There must be a reason why stridently feminist fiction falls into two camps: realist novels-of-manners that owe their inspiration to Jane Austen and the tradition she belongs to; and bohemian experimental train wrecks like Drexler's latest. After a couple of books from major publishers in the late '70s and early '80s (Starburn; Bad Guy), Drexler appears to have retreated to the academic fringe for this dialogue-intensive yarn narrated by Julia Maraini, a flip, glib, impoverished young video artist loping across the Manhattan art world's weird landscape, struggling to get an NEA grant so she can continue to work. The book is funny in a willfully absurd sort of way: Julia must contend with vaguely predatory landlords, sexually deviant Brazilian industrialists, a deranged husband, ditzy curators, dependent friends, and a couple of oddly named cops—Detective Flamingo and Detective Palm Trees—who keep showing up, like Rosencrantz and Guildenstern, to interrogate and accuse. When Julia discovers a pair of skeletons in her garbage, she incorporates them into her ongoing video project, interviewing them with a supply of Beckettesque dialogue. The tape of these morbid proceedings disappears, only to return as a snuff flick starring the Brazilian industrialist, who has been writing letters to Julia describing his debauched exploits with cows and his daughter-in-law. All of this may be suitably kooky, but it's also mostly unreadable; unlike other American writers, among them Paul Auster, who cleave to witless, cloyingly hip European models for fiction, Drexler at least understands that surrealism isn't supposed to come with a moral, though she appears not to grasp that it requires a supreme clown to make it lively. Roaming the general Kathy Acker neighborhood, this protypically overhip novel will try the patience of even the most ardent enemy of conventional, patriarchal storytelling.
Pub Date: March 1, 1996
ISBN: 0-932511-98-8
Page Count: 187
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 1996
BOOK REVIEW
King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these...
Figuratively and literally shattering moments of hoRRRRRipilication in Chamberlain, Maine where stones fly from the sky rather than from the hands of the villagers (as they did in "The Lottery," although the latter are equal to other forms of persecution).
All beginning when Carrie White discovers a gift with telekinetic powers (later established as a genetic fact), after she menstruates in full ignorance of the process and thinks she is bleeding to death while the other monsters in the high school locker room bait and bully her mercilessly. Carrie is the only child of a fundamentalist freak mother who has brought her up with a concept of sin which no blood of the Lamb can wash clean. In addition to a sympathetic principal and gym teacher, there's one girl who wishes to atone and turns her date for the spring ball over to Carrie who for the first time is happy, beautiful and acknowledged as such. But there will be hell to pay for this success—not only her mother but two youngsters who douse her in buckets of fresh-killed pig blood so that Carrie once again uses her "wild talent," flexes her mind and a complete catastrophe (explosion and an uncontrolled fire) virtually destroys the town.
King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these youngsters who once ate peanut butter now scrawl "Carrie White eats shit." But as they still say around here, "Sit a spell and collect yourself."Pub Date: April 8, 1974
ISBN: 0385086954
Page Count: 216
Publisher: Doubleday
Review Posted Online: Sept. 26, 2011
Kirkus Reviews Issue: April 1, 1974
PERSPECTIVES
SEEN & HEARD
BOOK TO SCREEN
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
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