Connect-the-dots predictable except for those occasional tasty morsels of nastiness.
Forty-five years of a bad marriage laid out in pat detail, by the author, most recently, of Surrender Dorothy (1999).
On the way to Helsinki, where her novelist husband Joe is to receive a major literary award, 64-year-old Joan Castleman relives their years together as she steels herself to tell Joe she’s leaving him. They met during her freshman year at Smith, where he was her English professor. All the girls were smitten by the young, darkly handsome Jew whose wife had just had his baby, but Joan was the one he noticed, both for her blond beauty (and impeccable debutante WASP credentials) and for her natural writing talent. Soon they began a torrid affair, dampened only slightly when she read a less than brilliant story he’d published. After his wife throws Joe out, Joan happily drops out of college to set up house with him in Greenwich Village, where she works as an editorial assistant to support them while he writes his first novel. The book, based on their affair, is a hit, launching his career. Having lost touch with his child from his first wife, Joe has been a less than involved father to the three he’s had with Joan: two daughters, one whose gayness seems completely gratuitous, and an emotionally troubled son who threatened his father one night (the vague, pulled-punches quality of that scene typifying the story as a whole). While Joe has always given Joan credit for helping him with his work, he’s also had frequent dalliances with other women (and, if Joan’s brittle narration is any clue, it might seem hard to blame him). Eventually, Joan drops the bomb: just as her kids always suspected, she wrote the books for which Joe took credit. After his fatal coronary, will she keep her secret to preserve his reputation?
Connect-the-dots predictable except for those occasional tasty morsels of nastiness.Pub Date: April 14, 2003
ISBN: 0-684-86940-3
Page Count: 224
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2003
Steinbeck is a genius and an original.
Steinbeck refuses to allow himself to be pigeonholed.
This is as completely different from Tortilla Flat and In Dubious Battle as they are from each other. Only in his complete understanding of the proletarian mentality does he sustain a connecting link though this is assuredly not a "proletarian novel." It is oddly absorbing this picture of the strange friendship between the strong man and the giant with the mind of a not-quite-bright child. Driven from job to job by the failure of the giant child to fit into the social pattern, they finally find in a ranch what they feel their chance to achieve a homely dream they have built. But once again, society defeats them. There's a simplicity, a directness, a poignancy in the story that gives it a singular power, difficult to define. Steinbeck is a genius and an original.Pub Date: Feb. 26, 1936
ISBN: 0140177396
Page Count: 83
Publisher: Covici, Friede
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Feb. 1, 1936
IN THE NEWS
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
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