Now it can be told: Elvis Presley was . . . a closet rock critic.
Satirist Pollack, who punctured the pretensions of literary criticism in The Neal Pollack Anthology of American Literature, savages rock and its sycophantic critics in his first novel. Fittingly, he is the main character in the book, which is couched—not always successfully, in terms of point of view—as a biography by the megalomaniac, lickspittle academic Paul St. Pierre. “Neal Pollack” is the first and greatest of rock critics, a superhuman consumer of booze and dope and a participant in every form of ambisexual perversity. (The larger-than-life character is clearly inspired by the late Lester Bangs, the manic, prolific subject of Jim DeRogatis’s biography Let It Blurt, while St. Pierre appears modeled after high-middle-brow author Greil Marcus.) The central conceit—that rock criticism is more important than the music itself—drives the action through the entire history of rock ’n’ roll. “Pollack” appears, Zelig-like, at every critical moment in rock to shape the music’s direction: he befriends Elvis Presley in Memphis, hits the road with neophyte folkie Bob Dylan (and beds Joan Baez), hangs out with the Velvet Underground, creates Iggy Pop’s over-the-top stage persona, roadies for Bruce Springsteen, forms the Ramones, has an affair with Patti Smith, and mentors Kurt Cobain. Along the way, his avatar, bluesman Willie “Clambone” Jefferson, invents Detroit funk and rap music. Numerous real-life critics, including Bangs, make cameo appearances. There’s even a mock discography. The loopy, sex- and drug-steeped, violent plot, though unsatisfactorily resolved, incorporates a number of dumb yet pointed parody lyrics that take the abundant wind out of rock’s soiled sails. The choicest moments come in fine-tuned mocking of rock criticism’s fatuous clichés, radically overblown praise, and flavor-of-the-month bandwagon jumping. The message: Get over it, guys, it’s only rock ’n’ roll.
Loud, wild, messy, and fun—just like the best rock ’n’ roll.Pub Date: Oct. 1, 2003
ISBN: 0-06-052790-0
Page Count: 272
Publisher: HarperCollins
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: Aug. 15, 2003
Categories: GENERAL FICTION
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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.
11
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Inseparable identical twin sisters ditch home together, and then one decides to vanish.
The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in White society, is shedding her fur coat. Jude, so Black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her White persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.
Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.Pub Date: June 2, 2020
ISBN: 978-0-525-53629-1
Page Count: 352
Publisher: Riverhead
Review Posted Online: March 15, 2020
Kirkus Reviews Issue: April 1, 2020
Categories: LITERARY FICTION | GENERAL FICTION
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BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
A love letter to the power of books and friendship.
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Women become horseback librarians in 1930s Kentucky and face challenges from the landscape, the weather, and the men around them.
Alice thought marrying attractive American Bennett Van Cleve would be her ticket out of her stifling life in England. But when she and Bennett settle in Baileyville, Kentucky, she realizes that her life consists of nothing more than staying in their giant house all day and getting yelled at by his unpleasant father, who owns a coal mine. She’s just about to resign herself to a life of boredom when an opportunity presents itself in the form of a traveling horseback library—an initiative from Eleanor Roosevelt meant to counteract the devastating effects of the Depression by focusing on literacy and learning. Much to the dismay of her husband and father-in-law, Alice signs up and soon learns the ropes from the library’s leader, Margery. Margery doesn’t care what anyone thinks of her, rejects marriage, and would rather be on horseback than in a kitchen. And even though all this makes Margery a town pariah, Alice quickly grows to like her. Along with several other women (including one black woman, Sophia, whose employment causes controversy in a town that doesn’t believe black and white people should be allowed to use the same library), Margery and Alice supply magazines, Bible stories, and copies of books like Little Women to the largely poor residents who live in remote areas. Alice spends long days in terrible weather on horseback, but she finally feels happy in her new life in Kentucky, even as her marriage to Bennett is failing. But her powerful father-in-law doesn’t care for Alice’s job or Margery’s lifestyle, and he’ll stop at nothing to shut their library down. Basing her novel on the true story of the Pack Horse Library Project established by the Works Progress Administration in the 1930s, Moyes (Still Me, 2018, etc.) brings an often forgotten slice of history to life. She writes about Kentucky with lush descriptions of the landscape and tender respect for the townspeople, most of whom are poor, uneducated, and grateful for the chance to learn. Although Alice and Margery both have their own romances, the true power of the story is in the bonds between the women of the library. They may have different backgrounds, but their commitment to helping the people of Baileyville brings them together.
A love letter to the power of books and friendship.Pub Date: Oct. 8, 2019
ISBN: 978-0-399-56248-8
Page Count: 400
Publisher: Pamela Dorman/Viking
Review Posted Online: July 1, 2019
Kirkus Reviews Issue: Aug. 1, 2019
Categories: GENERAL FICTION | HISTORICAL FICTION | FAMILY LIFE & FRIENDSHIP
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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