A diabolically clever return to a world classic.


From the The Divine Comedy series , Vol. 1

This contemporary retread of Dante Alighieri’s famous work offers a clear message of love and respect for all creation.

The year 2020 will mark the 700th anniversary of a great work of world literature: The Divine Comedy. Dante’s masterpiece gives readers a tour of the Christian afterlife in three parts: Inferno, Purgatorio, and Paradiso—set in hell, purgatory, and heaven, respectively. In this book, d’Oro (Back to Eden, 2015, etc.) provides a modern update of the first and most famous installment. In some ways, his text is scrupulously faithful to the original. As Dante did, d’Oro himself appears as the protagonist in a tale that follows the author on a descending tour through an underworld. His version of hell, like Dante’s, is peopled with real-life, infamous characters. The original Inferno is not only religious, but also political; Dante put many of his real-life enemies (and some of his friends) into the fiery abyss. D’Oro’s work similarly offers a panoply of well-known characters: Donald Trump and Barack Obama, Donald Rumsfeld and National Rifle Association head Wayne LaPierre, and celebrities Jon Stewart and Gilda Radner, just to name a few. But there are crucial differences from Dante’s work, too. Prime among them is the fact that, for d’Oro, hell is simply Earth—and, more specifically, a surreal, alternate version of Los Angeles. Further distinguishing himself from the devout Dante, d’Oro writes, “Hell is a man-made place, / Not a God-made prison to punish sinners.” In this tale, humans are their own worst enemies, but mankind has other victims, too, and d’Oro sees the degradation of the natural world as high up on its list of sins. This is a welcome expansion of Dante’s original project, and it gives d’Oro’s crafty, entrancing book real ethical weight. The author also borrows the rough contours of his style from medieval Italian, adopting the latter’s famed poetic form of terza rima. He does well not to adopt all the rhymes that the form requires, however—a task that bedevils even the most skillful English-language translators of the original Divine Comedy.

A diabolically clever return to a world classic.

Pub Date: March 6, 2018

ISBN: 978-1-5373-2486-9

Page Count: 194

Publisher: CreateSpace

Review Posted Online: Nov. 5, 2018

Kirkus Reviews Issue: Dec. 15, 2018

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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