Singleton (stories: The Half-Mammals of Dixie, 2002, etc.) may have invented a new genre. Call it The Hoot.

NOVEL

A state-sponsored snake handler and defrocked speechwriter finds even more unusual outlets for his peculiar talents, in the South Carolina author’s meticulously deranged first novel.

Just down the road a piece from the literary territories of James Wilcox and T. R. Pearson is the town of Gruel, where the story begins with a literal bang. Novel Akers’s mother-in-law, Ina Cathcart, perishes along with her common-sense–challenged son Irby, whose lit cigarette encounters her oxygen tube as he’s driving Mom home from the hospital. Then, things get strange. Novel (so named by his ex-concert-pianist parents, because it seemed to fit with those of his older adopted Irish orphan siblings James and Joyce), having lost his job as an itinerant advocate for snakes’ rights (and ecological usefulness)—which is actually a cover for the subversive speeches Novel penned for a clueless lieutenant governor—decides to hunker down and write his autobiography (to be titled, of course, Novel). His wife (Re)Bekah, unhinged by either the above-mentioned fatal accident or her own possible complicity in her daddy’s putative suicide, skips town, leaving Novel to re-renovate the venerable Gruel Inn (which Bekah had turned briefly into the Sneeze ’n’ Tone weight-loss spa) as a writers’ retreat. Novel hangs with philosophical bartender Jeff the Owner, deflects the wandering attention of surplus storeowner (and, probably, Bekah’s hired contract killer) Victor Dees, and half-heartedly romances recently slimmed-down Maura Lee Snipes (whose emporium features her specialty “Jesus Crust”), before being hired as Gruel’s town historian. So it goes, interspersed with Novel’s memories of his siblings’ sociopathic merriment and his eccentric father’s nuggets of useless wisdom (“A great pianist should keep a rabbit with him at all times . . . to keep his hands warm”). There’s a novel somewhere inside Novel, but it’s buried under the gags, many of which are just about irresistible.

Singleton (stories: The Half-Mammals of Dixie, 2002, etc.) may have invented a new genre. Call it The Hoot.

Pub Date: June 6, 2005

ISBN: 0-15-101128-1

Page Count: 352

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 2005

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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