Murray manages the trick of being thoughtful and entertaining. His creative energy sends the book in many directions, making...
A darkly comic, lightly metafictional tale about a banker seeking love and a novelist seeking wealth amid the fallout from the financial boom and bust in Ireland.
Claude Martingale, a well-paid analyst in the Bank of Torabundo’s Dublin office, finds his routine upset when a man named Paul asks if he can trail Claude as research for his next novel. It isn’t long before Claude discovers the research actually entails casing his bank, one of several moneymaking schemes Paul undertakes. Still, the two men form a cautious friendship, and Paul tries to help shy Claude talk up the Greek waitress Ariadne, while Claude tries to prod Paul back to the writing he's fled since his first novel was panned. Murray (Skippy Dies, 2010, etc.), the real and well-reviewed novelist named Paul, offers his alter ego’s scams as humorous microcosm to the avaricious inventions still common in the financial world two years after Lehman Brothers collapsed. Other parallels abound. Just as fictional Paul has a delightfully profane Russian sidekick, the bank’s hedge fund chief relies on a Russian math whiz and his “providential antinomies” that “monetize failure.” Ariadne has a rant on Greece’s financial chaos as preview for where Ireland is headed. A writer quits that trade to become an artist who turns his written pages into art within a frame. So Murray creates the novel his other Paul is meant to produce at the urging of a guilt-ridden banker and another character who asks, “when are our writers going to address the banking crisis?” The speaker is the powerful critic who slammed fictional Paul’s debut.
Murray manages the trick of being thoughtful and entertaining. His creative energy sends the book in many directions, making it a little loose and lumpy, but the same may be said of Dickens, with whom real Paul also shares wit, sympathy, and a purposeful sense of mischief.Pub Date: Oct. 20, 2015
ISBN: 978-0-86547-755-1
Page Count: 480
Publisher: Farrar, Straus and Giroux
Review Posted Online: July 27, 2015
Kirkus Reviews Issue: Sept. 1, 2015
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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