by Tatjana Soli ‧ RELEASE DATE: June 12, 2018
A sober and memorable take on the American West: its opportunities for men to wage war against each other and the land and...
The lives of Gen. George Armstrong Custer, his wife, Libbie, and a 15-year-old Kansas farmer’s daughter converge in this historical novel about the American frontier.
Soli (The Last Good Paradise, 2016, etc.) writes of an angsty Gen. “Autie” Custer pushing into the American West in the post–Civil War era, looking to retain his glory in a new kind of battle. Soli’s braided narrative includes the historical figures of Custer and Libbie and opens with Anne, a fictional 15-year-old who was captured in an Indian raid on her Kansas homestead, where “it was necessary to work the fields with hoe in one hand and rifle in the other.” The frontier is rough, especially for women. Anne’s family is murdered, and she is held for years by the Cheyenne; Soli’s writing is unsentimental about life in captivity, where Anne is starved and raped. The book is written in alternating chapters told from the third-person perspectives of Anne, Libbie, and Autie. Both Anne's and Libbie’s lives are harmed by the ambitions and passions of men on both sides of the American/Indian conflict. Anne suffers at the hands of the Cheyenne, but as she bears children, she comes to identify with the Indian way of life. Early in her marriage, Libbie gets an “inkling that her savior might also be her tormentor,” but she's drawn to him. The Custers' is a marriage fraught with doubt and long periods of absence while Autie leads campaigns on the American frontier, and Libbie is filled with “constant, rational dread.” Autie is unquestioning of his duty but a man of impulses: “During the war he could have just as well fought for the Confederate cause; he had as many friends on both sides. Now he did not know why he fought the Indians, some of whom he also counted as friends, except that he was told to do so.” Anne prays for rescue, but when it comes, it brings more heartache and men who want to use her.
A sober and memorable take on the American West: its opportunities for men to wage war against each other and the land and the devastation the men’s ambition wrought upon women’s lives.Pub Date: June 12, 2018
ISBN: 978-0-374-24931-1
Page Count: 384
Publisher: Sarah Crichton/Farrar, Straus and Giroux
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
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PROFILES
by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by John Steinbeck ‧ RELEASE DATE: Feb. 26, 1936
Steinbeck is a genius and an original.
Steinbeck refuses to allow himself to be pigeonholed.
This is as completely different from Tortilla Flat and In Dubious Battle as they are from each other. Only in his complete understanding of the proletarian mentality does he sustain a connecting link though this is assuredly not a "proletarian novel." It is oddly absorbing this picture of the strange friendship between the strong man and the giant with the mind of a not-quite-bright child. Driven from job to job by the failure of the giant child to fit into the social pattern, they finally find in a ranch what they feel their chance to achieve a homely dream they have built. But once again, society defeats them. There's a simplicity, a directness, a poignancy in the story that gives it a singular power, difficult to define. Steinbeck is a genius and an original.Pub Date: Feb. 26, 1936
ISBN: 0140177396
Page Count: 83
Publisher: Covici, Friede
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Feb. 1, 1936
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by John Steinbeck & edited by Thomas E. Barden
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by John Steinbeck & edited by Robert DeMott
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by John Steinbeck & edited by Susan Shillinglaw & Jackson J. Benson
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