SWEET WILLIAM

A MEMOIR OF OLD HORSE

Hawkes's readers have watched him use horses (or stand-ins for them) time after time; in the 1988 Whistlejacket, the equine finally became a subject of its own in a novel about horse-as-object and horse-as-subject. The latter has developed into this book, in which a horse—Sweet William, name changed later to Petrarch—narrates the story of his life. That life, as you'd expect from Hawkes, is one of periodic violent traumas and gothic cruelties: his mother being killed soon after she gives birth (the putting-down is botched; the horse is buried alive, struggles from its grave, and must be put-down again); a brief and physically painful racing career; the humiliation of a dude ranch; finally, the comic eccentricity of being stabled in the gentleman's farm of Master, a milquetoasty but kind virgin who's lorded over by his Irish stablehand Ralph. The story lurches onward, amounting to very little—other than to wrap fond authorial observations about the life of a horse in fancy-pants prose that it's hard to credit direct-in-action Sweet William with (``A large storm, a quiet storm, for the old horse strange and familiar all at once, freighted as it is with the shapes and shadows of recovered youth. Yet sinister in its steadiness, its resolution, its promise that it might not stop until the lot of us—horses, cats, men, barns—have been effaced in nothing less than total obliteration''). Still, the novel ends on one of those notes of epiphanic oddness that Hawkes occasionally does better than almost anyone: Sweet William/Petrarch lives out his last days in the company of a dying goat named Chester: who for a moment, seen from a distance, seems to the horse at first to be—with its aged horn—a unicorn. This section, like a coda of sickness and illusion and redemption, is quite beautiful—though it can't finally tip the balance away from the word-embroidery and fussy stylistics of the rest.

Pub Date: Aug. 3, 1993

ISBN: 0-671-74057-1

Page Count: 288

Publisher: Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 15, 1993

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Absolutely enthralling. Read it.

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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/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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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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