.) tried staving off deep depression with a unique form of personal therapy: the purchase and training of an English goshawk, which she named Mabel. Although a trained falconer, the author chose a raptor both unfamiliar and unpredictable, a creature of mad confidence that became a means of working against madness. “The hawk was everything I wanted to be: solitary, self-possessed, free from grief, and numb to the hurts of human life,” she writes. As a devotee of birds of prey since girlhood, Macdonald knew the legends and the literature, particularly the cautionary example of The Once and Future King author T.H. White, whose 1951 book The Goshawk details his own painful battle to master his title subject. Macdonald dramatically parallels her own story with White’s, achieving a remarkable imaginative sympathy with the writer, a lonely, tormented homosexual fighting his own sadomasochistic demons. Even as she was learning from White’s mistakes, she found herself very much in his shoes, watching her life fall apart as the painfully slow bonding process with Mabel took over. Just how much do animals and humans have in common? The more Macdonald got to know her, the more Mabel confounded her notions about what the species was supposed to represent. Is a hawk a symbol of might or independence, or is that just our attempt to remake the animal world in our own image? Writing with breathless urgency that only rarely skirts the melodramatic, Macdonald broadens her scope well beyond herself to focus on the antagonism between people and the environment.
Whether you call this a personal story or nature writing, it’s poignant, thoughtful and moving—and likely to become a classic in either genre.Pub Date: March 3, 2015
ISBN: 978-0802123411
Page Count: 288
Publisher: Grove
Review Posted Online: Nov. 3, 2014
Kirkus Reviews Issue: Nov. 15, 2014
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
Yes: it's high time for a de-romanticized, de-mythified, close-up retelling of the U.S. Space Program's launching—the inside story of those first seven astronauts.
But no: jazzy, jivey, exclamation-pointed, italicized Tom Wolfe "Mr. Overkill" hasn't really got the fight stuff for the job. Admittedly, he covers all the ground. He begins with the competitive, macho world of test pilots from which the astronauts came (thus being grossly overqualified to just sit in a controlled capsule); he follows the choosing of the Seven, the preparations for space flight, the flights themselves, the feelings of the wives; and he presents the breathless press coverage, the sudden celebrity, the glorification. He even throws in some of the technology. But instead of replacing the heroic standard version with the ring of truth, Wolfe merely offers an alternative myth: a surreal, satiric, often cartoony Wolfe-arama that, especially since there isn't a bit of documentation along the way, has one constantly wondering if anything really happened the way Wolfe tells it. His astronauts (referred to as "the brethren" or "The True Brothers") are obsessed with having the "right stuff" that certain blend of guts and smarts that spells pilot success. The Press is a ravenous fool, always referred to as "the eternal Victorian Gent": when Walter Cronkite's voice breaks while reporting a possible astronaut death, "There was the Press the Genteel Gent, coming up with the appropriate emotion. . . live. . . with no prompting whatsoever!" And, most off-puttingly, Wolfe presumes to enter the minds of one and all: he's with near-drowing Gus Grissom ("Cox. . . That face up there!—it's Cox. . . Cox knew how to get people out of here! . . . Cox! . . ."); he's with Betty Grissom angry about not staying at Holiday Inn ("Now. . . they truly owed her"); and, in a crude hatchet-job, he's with John Glenn furious at Al Shepard's being chosen for the first flight, pontificating to the others about their licentious behavior, or holding onto his self-image during his flight ("Oh, yes! I've been here before! And I am immune! I don't get into corners I can't get out of! . . . The Presbyterian Pilot was not about to foul up. His pipeline to dear Lord could not be clearer"). Certainly there's much here that Wolfe is quite right about, much that people will be interested in hearing: the P-R whitewash of Grissom's foul-up, the Life magazine excesses, the inter-astronaut tensions. And, for those who want to give Wolfe the benefit of the doubt throughout, there are emotional reconstructions that are juicily shrill.
But most readers outside the slick urban Wolfe orbit will find credibility fatally undermined by the self-indulgent digressions, the stylistic excesses, and the broadly satiric, anti-All-American stance; and, though The Right Stuff has enough energy, sass, and dirt to attract an audience, it mostly suggests that until Wolfe can put his subject first and his preening writing-persona second, he probably won't be a convincing chronicler of anything much weightier than radical chic.
Pub Date: Sept. 24, 1979
ISBN: 0312427565
Page Count: 370
Publisher: Farrar, Straus and Giroux
Review Posted Online: Oct. 13, 2011
Kirkus Reviews Issue: Sept. 1, 1979
BOOK TO SCREEN
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