In the guise of a period piece, Carey's novel raises issues of culture and race that carry a thoroughly contemporary charge.
This picaresque comedy goes thematically deeper as it heads into the Outback.
The antic tone of this 14th novel by Australian-born Carey (Amnesia, 2015, etc.) belies its serious ambition. The comic spirit slyly suggests Shakespeare, an inquiry into identity and the farcical human existence. Chapters alternate through much of the novel between two narrators. The first is Irene Bobs, a tiny woman married to the equally diminutive Titch, though the accomplishments of both will loom large as the novel progresses. He is the best car salesman in their part of Australia. She is a demon driver, as she’ll show during the grueling Redex Trial, a contest of automobiles circling the continent that is intended to demonstrate their endurance rather than sheer speed. The second narrator is their taller neighbor, Willie Bachhuber, a teacher (or “a chalk-and-talker” in the novel’s parlance) and a minor celebrity as a game-show whiz. Willie is as reflective and remorseful as Irene is impulsive and resilient; even though the chapters never identify who is speaking, the difference in voice and perspective is evident. In order to launch his dealership, Titch places a big gamble on entering the Redex Trial, with Irene as driver (though she’ll never be given credit, as a woman in the 1950s) and Willie as navigator. Irene is skeptical over the prospect of “two hundred lunatics circumnavigating the continent of Australia, more than ten thousand miles over outback roads so rough they might crack your chassis clean in half.” But off they go! And off goes the novel in some surprising directions at which the setup barely hints, as it illuminates a country very different from the “monocultural” one upon which the government insists, discovers that racial identity may not be as simple as black and white, and upends the relationships between the married couple and their neighbor and the very notion of who is the novel’s protagonist and who is the sidekick.
In the guise of a period piece, Carey's novel raises issues of culture and race that carry a thoroughly contemporary charge.Pub Date: Feb. 27, 2018
ISBN: 978-0-525-52017-7
Page Count: 336
Publisher: Knopf
Review Posted Online: Nov. 27, 2017
Kirkus Reviews Issue: Dec. 15, 2017
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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