The long-anticipated seventh book may reveal what's still missing from this series, because it certainly isn’t detail.
The sixth installment of Riley’s mammoth series about the adopted daughters of an enigmatic shipping magnate.
This volume, weighing in at 500-plus pages, concerns Electra, the youngest of the six D’Aplièse sisters—each named for a star in the Pleiades constellation—who were rescued by seafaring entrepreneur “Pa Salt.” As always, the prefatory cast of characters notes that a seventh sister, Merope, is “missing.” Like her sisters before her, Electra was bequeathed clues by Pa (who died under mysterious circumstances) as to her birth origins. But Electra, a Manhattan supermodel who’s addicted to vodka and cocaine, is blasé about her personal quest. When Stella Jackson, a prominent black attorney, claims to be Electra’s biological grandmother, Riley begins the extended backstory common to all the books, this one about Electra’s ancestor. Stella’s reluctance to spill the beans all at once and Electra’s own prodigious procrastination slow the narrative just enough to maintain suspense. The tale centers on Cecily Huntley-Morgan, a white New York socialite who, on the eve of World War II, finds herself living in Kenya in a marriage of convenience to Bill Forsythe, who spends most of his time away on cattle drives with Maasai tribesmen. This situation stems from Cecily’s broken engagement in New York, which she followed with an unwanted pregnancy courtesy of a rebound rake. Rarely for this series, both storylines hold their own. Electra checks into rehab, vowing to forswear hedonism and use her fame and wealth to help addicted and underprivileged youth. The Kenyan setting, in seeming homage to Out of Africa, is colorfully atmospheric even as Cecily remains stolidly unhedonistic amid the Happy Valley set of hard-partying and dissolute British expats who surround her. The second half of the novel plumbs, with many detours and digressions and much descriptive minutiae, the mystery of how Cecily and Stella are connected and how Electra came to be abandoned.
The long-anticipated seventh book may reveal what's still missing from this series, because it certainly isn’t detail.Pub Date: May 19, 2020
ISBN: 978-1-9821-1064-2
Page Count: 528
Publisher: Atria
Review Posted Online: March 1, 2020
Kirkus Reviews Issue: March 15, 2020
One can heartily recommend Bromfield’s translation to readers new to War and Peace, but for a fuller sense of Tolstoy’s...
If you’re a mountain climber, it’s still Everest. If you’re a baseball player, it’s the career home-run record. If you translate from the Russian, sooner or later you’ll visit the Colossus: Leo Tolstoy’s enormous masterpiece, whose composition absorbed a decade and whose godlike scope embraces “the intertwining of historical events with the private lives of two very different families of the Russian nobility.”
The words are those of Richard Pevear, who, with his wife Larissa Volokhonsky, has joined the intrepid army of translators including Victorian phenomenon Constance Garrett (who introduced War and Peace to the English-speaking world in 1904) and extending to her countryman Anthony Brigs, whose own new translation appeared to considerable acclaim in 2006.
The credentials Pevear and Volokhonsky bring to their task (lucid English-language versions of classic works of Dostoevsky, Gogol, and Chekhov; a vibrant Anna Karenina in 2001) might well have discouraged rival translators. But not Andrew Bromfield, an accomplished scholar-critic perhaps the best known for translating the fiction of contemporary Russian malcontent author Victor Pelevin.
What’s new about Bromfield’s War and Peace? It reproduces the 1866 text: a leaner version of the novel, written before Tolstoy had conceived the discursive chapters of historical argument that would swell the later full text to nearly 1,500 pages. Interestingly this “first” version was made available to Russian readers only as recently as 2000.
Pevear and Volokhonsky give us the whole animal, and claim for translation the distinction of reproducing fully Tolstoy’s use of foreign languages (particularly French – considered more “elegant” by the aristocracy, even, one infers, after Napoleon was threatening to incinerate their homeland). Inevitably, their version seems ampler, more scrupulously descriptive and analytical. But there are other, subtler differences: for example, in the following account of a wolf hunt, which is a metaphor for the approaching death throes of the old landed aristocracy:
“The wolf was already at the edge of the wood, he paused in his run, turned his grey head awkwardly towards the dogs, in the way someone sick with angina turns his head and, with the same gentle rolling movement, leapt once, then again, and the last thing they saw was his tail disappearing into the wood.” (Bromfield)
“The wolf slowed his flight, turned his big-browed head towards the dogs awkwardly, as if suffering from angina, and, swaying just as softly, leaped once, twice, and, with a wag of his tail, disappeared into the bushes.”(Pevear and Volokhonsky)
One can heartily recommend Bromfield’s translation to readers new to War and Peace, but for a fuller sense of Tolstoy’s comprehensive and commanding artistic mastery, Pevear and Volokhonsky remain unchallenged as the A-team of Russian translators.Pub Date: Sept. 4, 2007
ISBN: 978-0-06-079887-1
Page Count: 912
Publisher: Ecco/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2007
This novel began as a reworking of W.W. Jacobs' horror classic "The Monkey's Paw"—a short story about the dreadful outcome when a father wishes for his dead son's resurrection. And King's 400-page version reads, in fact, like a monstrously padded short story, moving so slowly that every plot-turn becomes lumberingly predictable. Still, readers with a taste for the morbid and ghoulish will find unlimited dark, mortality-obsessed atmosphere here—as Dr. Louis Creed arrives in Maine with wife Rachel and their two little kids Ellie and Gage, moving into a semi-rural house not far from the "Pet Sematary": a spot in the woods where local kids have been burying their pets for decades. Louis, 35, finds a great new friend/father-figure in elderly neighbor Jud Crandall; he begins work as director of the local university health-services. But Louis is oppressed by thoughts of death—especially after a dying student whispers something about the pet cemetery, then reappears in a dream (but is it a dream) to lead Louis into those woods during the middle of the night. What is the secret of the Pet Sematary? Well, eventually old Jud gives Louis a lecture/tour of the Pet Sematary's "annex"—an old Micmac burying ground where pets have been buried. . .and then reappeared alive! So, when little Ellie's beloved cat Church is run over (while Ellie's visiting grandfolks), Louis and Jud bury it in the annex—resulting in a faintly nasty resurrection: Church reappears, now with a foul smell and a creepy demeanor. But: what would happen if a human corpse were buried there? That's the question when Louis' little son Gage is promptly killed in an accident. Will grieving father Louis dig up his son's body from the normal graveyard and replant it in the Pet Sematary? What about the stories of a previous similar attempt—when dead Timmy Baterman was "transformed into some sort of all-knowing daemon?" Will Gage return to the living—but as "a thing of evil?" He will indeed, spouting obscenities and committing murder. . .before Louis must eliminate this child-demon he has unleashed. Filled out with overdone family melodrama (the feud between Louis and his father-in-law) and repetitious inner monologues: a broody horror tale that's strong on dark, depressing chills, weak on suspense or surprise—and not likely to please the fans of King's zestier, livelier terror-thons.
Pub Date: Nov. 4, 1983
ISBN: 0743412281
Page Count: 420
Publisher: Doubleday
Review Posted Online: Sept. 26, 2011
Kirkus Reviews Issue: Nov. 1, 1983
BOOK TO SCREEN
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