Somewhat stagy in its composition, with a heavily dialogue-driven narrative, but the baroque Tennessee Williams flavor...
Third novel from Dressler (The Deadwood Beetle, 2001, etc.), a portrait of domestic angst set in a Texas beach house during a family reunion.
Dee Buelle is a crusty old bastard. A famous playwright and a wealthy man to boot, he lost his parents when he was just a boy and his first wife not long after she had borne his second child. Second wife Jean, a professional golfer who used to tour with Babe Zaharias, raised the two kids in the shadow of fame and the lap of luxury, but now they’re all grown up: Harry lives in New York and is trying to establish his own career as a playwright; Sarah, married to filmmaker Paul, is trying to produce a documentary about her father. They get together at the beach house at Jean’s request. Dee, now in his 80s, has stopped taking his heart medication, and she’s worried about him. So the kids fly in and try to act as natural as they can. Like many a family reunion, however, this one has a lot simmering beneath the surface. Narrator Harry, now in his 30s, wants to tell his father he’s gay, though he suspects Dee knows already. Sarah, having failed at a variety of professions and causes, has a chip on her shoulder about her career and wants Dee to cooperate with Paul to help boost his film; she also plans to adopt a baby from Bosnia instead of having one of her own and is spoiling to pick a fight with Dee about this as well. Poor Jean, caught in the crossfire, tries to play the peacemaker—until she discovers an appalling fact about her marriage.
Somewhat stagy in its composition, with a heavily dialogue-driven narrative, but the baroque Tennessee Williams flavor rescues the plot from its own melodramas.Pub Date: March 22, 2004
ISBN: 0-399-15163-X
Page Count: 192
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2004
BOOK REVIEW
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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