One senses that Oates is working through deeply personal material here. I’ll Take You There may in fact hold important clues...
Oates’s 30th full-length novel is one of her most bizarre and unsettling: a monotonous, only intermittently dramatic exploration of a “brilliant” young woman’s quest for certainty and human connection, undertaken at a fictional university during the just-beginning-to-be-turbulent early ’60s.
We never learn her real name. But we are given detailed glimpses into the self-punishing psyche of an upstate New York scholarship student from a fairly dysfunctional German-American farm family. In the story’s brooding opening section, pointedly titled “The Penitent,” the girl’s longings for the mother she never knew and the sister she never had impel her to seek, then throw away, membership in a prestigious sorority. Little happens in these early chapters, which are portentously adorned with quotations expressing such arcana as Spinoza’s theories about the links between knowledge and moral action. There’s even less narrative in “The Negro-Lover,” a laborious account of “Anellia’s” (for this is the fictional name she gives herself) obsessive relationship with black philosophy student Vernor Mathieus, another of those soulless intellectuals who keep popping up in Oates’s novels in order to confuse the women who unaccountably adore them. The final section, “The Way Out,” contains more promising material: Anellia’s discovery that her vagrant father, long presumed dead, is in fact clinging to life, though dying of cancer, in Utah. She dutifully arrives there, to be informed by the “hunchbacked little doll-woman” who cares for him that she may speak to her father but is not permitted to look at him. Alas, Oates never develops this situation, and the novel trails off into an inconclusiveness that is momentarily vitiated by a surprising final sentence that suggests the otherwise unspecified character of the unnamed protagonist’s “narrative.”
One senses that Oates is working through deeply personal material here. I’ll Take You There may in fact hold important clues to the autobiographical impulses that appear partially to generate and shape her fiction—but it isn’t much of a novel.Pub Date: Oct. 4, 2002
ISBN: 0-06-050117-0
Page Count: 304
Publisher: Ecco/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2002
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
An illuminating read for anyone interested in the inner workings of the Catholic Church; for prelate-fiction superfans, it...
Harris, creator of grand, symphonic thrillers from Fatherland (1992) to An Officer and a Spy (2014), scores with a chamber piece of a novel set in the Vatican in the days after a fictional pope dies.
Fictional, yes, but the nameless pontiff has a lot in common with our own Francis: He’s famously humble, shunning the lavish Apostolic Palace for a small apartment, and he is committed to leading a church that engages with the world and its problems. In the aftermath of his sudden death, rumors circulate about the pope’s intention to fire certain cardinals. At the center of the action is Cardinal Lomeli, Dean of the College of Cardinals, whose job it is to manage the conclave that will elect a new pope. He believes it is also his duty to uncover what the pope knew before he died because some of the cardinals in question are in the running to succeed him. “In the running” is an apt phrase because, as described by Harris, the papal conclave is the ultimate political backroom—albeit a room, the Sistine Chapel, covered with Michelangelo frescoes. Vying for the papal crown are an African cardinal whom many want to see as the first black pope, a press-savvy Canadian, an Italian arch-conservative (think Cardinal Scalia), and an Italian liberal who wants to continue the late pope’s campaign to modernize the church. The novel glories in the ancient rituals that constitute the election process while still grounding that process in the real world: the Sistine Chapel is fitted with jamming devices to thwart electronic eavesdropping, and the pressure to act quickly is increased because “rumours that the pope is dead are already trending on social media.”
An illuminating read for anyone interested in the inner workings of the Catholic Church; for prelate-fiction superfans, it is pure temptation.Pub Date: Nov. 22, 2016
ISBN: 978-0-451-49344-6
Page Count: 304
Publisher: Knopf
Review Posted Online: Sept. 6, 2016
Kirkus Reviews Issue: Sept. 15, 2016
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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