Poet and novelist Manrique (Latin Moon in Manhattan, 1992, etc.) returns with further tales of Santiago (Sammy) Martinez, a gay Colombian writer/filmmaker tormented by past and present horrors despite his picaresque, cosmopolitan life. In the first of five sections, Sammy is living an impoverished, bohemian life in the homophobic Madrid of the '70s. Cadging meals, raptly watching Pasolini movies, and posing as a Texan to get English-teaching jobs, he falls in love first with a naive, devoted teenaged boy and then with a worldly friend from Colombia. But Sammy's true purpose is to become ``the Colombian Sylvia Plath''; and in a frantic two weeks, he writes a violent, surrealistic novel designed to shock his family. Manrique's narrative takes a turn for the bizarre as we are plunged into a long, dreamlike fiction-within-a-fiction, apparently part of Sammy's work. In Sammy's tale, a farcically aristocratic Colombian diplomat smothers his dying father, whose body is stolen from the funeral parlor during the raucous, sex-and-death-suffused atmosphere of Carnival. Some autobiographical links between Sammy and his creation become apparent in subsequent sections, as Sammy explores his own feelings about illness, family, and his native country. Many years later, he finds work as a film professor in New York. Working on a documentary about the homeless, he can only watch helplessly as a brilliant student succumbs to crack addiction while chronicling his self-destruction in a film inspired by Kafka's ``Hunger Artist.'' In the last major episode here, Sammy finally returns to Colombia. As he visits friends and family, Sammy confronts Colombia's tumultuous politics, remembers past events both joyous and terrible, and uncovers his druglord uncle's brutal history. The material is dark and the narrative disjointed, but Manrique handles his complicated story with deftness and ready humor. A powerful take on various forms of violence, suicide, political repression, sexual abuse, and the possibility of transcending them through love and art. (Author tour)

Pub Date: March 25, 1997

ISBN: 0-571-19901-1

Page Count: 224

Publisher: Faber & Faber/Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 1997

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A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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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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