A long, unwieldy novel that recapitulates a story told better by its original author, with a final third setting up a story...
A retelling of Alexandre Dumas’ 1844 classic The Count of Monte Cristo that continues the story of Edmond Dantès.
The pseudonymous Holy Ghost Writer (The Count of Monte Cristo as Retold by Sherlock Holmes, 2013, etc.) offers 245 pages of new adventures for Dantès, aka the Count of Monte Cristo, narrated by Arthur Conan Doyle’s equally classic detective Sherlock Holmes (with a guest appearance by Mark Twain’s Huckleberry Finn). The new material, enough for a stand-alone novel by itself, is preceded by a 571-page recap of Dumas’ original novel, also narrated by Holmes. Given that the original is widely available in print and digital form, it’s hard to imagine why one would want to read a version that eliminates Dumas’ color and description. Holmes’ voice often sounds more like a 21st-century man’s (“Mercedes had no idea that [Fernand] was caught up in the thing with Edmond”) than Doyle’s meticulous, cerebral hero’s. The new material has Holmes befriending the much older Dantès and becoming embroiled in his life in the antebellum American South. Dantès is urged to go there by a mysterious, disembodied voice, which also advises him to buy a plantation and then free his slaves in order to show his neighbors that treating workers humanely gets better results than cruelty. The continuation also endows Dantès with not one, but two wives—Haydee and Mercedes from the original tale—and a passing liaison with a Bedouin girl, Raymee, produces twins. There’s also Black Beauty, an erstwhile slave whose son is widely assumed to be Dantès’; in fact, Holmes is his father. However, the plot never quite gets going, as the novel turns out to be merely a setup for a yet-to-be-published volume in which Dantès will prove to be the guiding force behind the Civil War and President Abraham Lincoln’s freeing of the slaves. The author also reveals that Dantès is the inventor of dry ice, Epsom salts and the greenhouse; the co-founder of Yale University’s legendary Skull and Bones Club; and a descendant of King Solomon, Jesus and the Merovingian kings. It effectively turns Dantès from a flawed hero who realizes too late the price of revenge to a two-dimensional uber-mensch.
A long, unwieldy novel that recapitulates a story told better by its original author, with a final third setting up a story that remains to be told.Pub Date: July 4, 2013
ISBN: 978-1490406848
Page Count: 816
Publisher: CreateSpace
Review Posted Online: Jan. 22, 2014
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
Though extension is possible, make no mistake about it; this is a ward and not a microcosm.
This is a book which courts the dangers of two extremes.
It can be taken not seriously enough or, more likely, critical climate considered, too seriously. Kesey's first novel is narrated by a half-Indian schizophrenic who has withdrawn completely by feigning deaf-muteness. It is set in a mental ward ruled by Big Nurse—a monumental matriarch who keeps her men in line by some highly original disciplinary measures: Nursey doesn't spank, but oh that electric shock treatment! Into the ward swaggers McMurphy, a lusty gambling man with white whales on his shorts and the psychology of unmarried nurses down to a science. He leads the men on to a series of major victories, including the substitution of recent issues of Nugget and Playboy for some dated McCall's. The fatuity of hospital utilitarianism, that alcohol-swathed brand of idiocy responsible for the custom of waking patients from a deep sleep in order to administer barbiturates, is countered by McMurphy's simple, articulate, logic. This is a thoroughly enthralling, brilliantly tempered novel, peopled by at least two unforgettable characters. (Big Nurse is custom tailored for a busty Eileen Heckert.)
Though extension is possible, make no mistake about it; this is a ward and not a microcosm.Pub Date: Feb. 1, 1962
ISBN: 0451163966
Page Count: 335
Publisher: Viking
Review Posted Online: Sept. 26, 2011
Kirkus Reviews Issue: Feb. 1, 1961
BOOK TO SCREEN
BOOK TO SCREEN
APPRECIATIONS
Part of Hoffman's great talent is her wonderful ability to sift some magic into unlikely places, such as a latter-day Levittown (Seventh Heaven, 1990) or a community of divorcÇes in Florida (Turtle Moon, 1992). But in her 11th novel, a tale of love and life in New England, it feels as if the lid flew off the jar of magic—it blinds you with fairy dust. Sally and Gillian Owens are orphaned sisters, only 13 months apart, but such opposites in appearance and temperament that they're dubbed ``Day and Night'' by the two old aunts who are raising them. Sally is steady, Gillian is jittery, and each is wary, in her own way, about the frightening pull of love. They've seen the evidence for themselves in the besotted behavior of the women who call on the two aunts for charms and potions to help them with their love lives. The aunts grow herbs, make mysterious brews, and have a houseful of—what else?—black cats. The two girls grow up to flee (in opposite directions) from the aunts, the house, and the Massachusetts town where they've long been shunned by their superstitious schoolmates. What they can't escape is magic, which follows them, sometimes in a particularly malevolent form. And, ultimately, no matter how hard they dodge it, they have to recognize that love always catches up with you. As always, Hoffman's writing has plenty of power. Her best sentences are like incantations—they won't let you get away. But it's just too hard to believe the magic here, maybe because it's not so much practical magic as it is predictable magic, with its crones and bubbling cauldrons and hearts of animals pierced with pins. Sally and Gillian are appealing characters, but, finally, their story seems as murky as one of the aunts' potions—and just as hard to swallow. Too much hocus-pocus, not enough focus. (Book-of-the-Month Club selection)
Pub Date: June 14, 1995
ISBN: 0-399-14055-7
Page Count: 256
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1995
BOOK TO SCREEN
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