Superbly imagined lit-fic about family, fathers and film.
Gen-Y angst riffles the pages of King’s (We’re All in this Together, 2005) debut novel.
This is an often weirdly funny book, all the same. Samuel Dolan graduated from a liberal arts college in upstate New York. His girlfriend, Polly, left to live with her parents in Florida. Sam’s mother is dead, and Sam doesn’t much like his father, Booth. Booth Dolan has made a career out of scenery-chewing in B-movies—and doing what he wants, including chasing skirts. Sam’s passionate ambition is his indie film, Who We Are, "about the costs of growing up—and the costs of not growing up. And that was heavy stuff." Sam makes his film, but the film that finds its way into print isn’t the film he made, thanks to the crazed machinations of Brooks, an unstable assistant director Sam took on since he was a rich kid who chipped in big bucks. Years later, Sam ends up in Brooklyn doing "weddingography," themed if you like—Grindhouse, Nouvelle Vague or Citizen Wedding. And Who We Are? It’s a cult film "playing to packed, goofy, inebriated houses," complete with the Brooks-inserted masturbating satyr and other aberrations. There are even residual checks, which Sam refuses to cash. King’s characters are both attractive and realistic, not only larger-than-life Booth and disaffected Sam, but also Allie, Sam’s mother, who was always cool and accepting, even of Booth’s "blithe selfishness." There’s Mina, Sam’s wise and fragile half sister; Polly, who still beds Sam even after marrying a buffoonish retired Yankee baseball player; Rick Savini, an eccentric yet successful character actor who treats Sam as an equal; and television producer Tess, earnest and bossy, whom Sam meets as he films a wedding. The narrative blossoms and unfolds and expands, Sam becoming wiser and more likable, even as he reconciles with his world at a happily-enough-ever-after homecoming. Unique in concept and execution, with much mention of Orson Welles and Dog Day Afternoon, King's novel is winning.
Superbly imagined lit-fic about family, fathers and film.Pub Date: March 19, 2013
ISBN: 978-1-4516-7689-1
Page Count: 432
Publisher: Scribner
Review Posted Online: Dec. 31, 2012
Kirkus Reviews Issue: Jan. 15, 2013
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
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
PERSPECTIVES
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SEEN & HEARD
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