Whether the book comes off as mad satire or just sickening juvenilia, Barrow suggests a writer who might in time have joined...
This crude, nightmarish picaresque describes the gross adventures of a teenage boy and a talking dachshund named Mary as they travel in and around London.
Missing sugar buns at an English boarding school set off a search of lockers that turns inexplicably bloody. The school hairdresser cuts off a student’s ear. The headmaster vomits in class because of his gin habit. And 300 “pairs of soiled boys’ underwear” are discovered under a teacher’s bed. This is Page 1 of Barrow’s uncommon debut. He crowds numerous incidents into a skimpy plot that is set off by the headmaster’s sadistic punishment of the student narrator and the youth’s flight from the school. Along the way, he encounters the dachshund and countless incidents of violence and vomit—with the latter peaking during five consecutive pages of Technicolor belches. Twice, and for 25 minutes each time, the narrator is covered with feces from a bull that has been dosed with an emetic. Sexual activity is rampant. Harrod’s has on staff a “Flatulence Contraption Buyer.” There are at least three castrations, with one by Mary, whose storied past includes drug addiction and whose search for her mother ends tragically—as did the author’s short life. Born in 1947 and showing signs of talent in art (his Ralph Steadman–like characters accompany the text) and writing, he was killed at age 22, along with his fiancee, in a car crash two weeks before their wedding. The book’s manuscript was found in a drawer a day later. The primitive, understated style amid such horrors has a nice comic effect, and it might be argued that Barrow only exaggerates the usual catalog of man’s inhumanity. But the torrent of bodily fluids and feces, the mayhem and the wallowing therein will not be to every reader’s taste.
Whether the book comes off as mad satire or just sickening juvenilia, Barrow suggests a writer who might in time have joined the ranks of William Burroughs, William Kotzwinkle, or John Kennedy Toole.Pub Date: Nov. 10, 2015
ISBN: 978-1-939931-24-5
Page Count: 133
Publisher: New Vessel Press
Review Posted Online: Aug. 15, 2015
Kirkus Reviews Issue: Sept. 1, 2015
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
PROFILES
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.
An ambitious scientific experiment wreaks horrendous toll in the Booker-winning British author’s disturbingly eloquent sixth novel (after When We Were Orphans, 2000).
Ishiguro’s narrator, identified only as Kath(y) H., speaks to us as a 31-year-old social worker of sorts, who’s completing her tenure as a “carer,” prior to becoming herself one of the “donors” whom she visits at various “recovery centers.” The setting is “England, late 1990s”—more than two decades after Kath was raised at a rural private school (Hailsham) whose students, all children of unspecified parentage, were sheltered, encouraged to develop their intellectual and especially artistic capabilities, and groomed to become donors. Visions of Brave New World and 1984 arise as Kath recalls in gradually and increasingly harrowing detail her friendships with fellow students Ruth and Tommy (the latter a sweet, though distractible boy prone to irrational temper tantrums), their “graduation” from Hailsham and years of comparative independence at a remote halfway house (the Cottages), the painful outcome of Ruth’s breakup with Tommy (whom Kath also loves), and the discovery the adult Kath and Tommy make when (while seeking a “deferral” from carer or donor status) they seek out Hailsham’s chastened “guardians” and receive confirmation of the limits long since placed on them. With perfect pacing and infinite subtlety, Ishiguro reveals exactly as much as we need to know about how efforts to regulate the future through genetic engineering create, control, then emotionlessly destroy very real, very human lives—without ever showing us the faces of the culpable, who have “tried to convince themselves. . . . That you were less than human, so it didn’t matter.” That this stunningly brilliant fiction echoes Caryl Churchill’s superb play A Number and Margaret Atwood’s celebrated dystopian novels in no way diminishes its originality and power.
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.Pub Date: April 11, 2005
ISBN: 1-4000-4339-5
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
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