Rich poetry, elusive plotting and layered images make for an interesting read.

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FIREFLY

The penultimate novel by Cuban author Sarduy (Cobra, 1972, etc.).

This book would seem to be a translator’s nightmare, but Fried has maintained the dark beauty and mystery of the work, originally published three years before the author’s death from AIDS in 1993. Sarduy’s circuslike world takes some getting used to. His hero, Firefly, is a young boy growing up in pre-Castro Cuba; in a David Lynch-ian touch, his name relates to his bald and oversized head. The narrative takes the first of many surreal turns in the first chapter, when Firefly puts rat poison in his family’s tea to keep them from noticing his fear in a thunderstorm. From there, the story shifts to the charity house where Firefly spends the rest of his youth, under the watch of the conjurer Munificence. His experiences are both disturbing and sensually charged. He watches while Ada, the woman he loves, is ritually bathed in lime juice and then pierced through the ears. His own sexual initiation occurs at the hands of two forceful, oversized creatures of uncertain gender. His first cigar is another kind of initiation, one that sends Firefly into a dream world. The story quickly loses any linear coherence it has, but the flow of images is dazzling and ultimately quite haunting. In the final chapter, Firefly’s world is now a wasteland, and he is racked with nausea. The closing image returns to the first chapter’s poison episode and is likely the author’s vision of Cuba to come: The innocence is now gone, and the violent impulses remain.

Rich poetry, elusive plotting and layered images make for an interesting read.

Pub Date: March 19, 2013

ISBN: 978-1-935744-64-1

Page Count: 240

Publisher: Archipelago

Review Posted Online: Dec. 16, 2012

Kirkus Reviews Issue: Jan. 1, 2013

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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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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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