There’s a hint of Isak Dinesen in La Farge’s lush romantic images of sheltered lives seething with unacknowledged desires...
This lavishly imagined and highly entertaining historical novel, inspired by the life and work of Parisian architect Georges-Eugène Haussmann (1809–91), is a distinct improvement over La Farge’s somewhat cluttered debut, The Artist of the Missing (1999).
Both an opening “Note to the English Edition” and a summary “Afterword” identify this as an English translation of a 1922 tale by one (presumably fictional) Paul Poissel. The story they enclose weaves its way circuitously toward a focus on Haussmann, beginning with an extended account of the early life of a foundling named Madeleine, rescued from the Seine to which her (widowed) biological father had consigned her, raised in a convent where she nourishes her delusions of noble birth, then “adopted” by De Fonce, a cunning “demolition man” who becomes both her lover and her introduction to the glittering social world of which the much-admired (and married) baron Haussmann is a prominent member. La Farge’s occasionally wheezy plot, which ranges over nearly half a century and pauses for numerous digressive episodes, matters rather less than do his informed and densely detailed pictures of the city and its environs which the brilliant planner (whose creative energies realize many of the Second Empire’s utopian dreams) reshapes from its medieval origins. And the visionary bureaucrat indulges all the while his passions for the similar perfection of ardent, willing women—notably Madeleine, who becomes his mistress, bears his child, and accomplishes her revenge for Haussmann’s benign neglect of her in a series of skillfully staged climactic scenes within the reconstructed city, at a lavish costume ball (where Madeleine, costumed as Marie Antoinette, meets “author” Paul Poissel), and at the imperial country retreat at Compiègne. The tensions among duty, artifice, and passion are thus vividly played out in a superbly realized period setting.
There’s a hint of Isak Dinesen in La Farge’s lush romantic images of sheltered lives seething with unacknowledged desires and complexities. An unusual, and unusually compelling, novel.Pub Date: Sept. 1, 2001
ISBN: 0-374-16833-4
Page Count: 400
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2001
BOOK REVIEW
BOOK REVIEW
IN THE NEWS
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
IN THE NEWS
SEEN & HEARD
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