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THE FRENCH REVOLUTION

The novel, first issued via Twitter in blocks of slightly more than 100 characters, provides easy entertainment in book form.

The author's first novel lifts the misadventures and mishaps, ambition and artifice from the French Revolution and reproduces them in San Francisco, recalibrating the affair with a touch of post-modernism and more than a whiff of whimsy.

The story begins with Esmeralda Van Twinkle—once a celebrity pastry chef who ambition propelled into eating herself into a morbidly obese copy-shop employee—being seduced by a professional discount coupon distributor, Jasper Winslow. The aphrodisiac is “Zoogman's masterpiece,” a “triple chocolate truffle swirl cheesecake.” The assignation produces twins, Marat and Robespierre Van Twinkle, names bestowed because the boy and girl were born on Bastille Day. Assorted bizarre characters enter, leave and reappear across a narrative timeline, which extends into the future, where opposition to a war in Iran compels daughter Robespierre to enter San Francisco politics. There she will be undone in a race for mayor by a convoluted conspiracy, prompted by Marat's duplicities and with Jasper's sins as the catalyst. Readers might think the latter is a stretch, given what they've learned of humble Jasper. Every character, large or small, is exaggerated past eccentricity, a seemingly deliberate plot/narrative device. Esmeralda is never an especially sympathetic protagonist. Her children, her mother, Fanny, a sad tyrant trapped in a widow's cottage, the supporting cast of drug dealers, murderers and such generate no empathy either. But the characters are what they need to be to make the story viable. Chapters begin with short comments on the French Revolution, and history buffs can find allusions to the bloody quest for Liberté, Egalité, Fraternité. Best of all, Stewart's language sparkles, sometimes riffing like Bob Dylan, always moving the narrative forward. 

The novel, first issued via Twitter in blocks of slightly more than 100 characters, provides easy entertainment in book form.

Pub Date: July 1, 2010

ISBN: 978-1-59376-283-4

Page Count: 320

Publisher: Soft Skull Press

Review Posted Online: June 2, 2010

Kirkus Reviews Issue: June 15, 2010

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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THE SECRET HISTORY

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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