The rich content gets slightly buried in the complex structure of this ambitious novel.
A family history unfolds in the form of a screenplay spanning three generations and several countries.
Huston (Infrared, 2012, etc.) opens the novel in a hospital room where Milo Noirlac, a renowned screenwriter, is dying. Milo’s co-writer and director, Paul Schwarz, visits, and they begin writing their final screenplay. The present action of the novel remains in this one room as it fills with stories from the past. Structurally, the novel is highly complex. The screenplay follows three subplots, each with its own protagonist: Milo’s grandfather, his mother and Milo himself. Early on, Paul states his philosophy of film: “For the first ten minutes, the audience is infinitely tolerant and will accept whatever you choose to flash at them.” Chapter 1 of the novel embraces this concept, forcing the reader to weave the threads together and jump through time and space, from Ireland to Canada and back again. The language is lyrical and takes full advantage of the novel-as-screenplay form. Time passes in a series of montage images layered with a character’s voice-over. With Milo’s mother, the camera takes on her point of view so that the reader is always in her body, experiencing her trauma. The ugliness of the scenes, which depict rape, child abuse and bloody revolution, contrasts sharply with the beauty of the prose in a rich and engaging way. In each subplot, however, there are scenes that feel melodramatic and heavy-handed. Paul, speaking to Milo, provides metacommentary on the screenplay throughout their writing and often points out these over-the-top moments as well as weak dialogue and scenes they will need to revise or cut. In this way, the novel allows for some flaws in the story, though they are still frustrating to encounter. In addition to the already complicated three-pronged plot structure, each chapter is titled with the name and definition of a capoeira term. The significance of capoeira is not immediately clear. This becomes yet another layer added to the narrative, which begins to feel weighed down under the pressure of too many guiding structures.
The rich content gets slightly buried in the complex structure of this ambitious novel.Pub Date: Sept. 2, 2014
ISBN: 978-0-8021-2271-1
Page Count: 288
Publisher: Black Cat/Grove
Review Posted Online: July 30, 2014
Kirkus Reviews Issue: Aug. 15, 2014
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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