by Luis Goytisolo ; translated by Brendan Riley ‧ RELEASE DATE: March 23, 2017
The story is long but engaging as the novel morphs into a memorial to a humanist civilization under siege, its icons not...
Sprawling bildungsroman—itself the first installment of a much larger tetralogy—of the Spanish Civil War and its aftermath in Catalonia by Barcelona-born novelist Goytisolo.
The somewhat less-well-known brother of the revered modernist Juan Goytisolo, the present author seems to have undertaken the project of creating a Catalan version of Ulysses, save that his story plays out over years rather than a single Dublin day. His is the Barcelona of delicious fish dishes and the Sagrada Familia basilica, of street vendors and intellectual cafes. His Catalonia is also a place of great violence. The novel opens as “little Moors” bustle to the front lines and fascists shave the heads of Communist girls in ugly retribution. In this milieu, a boy named Raúl Ferrer Gaminde does his best to retain the naïve innocence of childhood even as “the kids in town found a dead soldier, floating in a quiet bend of the river, all tangled up in the brambles under the water,” and so badly decomposed that no one could tell what side he was on. Raúl grows up shy and a bit reflexive in a countryside household, among casks of wine and voluble, colorful relatives, but then comes the time for him to leave for the city, long since an outpost of Francoist Spain, a place of drag queens and flamenco dancers, of smoky bars and parading soldiers, and there he becomes not just a quietly bookish intellectual, but also a Communist and, worse still, a writer. Goytisolo serves up pagelong paragraphs filled with enthusiasm and rich detail; the translation ably captures the fluidity of his prose, though it seems at times to wander in the no-man’s land between British and American English (as when a pompous lieutenant is described with a certain naughty c-word).
The story is long but engaging as the novel morphs into a memorial to a humanist civilization under siege, its icons not just Joyce, but also other modernists such as Proust and Hermann Broch. It holds up just fine in such company.Pub Date: March 23, 2017
ISBN: 978-1-62897-172-9
Page Count: 760
Publisher: Dalkey Archive
Review Posted Online: Jan. 22, 2017
Kirkus Reviews Issue: Feb. 1, 2017
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by Margaret Atwood ‧ RELEASE DATE: Feb. 17, 1985
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
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
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