Brilliantly accomplished and uncompromisingly dark.

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From the Outline Trilogy series , Vol. 3

Brexit provides the sociopolitical background for Cusk’s existential investigation into the nature of freedom and the construction of identity, the concluding volume to her brooding trilogy begun with Outline (2015).

Narrator Faye has married again since her excursions in Transit (2017), but almost everyone she meets at a literary festival in an unnamed European country is either bitterly divorced or painfully ambivalent about family life. Even pets become the source of power struggles with spouses and children in some of the seething personal narratives people share with Faye. Cusk also paints a sardonic portrait of the literary life via the monologues of a philistine salesman-turned-publisher, a first novelist disenchanted by a pretentious writers’ retreat, and an arrogant journalist who’s supposed to be interviewing Faye but barely lets her get a word in. Despite the brilliantly detailed descriptions of these characters and the locations through which they uneasily pass, this is not conventionally naturalistic fiction; conversations reveal unrecorded lapses of time within the narrative, and people examine their experiences in highly abstract language not intended to reproduce vernacular speech. Physical reality is as mutable and subject to question as the identities people carefully create and then later reject. One man, who connects his new success as an author with the radical loss of half his body weight, speaks for many when he concludes that, “The person he’d always been…lived in a prison of his own making.” Many of the broken marriages described were shattered by one partner’s desire for freedom, but that too may be an illusion: “When they thought they were free,” says one man of some friends, “they were in fact lost without knowing it.” Faye’s tender telephone exchanges with her two sons remind us there is love in the world, too (though we never learn more about her new marriage than that it exists). Nonetheless, a jarring and ugly final scene confirms an overall impression that Cusk’s views of human nature and personal relationships are as bleak as ever.

Brilliantly accomplished and uncompromisingly dark.

Pub Date: June 5, 2018

ISBN: 978-0-374-27986-8

Page Count: 240

Publisher: Farrar, Straus and Giroux

Review Posted Online: March 6, 2018

Kirkus Reviews Issue: March 15, 2018

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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