“Paris is a small place,” says more than one character, as the reader discovers just how small the city—and the artistic...
Mooney (Easy Travel to Other Planets, 1981) returns with a rich, multilayered, powerfully unsettling novel.
The author’s experience as senior editor at Art in America and teacher of a graduate seminar at Yale University School of Art informs this novel’s thematic exploration of the interrelationship between art and commerce. It succeeds on a number of different levels: as a page-turning mystery in which conceptual art meets the scientific vanguard of stem-cell research and as a meditation on the trusts and betrayals of marriage, on truth and illusion and the relation of each to artistic creativity. A French designer named Odile finds herself paired with a stranger by an art dealer who has hired them to smuggle communist flags from Russia, with plans to market them in Paris as objects of art. The book barely touches on “the political ironies of selling communist artifacts in a venue so aggressively market oriented,” though the collapse of the Soviet Union has significant implications for the plot. Odile’s American husband, a highly-regarded avant-garde film director, also finds himself caught in a bit of intrigue, as copies of one of his movies surface with an alternative ending he never shot. After Odile’s smuggling partner disappears, she is threatened by Russians who suspect levels of conspiracy to which Odile has been oblivious. As allegiances shift and Max’s new movie further blurs distinctions between life and art, Max discovers that his own impressions have become “like shards of a broken mirror, each reflecting one or two of the others but refusing to come together into a whole.” But as this literary artist creates art about art, manipulating characters he has created who are manipulating other characters he has created, the whole comes together in a morally ambiguous manner that seems equally surprising, disturbing and inevitable.
“Paris is a small place,” says more than one character, as the reader discovers just how small the city—and the artistic community and the world of international crime—can be.Pub Date: May 13, 2010
ISBN: 978-0-307-27273-7
Page Count: 384
Publisher: Knopf
Review Posted Online: Jan. 3, 2011
Kirkus Reviews Issue: April 15, 2010
BOOK REVIEW
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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