From acclaimed Australian novelist Carey (Oscar and Lucinda, 1988; Illywhacker, 1985, etc.), a brilliantly realized, dark comedic story of a dysfunctional but ingenuous family. Most of the Catchprice family, including charismatic matriarch Frieda, live on the premises of their failing GM dealership in the Sydney suburbs. Frieda, who since girlhood has carried sticks of gelignite in her handbag, regrets that she never established the flower farm of her dreams, yet she acknowledges her responsibility for founding what became a succession of family enterprises. Daughter Cathy and son-in-law Howie have their hearts set on careers in country music, but Frieda won't let them or son Mort, who has his own dreams, leave. Only son Jack, a prosperous developer, and grandson Johnny, a Hare Krishna follower, have escaped. The Catchprices, though, are also a family of contradictions: ``big ones for kissing and cuddling, but you could not predict them. You could not rely on them for anything important.'' And then there are the family skeletons, never fully acknowledged until the literally explosive climax. When young Benny, Mort's abused and troubled son, decides to transform his life and become an ``Angel of Plagues,'' catharsis is inevitable. But the actual catalyst is provided by pregnant and unmarried Maria, the tax collector who comes to audit the books. The past is revealed; irrevocable decisions are made; and Benny, in love with Maria, creates his own bizarre scenario. Only the birth of Maria's baby amidst the resultant mayhem offers some hope. Powerful writing, and the Catchprices are all memorable, but the subtext of a wider corruption as insidious as that which maims this family seems more a reflection of fashionable angst than the reality of a country like Australia. Still, very good.
Pub Date: Jan. 17, 1992
ISBN: 0679735984
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1991
Mandel’s solid writing and magnetic narrative make for a strong combination in what should be a breakout novel.
Survivors and victims of a pandemic populate this quietly ambitious take on a post-apocalyptic world where some strive to preserve art, culture and kindness.
In her fourth novel, Mandel (The Lola Quartet, 2012, etc.) moves away from the literary thriller form of her previous books but keeps much of the intrigue. The story concerns the before and after of a catastrophic virus called the Georgia Flu that wipes out most of the world’s population. On one side of the timeline are the survivors, mainly a traveling troupe of musicians and actors and a stationary group stuck for years in an airport. On the other is a professional actor, who dies in the opening pages while performing King Lear, his ex-wives and his oldest friend, glimpsed in flashbacks. There’s also the man—a paparazzo-turned-paramedic—who runs to the stage from the audience to try to revive him, a Samaritan role he will play again in later years. Mandel is effectively spare in her depiction of both the tough hand-to-mouth existence of a devastated world and the almost unchallenged life of the celebrity—think of Cormac McCarthy seesawing with Joan Didion. The intrigue arises when the troupe is threatened by a cult and breaks into disparate offshoots struggling toward a common haven. Woven through these little odysseys, and cunningly linking the cushy past and the perilous present, is a figure called the Prophet. Indeed, Mandel spins a satisfying web of coincidence and kismet while providing numerous strong moments, as when one of the last planes lands at the airport and seals its doors in self-imposed quarantine, standing for days on the tarmac as those outside try not to ponder the nightmare within. Another strand of that web is a well-traveled copy of a sci-fi graphic novel drawn by the actor’s first wife, depicting a space station seeking a new home after aliens take over Earth—a different sort of artist also pondering man’s fate and future.
Mandel’s solid writing and magnetic narrative make for a strong combination in what should be a breakout novel.Pub Date: Sept. 9, 2014
ISBN: 978-0-385-35330-4
Page Count: 320
Publisher: Knopf
Review Posted Online: June 16, 2014
Kirkus Reviews Issue: July 1, 2014
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As vivid and moving as the novel is, it’s not because Haslett strives to surprise but because he’s so mindful and expressive...
This touching chronicle of love and pain traces half a century in a family of five from the parents’ engagement in 1963 through a father’s and son’s psychological torments and a final crisis.
Something has happened to Michael in the opening pages, which are told in the voice of his brother, Alec. The next chapter is narrated by Margaret, the mother of Michael, 12, Celia, 10, and Alec, 7, and the wife of John, as they prepare for a vacation in Maine. Soon, a flashback reveals that shortly before John and Margaret were to wed, she learned of his periodic mental illness, a “sort of hibernation” in which “the mind closes down.” She marries him anyway and comes to worry about the recurrence of his hibernations—which exacerbate their constant money problems—only to witness Michael bearing the awful legacy. Each chapter is told by one of the family’s five voices, shifting the point of view on shared troubles, showing how they grow away from one another without losing touch, how they cope with the loss of John and the challenge of Michael. Haslett (Union Atlantic, 2009, etc.) shapes these characters with such sympathy, detail, and skill that reading about them is akin to living among them. The portrait of Michael stands out: a clever, winning youth who becomes a kind of scholar of contemporary music with an empathy for black history and a wretched dependence on Klonopin and many other drugs to keep his anxiety at bay, to glimpse a “world unfettered by dread.”
As vivid and moving as the novel is, it’s not because Haslett strives to surprise but because he’s so mindful and expressive of how much precious life there is in both normalcy and anguish.Pub Date: May 3, 2016
ISBN: 978-0-316-26135-7
Page Count: 368
Publisher: Little, Brown
Review Posted Online: Feb. 14, 2016
Kirkus Reviews Issue: March 1, 2016
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