Barnes biographer Philip Herring introduces this comprehensive collection—every tale known to have been written by Barnes—which will be of great interest to scholars and devotees. Others, however, might be confused by the inadequately annotated gathering, since the 41 stories are not dated, nor are the original places of publication noted. Most of the early fiction (written for weekly magazines) is identifiable by its melodramatic naturalism: slangy stories of urban romance that emphasize class distinctions and the harsher realities of city life, featuring bohemians in Greenwich Village, dance-hall girls, and immigrant workers. Then, after roughly a hundred pages, the high priestess of modernism emerges in dark lyrical tales of disaffection and alienation. With their cosmopolitan settings and points of view, Barnes's mature work displays all the ambiguity, world weariness, and cynicism that distinguish Nightwood (1936), her dense, elusive modern masterpiece. There are several stories about dying aristocrats, beset by age, indifferent to their past. ``The Terrorists'' is a scathing view of la vie bohÇmienne (cafe revolutionaries preach destruction while indulging their appetite for the good life), and the particular horrors of modern life are on view in stories like ``Oscar,'' with its intimations of incest, madness, and murder. Mismatched lovers are common in Barnes's work: older women entertain young men in hopes of staving off decay; a mother falls in love with her daughter's suitor; a doctor's wife randomly beds a salesman to debase herself; a wealthy woman wants to marry her footman; and two coquettish sisters tantalize Parisian gentlemen. At the center of many of these mordant tales are relations that lead to spiritual death, if not actual destruction. ``Dusie,'' a portrait of bohemian lesbians in Paris, recalls the pervasive smolder of decay and decadence in Nightwood. The best were already available in other collections, but it's always worthwhile to see an author complete. Unfortunately, you'll need a bibliography to locate many of these pieces in Barnes's unusual career.
Pub Date: April 5, 1996
ISBN: 1-55713-226-7
Page Count: 470
Publisher: N/A
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Feb. 1, 1996
BOOK REVIEW
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.
Sisters work together to solve a child-abandonment case.
Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.Pub Date: March 1, 2006
ISBN: 0-345-46752-3
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2005
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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