In her first signed novel since the mythical Canopus in Argos series, Lessing returns to reality—and to her considerable gifts for social observation and vivid characterization. Using a spectrum of left-wing characters, she focuses on the kinds of personal instability that would be drawn to—and solaced by—a terrorist stance. Lewis Carroll's Alice began by falling down a rabbit hole; Lessing's contemporary Alice—36, overweight, mixed-up, terrified of sex—began by being involved (since the 1960's) in squatter's rights and increasingly radical politics. Though celibrate, Alice lives with and for gay Jasper, a self-centered, politically pure neurotic (psychotic?) who has decided, as the novel opens, to make contact with the provisional IRA. Though early chapters show Alice's curious mixture of calm competence (she manipulates bureaucrats at the gas and water boards into supplying service to their new "squat") and infantile rage (she travels to her father's house one night expressly to throw a rock through the window, striking one of the young children of his second marriage), Alice is a mother-figure, not only to Jasper but to every waif that drifts into her new squat. Yet from the beginning there are frissons of instability: in Alice herself and in the web of relationships that quickly form in the household which Alice, quite unconsciously, dominates. These tensions increase as Jasper and Bert, titular heads of the group, become absorbed in plans for a car-bombing. Lessing offers a penetrating analysis of a sub-group (middle- and working-class political extremists) more often caricatured than characterized. The main focus is on the pathology of ideological "purity"—on how a "good" person like Alice, who is instinctively kind whenever one of her blind spots is not in operation, can arrive at an almost bland acceptance of random violence. The implied political message—as idiosyncratic as the quirky feminism of the Canopus series—seems to be that we don't really choose our political preferences; rather, they choose—and then control—us. The self-deluding Alice is not an easy character to spend time with, but her story is an extraordinary tour de force—a psychological portrait that's realistic with a vengeance. Altogether, this is a book which is strong as a diagnostic study of political motivation—and stronger still as an uncannily authentic character-study.
Pub Date: Sept. 25, 1985
ISBN: 0307389960
Page Count: 466
Publisher: Knopf
Review Posted Online: Sept. 28, 2011
Kirkus Reviews Issue: Aug. 15, 1985
BOOK REVIEW
BOOK REVIEW
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
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