A boisterous retread of the Bard’s classic, minus the elegant writing and psychological complexity.
A righteous daughter reclaims her father’s kingdom in this rendition of Shakespeare’s King Lear.
Cordelia, 16-year-old daughter of Britain’s King Lear, opens this debut novel by vigorously applying her knee to the groin of Mundred, bastard son of the earl of Gloucester and would-be rapist, the first of her many attacks on toxic masculinity. She’s the innocent eye of a hurricane of ambition and treachery. Her elder sisters, Regan and Goneril, hatch rival plans to maneuver their respective husbands, the dukes of Cornwall and Albany, into seizing the throne. Both women also take the loathsome Mundred as a lover. Mundred orchestrates his own rise to power by murdering Gloucester, Cornwall, and Albany and raising a revolt against Lear, who placates him by naming Cordelia heir to the throne and promising him her hand. Alarmed at Mundred’s machinations, Cordelia vents increasingly strident indignation at Lear’s dithering refusal to punish him, and their relationship gets really nasty. (Father: “You’re a whore. And so was your mother.” Daughter: “I should hope my mother was a whore. I should hope she enjoyed making you a cuckold.”) Lear duly disinherits Cordelia and abdicates his crown to Regan and Goneril, which precipitates more bloodshed and war—and here the tale veers from dynastic melodrama into populist crusade. Cordelia, accompanied by Mundred’s sexy but passive half brother, Garred, goes to live among the peasantry and launches a class struggle—“The lives and happiness of working people depend upon their being secure in the ownership of the property they’ve accumulated through their labor,” she declaims—against aristocratic privilege. Fritsch’s ambitious version of the Lear saga has a raucous feminist energy to it, especially as the brash Cordelia develops a zest for slitting the throats of male miscreants. Unfortunately, the characters feel like cardboard—Regan and Goneril are cartoonishly bitchy; Mundred is a transparent psychopath; and Lear is simply a dunce for not heeding everyone’s advice to hang the monstrous villain—and the dialogue is not exactly poetic (“I wish to tell every other person in this kingdom what they may and may not do,” chortles Goneril). Readers who love the original may want to stick with it.
A boisterous retread of the Bard’s classic, minus the elegant writing and psychological complexity.Pub Date: Nov. 14, 2018
ISBN: 978-0-9978829-4-0
Page Count: 195
Publisher: Asymmetric Worlds
Review Posted Online: Feb. 9, 2020
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Briskly written soap with down-to-earth types, mostly without the lachrymose contrivances of Hannah’s previous titles...
Sisters in and out of love.
Meghann Dontess is a high-powered matrimonial lawyer in Seattle who prefers sex with strangers to emotional intimacy: a strategy bound to backfire sooner or later, warns her tough-talking shrink. It’s advice Meghann decides to ignore, along with the memories of her difficult childhood, neglectful mother, and younger sister. Though she managed to reunite Claire with Sam Cavenaugh (her father but not Meghann’s) when her mother abandoned both girls long ago, Meghann still feels guilty that her sister’s life doesn’t measure up, at least on her terms. Never married, Claire ekes out a living running a country campground with her dad and is raising her six-year-old daughter on her own. When she falls in love for the first time with an up-and-coming country musician, Meghann is appalled: Bobby Austin is a three-time loser at marriage—how on earth can Claire be so blind? Bobby’s blunt explanation doesn’t exactly satisfy the concerned big sister, who busies herself planning Claire’s dream wedding anyway. And, to relieve the stress, she beds various guys she picks up in bars, including Dr. Joe Wyatt, a neurosurgeon turned homeless drifter after the demise of his beloved wife Diane (whom he euthanized). When Claire’s awful headache turns out to be a kind of brain tumor known among neurologists as a “terminator,” Joe rallies. Turns out that Claire had befriended his wife on her deathbed, and now in turn he must try to save her. Is it too late? Will Meghann find true love at last?
Briskly written soap with down-to-earth types, mostly without the lachrymose contrivances of Hannah’s previous titles (Distant Shores, 2002, etc.). Kudos for skipping the snifflefest this time around.Pub Date: May 1, 2003
ISBN: 0-345-45073-6
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: April 1, 2003
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