“This need. This derangement. Will it never stop?,” Roth’s most sexually importunate figure demands of himself. Probably...

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THE DYING ANIMAL

The recent creative surge that has produced some of Roth’s best fiction continues with this intense short novel narrated by David Kepesh (protagonist also of The Breast and The Professor of Desire), who’s a more highly eroticized counterpart of Roth’s other serial alter ego, Nathan Zuckerman.

The subject is Kepesh’s reluctant arrival at the threshold of old age and his unquenched vulnerability to the spectacle of sex, to which he wryly refers as “the imbecility of lust” and “the chaos of eros.” Its specific focus is his memory, eight years after the fact, of his consuming affair with Consuela Castillo, a beautiful Cuban-American student and the last of a series of younger mistresses who had assuaged his aging for more than 40 years, dating back to the early years of his long-ago (only) marriage. Kepesh’s detailed anatomy (no other word will really do) of Consuela’s charms stimulates brief memory glimpses of other women (some companionable divorcées of mature years, others embodiments of the swinging ’60s whose boldness simultaneously delighted and puzzled him), as well as more discursive (and labored) reflections on “Lord of Misrule” Thomas Morton of Puritan Massachusetts’s “Merry Mount” colony; Kepesh’s tortured relationship with his middle-aged son Kenny (another victim of sex, to whom his vagrant father is a dead ringer for Dostoevsky’s lustful patriarch, Karamazov pére), and—in the most potent scene here—the last hours of Kepesh’s closest male friend, an adulterous poet who incarnates man the “dying animal” (a phrase from a Yeats poem) clinging to the last fumbling vestiges of the sexuality that enables him to deny death. Roth then struggles, with mixed success, to pull these strands together in the climax, which occurs on the cusp of the recent millennium, as Consuela returns to him, to confront the fact of her own mortality.

“This need. This derangement. Will it never stop?,” Roth’s most sexually importunate figure demands of himself. Probably not—and we’ll probably be treated to further ruminations on why this should be so in a future David Kepesh novel.

Pub Date: May 18, 2001

ISBN: 0-618-13587-1

Page Count: 176

Publisher: Houghton Mifflin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 2001

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A strange, subtle, and haunting novel.

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THE GLASS HOTEL

A financier's Ponzi scheme unravels to disastrous effect, revealing the unexpected connections among a cast of disparate characters.

How did Vincent Smith fall overboard from a container ship near the coast of Mauritania, fathoms away from her former life as Jonathan Alkaitis' pretend trophy wife? In this long-anticipated follow-up to Station Eleven (2014), Mandel uses Vincent's disappearance to pick through the wreckage of Alkaitis' fraudulent investment scheme, which ripples through hundreds of lives. There's Paul, Vincent's half brother, a composer and addict in recovery; Olivia, an octogenarian painter who invested her retirement savings in Alkaitis' funds; Leon, a former consultant for a shipping company; and a chorus of office workers who enabled Alkaitis and are terrified of facing the consequences. Slowly, Mandel reveals how her characters struggle to align their stations in life with their visions for what they could be. For Vincent, the promise of transformation comes when she's offered a stint with Alkaitis in "the kingdom of money." Here, the rules of reality are different and time expands, allowing her to pursue video art others find pointless. For Alkaitis, reality itself is too much to bear. In his jail cell, he is confronted by the ghosts of his victims and escapes into "the counterlife," a soothing alternate reality in which he avoided punishment. It's in these dreamy sections that Mandel's ideas about guilt and responsibility, wealth and comfort, the real and the imagined, begin to cohere. At its heart, this is a ghost story in which every boundary is blurred, from the moral to the physical. How far will Alkaitis go to deny responsibility for his actions? And how quickly will his wealth corrupt the ambitions of those in proximity to it? In luminous prose, Mandel shows how easy it is to become caught in a web of unintended consequences and how disastrous it can be when such fragile bonds shatter under pressure.

A strange, subtle, and haunting novel.

Pub Date: March 24, 2020

ISBN: 978-0-525-52114-3

Page Count: 320

Publisher: Knopf

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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Fierce, poetic, uncompromising.

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THE CITY WE BECAME

This extremely urban fantasy, a love/hate song to and rallying cry for the author’s home of New York, expands her story “The City, Born Great” (from How Long ’Til Black Future Month, 2018).

When a great city reaches the point when it's ready to come to life, it chooses a human avatar, who guides the city through its birthing and contends with an extradimensional Enemy who seeks to strike at this vulnerable moment. Now, it is New York City’s time to be born, but its avatar is too weakened by the battle to complete the process. So each of the individual boroughs instantiates its own avatar to continue the fight. Manhattan is a multiracial grad student new to the city with a secret violent past that he can no longer quite remember; Brooklyn is an African American rap star–turned–lawyer and city councilwoman; Queens is an Indian math whiz here on a visa; the Bronx is a tough Lenape woman who runs a nonprofit art center; and Staten Island is a frightened and insular Irish American woman who wants nothing to do with the other four. Can these boroughs successfully awaken and heal their primary avatar and repel the invading white tentacles of the Enemy? The novel is a bold calling out of the racial tensions dividing not only New York City, but the U.S. as a whole; it underscores that people of color are an integral part of the city’s tapestry even if some white people prefer to treat them as interlopers. It's no accident that the only white avatar is the racist woman representing Staten Island, nor that the Enemy appears as a Woman in White who employs the forces of racism and gentrification in her invasion; her true self is openly inspired by the tropes of the xenophobic author H.P. Lovecraft. Although the story is a fantasy, many aspects of the plot draw on contemporary incidents. In the real world, white people don’t need a nudge from an eldritch abomination to call down a violent police reaction on people of color innocently conducting their daily lives, and just as in the book, third parties are fraudulently transferring property deeds from African American homeowners in Brooklyn, and gentrification forces out the people who made the neighborhood attractive in the first place. In the face of these behaviors, whataboutism, #BothSides, and #NotAllWhitePeople are feeble arguments.

Fierce, poetic, uncompromising.

Pub Date: March 24, 2020

ISBN: 978-0-316-50984-8

Page Count: 448

Publisher: Orbit

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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