A grim, rather airless portrait of a loner spiraling through anger, obsession, and increasingly violent fantasies toward destruction. Taylor’s debut, set in Britain’s perpetually depressed North, follows the half-hearted efforts of Errol Oldfield to elude the furies that seem to be hounding him. Unschooled but bright, energetic but without ambition, he exerts real effort only in pursuit of his various fetishes—including the accumulation of handkerchiefs lifted from the women he fancies. At the moment his interest is focused on Maxine, a co-worker at the Thrifty Miss Betsy discount- shop. A divorcÇe, Maxine is happy to play Errol along, repeatedly seeming to offer and then retract some sort of intimacy. And Errol, for reasons never fully made clear, haplessly goes on hoping and longing. Interspersed with the scenes of Errol’s strangulated courtship are some bleak if perfectly etched ones of life among the down-and-out crowd that Errol moves among; hustlers, petty crooks, the walking wounded, all are featured in a number of boozy scenes in which the possibility of violence always hovers on the margins. Errol himself is given to indulging in violent fantasies, many having to do with his prissy, disapproving, tart-tongued flatmate, Bernard. Another matter never fully explored is just why Bernard, fastidious and self-satisifed as he is, is attracted to the messy, sullen, confused Errol. Cruelty continually rearranges these lives: relationships turn abusive or are casually abandoned, friends betray one another, sex is often a substitute for connection. Taylor, in his fascination with the mind of an obsessive personality, and in his unblinking view of fetid flats, shabby pubs, and aimless, damaged working-class lives, clearly has much in common with writers such as Irvine Welsh and James Kelman, but unlike them he has not yet found a language, or a vision, that transforms his material. Errol remains a figure more puzz1ing than moving, and the grisly climax is unsurprising. Taylor has vigor, and a sharp eye for detail, but his first fiction lacks sufficient depth to be truly memorable.

Pub Date: Feb. 11, 1999

ISBN: 1-85242-593-8

Page Count: 230

Publisher: Serpent’s Tail

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Nov. 15, 1998

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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