Stimulating and enriching.

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LIFE STUDIES

STORIES

Seventeen stories by Vreeland, known for her delicate fictional investigations of painters’ lives (The Forest Lover, 2004, etc.), explore the interpenetration of existence and art.

Eight of the tales (“firmly based in research,” declares the author) evoke incidents from the lives of Impressionist and other early modern painters. Renoir, Monet (twice), Manet, Berthe Morisot, van Gogh, Cézanne, and Modigliani are seen by, among others, a gardener, a wet nurse, a butcher’s child, a banker, and a daughter. “Mimi with a Watering Can,” though hardly more than a sketch, is bathed in the same warmth that floods Renoir’s paintings. In “Winter of Abandon,” Monet paints his wife immediately after her death, with love and artistic calculation entwined; years later at Giverny (“A Flower for Ginette”), he struggles with Water Lilies. The two standouts are “Olympia’s Look” and “The Yellow Jacket.” The former shows Manet’s devoted widow Suzanne dealing with his former models after his death from syphilis. In the latter, van Gogh paints an apprehensive military recruit in Arles and, through the brilliant élan of his coloring, hands the fellow a future. “The Cure,” an exuberant albeit hokey detour into the 17th century, sends two peasants to Rome to absorb art and religion. Moving into the present (and the entirely fictional), Vreeland demonstrates how art liberates in such tales as “Respond,” which depicts a neglected wife coming alive when she models nude for a sculpture class, and “Gifts,” which chronicles the transformation of a prison visit by a teenager’s drawing. Most strikingly, in “Their Lady Tristeza,” a student’s outline of a Matisse nude miraculously evolves into an image of the Virgin Mary that refuses to disappear. A construction worker on his first visit to a museum can’t handle his girlfriend’s lectures in “The Things He Didn’t Know,” one of a handful of overschematic stories. Cumulatively, however, the collection reminds us that the bountiful promise of art is everywhere.

Stimulating and enriching.

Pub Date: Jan. 1, 2005

ISBN: 0-670-03177-1

Page Count: 304

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 1, 2004

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An exuberant comic opera set to the music of life.

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DEACON KING KONG

The versatile and accomplished McBride (Five Carat Soul, 2017, etc.) returns with a dark urban farce crowded with misjudged signals, crippling sorrows, and unexpected epiphanies.

It's September 1969, just after Apollo 11 and Woodstock. In a season of such events, it’s just as improbable that in front of 16 witnesses occupying the crowded plaza of a Brooklyn housing project one afternoon, a hobbling, dyspeptic, and boozy old church deacon named Cuffy Jasper "Sportcoat" Lambkin should pull out a .45-caliber Luger pistol and shoot off an ear belonging to the neighborhood’s most dangerous drug dealer. The 19-year-old victim’s name is Deems Clemens, and Sportcoat had coached him to be “the best baseball player the projects had ever seen” before he became “a poison-selling murderous meathead.” Everybody in the project presumes that Sportcoat is now destined to violently join his late wife, Hettie, in the great beyond. But all kinds of seemingly disconnected people keep getting in destiny's way, whether it’s Sportcoat’s friend Pork Sausage or Potts, a world-weary but scrupulous White policeman who’s hoping to find Sportcoat fast enough to protect him from not only Deems’ vengeance, but the malevolent designs of neighborhood kingpin Butch Moon. All their destines are somehow intertwined with those of Thomas “The Elephant” Elefante, a powerful but lonely Mafia don who’s got one eye trained on the chaos set off by the shooting and another on a mysterious quest set in motion by a stranger from his crime-boss father’s past. There are also an assortment of salsa musicians, a gentle Nation of Islam convert named Soup, and even a tribe of voracious red ants that somehow immigrated to the neighborhood from Colombia and hung around for generations, all of which seems like too much stuff for any one book to handle. But as he's already shown in The Good Lord Bird (2013), McBride has a flair for fashioning comedy whose buoyant outrageousness barely conceals both a steely command of big and small narrative elements and a river-deep supply of humane intelligence.

An exuberant comic opera set to the music of life.

Pub Date: March 3, 2020

ISBN: 978-0-7352-1672-3

Page Count: 384

Publisher: Riverhead

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...

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THE TATTOOIST OF AUSCHWITZ

An unlikely love story set amid the horrors of a Nazi death camp.

Based on real people and events, this debut novel follows Lale Sokolov, a young Slovakian Jew sent to Auschwitz in 1942. There, he assumes the heinous task of tattooing incoming Jewish prisoners with the dehumanizing numbers their SS captors use to identify them. When the Tätowierer, as he is called, meets fellow prisoner Gita Furman, 17, he is immediately smitten. Eventually, the attraction becomes mutual. Lale proves himself an operator, at once cagey and courageous: As the Tätowierer, he is granted special privileges and manages to smuggle food to starving prisoners. Through female prisoners who catalog the belongings confiscated from fellow inmates, Lale gains access to jewels, which he trades to a pair of local villagers for chocolate, medicine, and other items. Meanwhile, despite overwhelming odds, Lale and Gita are able to meet privately from time to time and become lovers. In 1944, just ahead of the arrival of Russian troops, Lale and Gita separately leave the concentration camp and experience harrowingly close calls. Suffice it to say they both survive. To her credit, the author doesn’t flinch from describing the depravity of the SS in Auschwitz and the unimaginable suffering of their victims—no gauzy evasions here, as in Boy in the Striped Pajamas. She also manages to raise, if not really explore, some trickier issues—the guilt of those Jews, like the tattooist, who survived by doing the Nazis’ bidding, in a sense betraying their fellow Jews; and the complicity of those non-Jews, like the Slovaks in Lale’s hometown, who failed to come to the aid of their beleaguered countrymen.

The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as nonfiction. Still, this is a powerful, gut-wrenching tale that is hard to shake off.

Pub Date: Sept. 4, 2018

ISBN: 978-0-06-279715-5

Page Count: 272

Publisher: Harper/HarperCollins

Review Posted Online: July 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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