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WHERE THE SEA USED TO BE

An ambitious and often captivatingly beautiful story, both Bass’s 13th book (In the Loyal Mountains, 1995, etc.) and his first full-length novel. In sensuous descriptive prose whose incantatory rhythms invite comparison with both Lawrence and Faulkner, Bass tells a tale of familial, sexual, and, in a way, fraternal conflict among four uneasily related characters who are, simultaneously, denizens, preservers, and destroyers of Montana’s north country near the Canadian border. Old Dudley is a veteran oil driller who sends Wallis, a young geologist in his employ, to that wilderness to seek oil. It’s an expression of Dudley’s power, as is well known by his 40ish daughter Mel, a schoolteacher and naturalist who “follows” the lives of wolves, and by Wallis’s predecessor (and Mel’s former lover) Matthew—and as will be learned by Wallis, a young Texan still mourning the deaths of his loved ones. Though the wary relationship of Wallis and Mel (his host, and mentor in this strange new world) is delineated with great skill, and though the story of their slowly developing closeness is punctuated by vividly rendered episodes (digging a limousine out of the snow, observing a summer drought and an ensuing forest fire), the story is essentially an extended meditation on the prickly, necessary interrelationship of man and the natural world. Variety is provided by a handful of lively townspeople (reminiscent of TV’s Northern Exposure) and by lengthy excerpts from old Dudley’s notebooks (as Wallis reads them), which comprise an almost mystical interpretation of how the earth’s physical features were formed (“It’s kind of like the Bible,” Dudley explains). But one reads this novel for such descriptive passages as this: “Flaming trees and burning snags and limbs . . . falling like swords with whiffs of sound like the cutting of paper with sharp scissors.— The story’s drama builds not through action per se, but from the intensity of its characters’ observations of themselves and of the exterior world that nurtures, tests, and reshapes them. Read it slowly, and it won’t let go of you. (Author tour)

Pub Date: June 15, 1998

ISBN: 0-395-77015-7

Page Count: 464

Publisher: Houghton Mifflin

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 15, 1998

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OF MICE AND MEN

Steinbeck is a genius and an original.

Steinbeck refuses to allow himself to be pigeonholed.

This is as completely different from Tortilla Flat and In Dubious Battle as they are from each other. Only in his complete understanding of the proletarian mentality does he sustain a connecting link though this is assuredly not a "proletarian novel." It is oddly absorbing this picture of the strange friendship between the strong man and the giant with the mind of a not-quite-bright child. Driven from job to job by the failure of the giant child to fit into the social pattern, they finally find in a ranch what they feel their chance to achieve a homely dream they have built. But once again, society defeats them. There's a simplicity, a directness, a poignancy in the story that gives it a singular power, difficult to define.  Steinbeck is a genius and an original.

Pub Date: Feb. 26, 1936

ISBN: 0140177396

Page Count: 83

Publisher: Covici, Friede

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: Feb. 1, 1936

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THE SECRET HISTORY

The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.

Pub Date: Sept. 16, 1992

ISBN: 1400031702

Page Count: 592

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 1992

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