Again Oates penetrates the dead center of consciousness immobilized by magnetically opposed imperatives—need and impotence, the individual and the "flow" of God, love and murder. And assassination is inevitable when we and our enemies (mirror images of one another) "do the things we must do." Andrew Petrie, ex-Senator and a "radical conservative" political philosopher, is in fact murdered; his widow Yvonne is killed (is it real or a dream?—it doesn't matter), her limbs methodically hacked away; and Andrew's brother Hugh lies in living death after a suicide attempt. Andrew's other brother Stephen, an ex-seminarian from whom God had "withdrawn" examines guilt like the others: "The less human you are, gravitating toward God or away. . . the more danger you are to human beings." The countdown away from, and toward, the various assassinations is intoned through three narrators—Hugh, Yvonne and Stephen. Hugh gasps on about his obsessed love/hate for Yvonne and his attempt to "keep Chaos away" with his art. Yvonne, as widow, preserver of her husband's voice through his written words, realizes finally that "we are all the same person, the same words. . . his life did not matter." Stephen stresses the world's essential absurdity. The narratives cover roughly the same time period, touch lightly here and there, but like the marriage of Yvonne and Andrew, never achieve a true union. Everyone says "I'm sorry." "Murders everywhere (await) the kind words and apologies." Oates records each frisson of the tormented consciousness with ruthless exactitude. Reading this is like following the spasmodic jerks of a cardiograph stylus through a long nightwatch, and truth to tell, it's rather a chore. The attention tends to wander—the stasis is too deadening, the range too circumscribed. But then there is the absolute integrity of Oates' bleak vision and an occasional efficient scene of stark horror—the unique powers of this irritating and demanding writer cannot be altogether dismissed.
Pub Date: Oct. 24, 1975
ISBN: 0814907679
Page Count: 584
Publisher: Vanguard
Review Posted Online: Oct. 2, 2011
Kirkus Reviews Issue: Oct. 1, 1975
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
This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.
Pub Date: June 1, 1985
ISBN: 068487122X
Page Count: 872
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: May 15, 1985
IN THE NEWS
SEEN & HEARD
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