For fans of the books of Neil Gaiman, the films of M. Night Shyamalan, and similar fabulisms.

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UNDERMAJORDOMO MINOR

“A modesty of appetite represents a paucity of heart”: a sometimes bibulous, occasionally violent, well thought through modern take on folkloric storytelling.

Lucien Minor isn’t a hobbit, but he’s fond of pipes all the same. Or at least the idea of a pipe, the object on which deWitt’s (The Sisters Brothers, 2011) opening paragraphs rest and that Lucy, as he’s called, hopes will become a suitable extension of his person, something that will contribute to his odd comeliness—for though sickly and pasty-faced, “there was something pretty about him, too.” Lucy’s prettiness and gender-hopping name has bearing on this odd tale, which has other hobbit-y aspects but, though a fairy tale for adults, not much of Tolkien’s world-embracing earnestness. Lucy isn’t long for the teeny town of Bury (a hobbit-y Anglo-Saxon word, that, meaning “fortified place”): unable to bear his mother’s seeming conviction that, unintentionally or no, he’s sent his poor dad to an early grave, 17-year-old Lucy finds employment in the castle of a certain Baron Von Aux. There the tale shifts, subtly, from Tolkien to Stoker with a dash of Conan Doyle, but with plenty of humorous touches. The Baron isn’t much seen, for, as another member of the household instructs Lucy, “it’ll be months before you lay eyes on the man, if you lay eyes on him.” But is that really because the Baron is locked away brooding, or are more sinister forces in play? DeWitt’s yarn is playful and pleasing, though decidedly minor; we’ve seen some of it in Brigadoon, some in The Princess Bride, some in the collected works of Douglas Adams, and it seems something of a throwaway in light of the author’s proven abilities. Still, it’s a sometimes-subversive and smart entertainment that blends lighthearted moments with more thoughtful reckonings of the human condition: “I have suffered through an era of unluckiness,” indeed.

For fans of the books of Neil Gaiman, the films of M. Night Shyamalan, and similar fabulisms.

Pub Date: Sept. 8, 2015

ISBN: 978-0-06-228120-3

Page Count: 336

Publisher: Ecco/HarperCollins

Review Posted Online: June 30, 2015

Kirkus Reviews Issue: July 15, 2015

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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