A highly enjoyable—and intermittently profound—debut.
A whimsical debut novel in which Bernard makes heaven the setting for a story of love and self-actualization.
Some say heaven is a place where everything is fine; others say it's a place where nothing ever happens. In Bernard’s version of the afterlife, both of these things are true. Heaven houses dull bureaucrats milling about in assigned jobs and marriages, socializing and playing “awful, awful golf.” So many people make meanings of their lives based on their conceptions of the afterlife, but if “the general outline of meaninglessness always remains,” what then? Well, if you’re Bernard’s narrator, you get attached to your work researching people on Earth who lived peculiar lives—in particular, the romance between Carmelo (befuddled academic) and Tetty (young and beautiful, of course). It’s the narrator’s job “to find the individual’s essential soul, the characteristics that define it,” though soon, as he begins falling for Tetty and interfering in her life, his work becomes personal. Meanwhile, the saddest people (if that’s the right word) in heaven begin to disappear without explanation, and the narrator’s wife becomes fascinated—even going so far as to throw a party with an offbeat theme: “the vanishing people.” Bernard moves between heaven and the story of Carmelo and Tetty on Earth—specifically, the narrator’s story of the two lovers, which he writes for work. Not all the meta elements work here, and not everything that happens on Earth is interesting or unique. But in heaven? Well, it takes a good writer to populate the afterlife with flying people; it takes a true original to point out that, after a while, everyone gets sick of the flying people and the traffic jams they cause.
A highly enjoyable—and intermittently profound—debut.Pub Date: Aug. 15, 2015
ISBN: 978-1-59709-995-0
Page Count: 272
Publisher: Red Hen Press
Review Posted Online: June 3, 2015
Kirkus Reviews Issue: June 15, 2015
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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