Provocative and elegantly written, but overly didactic. For all the talk, Eula never does confront her other self, and the...
Prison or sanctuary? That’s just one of the thorny relationship questions facing a pair of identical twins.
When Eula Kieland, director of the progressive Drayton Orphanage in Pennsylvania, accepts Becca and Linny Carey in 1926, she knows she’s bending the rules. (Both Eula and Drayton have real-life prototypes.) The charter stipulates white girls, and the twins have a black grandmother; but Eula is captivated by them, despite their secret world (they have their own vocabulary) and constant identity-fooling. Their tricks decrease as they settle in, and different racial identities emerge in a fight over an admirer, as Becca turns ultra-black, Linny ultra-white (their grandmother, who shows up later, has an unfortunate “polka-dot” pigmentation). Is all this a full plate? Not for Gardiner (Somewhere in France, 1999, etc.), keen to explore the double in all of us, but especially in Eula, who lies on the couch for two other real-life figures, the breakaway Freudian Otto Rank and the diarist Anaïs Nin. A third preoccupation is a history of the orphanage itself. These competing interests slow the narrative, for all the thrillingly melodramatic adventures of the twins, together though apart, after graduation. Becca wins a scholarship to Peiping, while Linny hops a freight to San Francisco. Different countries, same experiences: locked rooms and sexual exploitation. Linny escapes from a commune/whorehouse to return to Drayton, but Becca is caught up in political intrigue and unwittingly betrays a host of Chinese students; she will be raped by a ferryboat captain before her eventual rescue. Relative calm reigns after the twins’ reunion at Drayton, where Linny is now a sewing mistress, despite an episode between them of life-threatening violence (possibly an inherent inevitably with identical twins, warned Rank). By the end, Linny is a successful designer, living with Becca in the Philadelphia ghetto.
Provocative and elegantly written, but overly didactic. For all the talk, Eula never does confront her other self, and the twins never clear the hurdle of dating and marriage.Pub Date: Nov. 1, 2003
ISBN: 1-58243-231-7
Page Count: 304
Publisher: Counterpoint
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2003
King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these...
Figuratively and literally shattering moments of hoRRRRRipilication in Chamberlain, Maine where stones fly from the sky rather than from the hands of the villagers (as they did in "The Lottery," although the latter are equal to other forms of persecution).
All beginning when Carrie White discovers a gift with telekinetic powers (later established as a genetic fact), after she menstruates in full ignorance of the process and thinks she is bleeding to death while the other monsters in the high school locker room bait and bully her mercilessly. Carrie is the only child of a fundamentalist freak mother who has brought her up with a concept of sin which no blood of the Lamb can wash clean. In addition to a sympathetic principal and gym teacher, there's one girl who wishes to atone and turns her date for the spring ball over to Carrie who for the first time is happy, beautiful and acknowledged as such. But there will be hell to pay for this success—not only her mother but two youngsters who douse her in buckets of fresh-killed pig blood so that Carrie once again uses her "wild talent," flexes her mind and a complete catastrophe (explosion and an uncontrolled fire) virtually destroys the town.
King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these youngsters who once ate peanut butter now scrawl "Carrie White eats shit." But as they still say around here, "Sit a spell and collect yourself."Pub Date: April 8, 1974
ISBN: 0385086954
Page Count: 216
Publisher: Doubleday
Review Posted Online: Sept. 26, 2011
Kirkus Reviews Issue: April 1, 1974
PERSPECTIVES
SEEN & HEARD
BOOK TO SCREEN
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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