McMurtry's down-home fictions have always been juiced up with side-orders of raunchy charm and beer-barrel comedy—but this time he tries, with middling results, to make an entire novel out of such enticing (yet ultimately wearying) trimmings. Narrator-hero "Cadillac Jack" McGriff is a onetime rodeo bulldogger who now travels the country, in his pearly Cadillac, as a super-duper dealer/scout—picking up antiques and other collectibles (e.g., a load of gem-entrusted cowboy boots), buying at garage sales, selling to the super-rich. His prime client: Texas tycoon Boog, now living in Washington D.C. with gorgeous wife Boss—who fights fire with fire when it comes to Boog's lust for cheap women. (She'll "fuck six famous Yankees for every little pot he stuck his dipstick in.") And so twice-divorced Cadillac Jack winds up visiting D.C., where he promptly falls for two contrasting residents: social-climbing boutique owner Cindy, a freewheeling insta-bedmate who drags Jack to cartoony/gross elite Washington shindigs; and weary, downbeat Jean Tooley, an almost-divorcee who has two adorable little daughters . . . and who shares Jack's love of old, pretty things. Aside from some vague rumors about the Smithsonian collections being sold, then, there's hardly a flicker of drama as the leisurely narrative pokes along: Jack bounces back and forth between his two ladies; he also lusts after Boog's wife Boss (who prefers her tiny live-in Jewish poet) and dawdles with "two fat wet girls on a rubber mattress in a fairly low-grade pussy parlor"; he gets car-phone calls from ex-wife Coffee (who "thought World War II had occurred in the nineteenth century"). And finally, to clear his head, he drives out west—gathering famous pairs of boots (so Cindy can exhibit them), acquiring a forlorn traveling companion (a bored wife). . . but returning to find that he still can't commit himself to one woman or the other. McMurtry does a dandy job with Jack's business doings here: his highway world of garage-sale finds, auction fever, and obsessive acquisition is captured in rich, economic detail. And the quieter comedy (those cute daughters, the hooker conversations, poor Coffee) often scores. But the supposed center of this novel, Jack's romantic quandary, is uninvolving throughout, thanks to the thin characterizations—while the broader D.C. farce clashes badly with the tough-guy sentimentality. An idle mix of charm, noise, and hoke, then: far too long (unlike Dan Jenkins' comparable, modest Baja Oklahoma), fitfully endearing, and especially disappointing after the textured comedy/drama control of Somebody Darling.
Pub Date: Oct. 11, 1982
ISBN: 0684853833
Page Count: 405
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Oct. 1, 1982
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
PERSPECTIVES
IN THE NEWS
SEEN & HEARD
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