Elegant, enigmatic, and haunting.
A mass high school shooting prompts a reckoning for a controversial talk show host and those around him in duBois’ (Cartwheel, 2013, etc.) third novel.
“He was Matthew Miller then,” remembers a man named Semi, the host's lover in the 1970s, who knew him as an idealistic lawyer and then a candidate for mayor of New York. But in 1993, when The Mattie M Show publicist Cel is struggling to defuse reports that two high school boys who gunned down multiple classmates watched his show regularly, Mattie presides over a TV carnival of people confessing to “vices and depravities the average viewer didn’t even know existed.” The show’s evolution from a substantive public affairs program to a wildly popular venue for “rubbernecking and mayhem” is more explicable than Mattie himself, an empathetic interlocutor of the damaged and deranged on camera but a mystery to his staff off the air. Semi’s recollections of their affair and break-up intertwine with Cel’s story to create an atmospheric chronicle of New York’s bohemian gay subculture in the freewheeling 1970s, a keening depiction of the AIDS-stricken '80s, and a poignant portrait of Cel, who got out of the rural working class via Smith but still lacks the self-confidence to claim—or even know—what she really wants. Mattie remains remote and enigmatic, even in his final encounters with Semi, which move him toward a fateful change of direction without readers ever really understanding him. This is not a fault but simply a given of duBois’ accomplished narrative, which ranges widely to investigate contemporary culture through the complicated human beings who inhabit it: Cel’s party-girl roommate and a judgmental pal from Smith, a predatory journalist, the TV show’s seen-it-all producer, and one of the shooters (via a scarily thoughtful letter to Mattie) are among the other characters sketched with acuity and perception. The ending respects Matte’s opacity but allows him to make some kind of amends to Semi, while Cel gets the fresh start she deserves.
Elegant, enigmatic, and haunting.Pub Date: April 2, 2019
ISBN: 978-0-8129-9588-6
Page Count: 352
Publisher: Random House
Review Posted Online: Dec. 22, 2018
Kirkus Reviews Issue: Jan. 15, 2019
PROFILES
Steinbeck is a genius and an original.
Steinbeck refuses to allow himself to be pigeonholed.
This is as completely different from Tortilla Flat and In Dubious Battle as they are from each other. Only in his complete understanding of the proletarian mentality does he sustain a connecting link though this is assuredly not a "proletarian novel." It is oddly absorbing this picture of the strange friendship between the strong man and the giant with the mind of a not-quite-bright child. Driven from job to job by the failure of the giant child to fit into the social pattern, they finally find in a ranch what they feel their chance to achieve a homely dream they have built. But once again, society defeats them. There's a simplicity, a directness, a poignancy in the story that gives it a singular power, difficult to define. Steinbeck is a genius and an original.Pub Date: Feb. 26, 1936
ISBN: 0140177396
Page Count: 83
Publisher: Covici, Friede
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Feb. 1, 1936
IN THE NEWS
SEEN & HEARD
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
PERSPECTIVES
IN THE NEWS
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