Achingly lovely, though never sentimental, Hadley’s collection renders common lives with exquisite grace.
Acclaimed novelist Hadley (The Past, 2016, etc.) is back with a collection of 10 quietly explosive short stories that reveal, with unsparing precision, the epic drama simmering beneath the mundanity of everyday life.
A woman takes a job as a caretaker for a difficult old man and finds herself entangled in the family’s internal politics—and unable to avoid learning the secrets of her employer’s past. An indolent 10-year-old, generally a disappointment to her elegant parents, discovers the intoxicating power of fiction on a family vacation in the South of France. A young divorcée takes refuge in the empty home of an older and more glamorous acquaintance and becomes increasingly invested in the more intimate details of her hostess’s life, first through her diary and then through her ex-lover himself. A mother, now ill, goes to visit her adult daughter in Liverpool and has an odd encounter with a strange young man from the train; a London expat returns to her childhood home in Leeds to reconcile with her sister, long estranged. In the title story, a little girl wakes in the night and is overcome with the desire to “disrupt this world of her home” in more ways than she knows. In the closing piece, a dress designer is commissioned to make an old acquaintance’s wedding dress, a venture that is ultimately doomed. Buried under each quotidian moment is the churning of a lifetime; each tiny snapshot seems to offer a window not only into the past, but toward the future. Hadley captures her characters at turning points so subtle they themselves rarely notice them. Ordinary as they are, these are episodes that will echo, softly, throughout her characters' lives.
Achingly lovely, though never sentimental, Hadley’s collection renders common lives with exquisite grace.Pub Date: May 16, 2017
ISBN: 978-0-06-247666-1
Page Count: 240
Publisher: Harper/HarperCollins
Review Posted Online: March 6, 2017
Kirkus Reviews Issue: March 15, 2017
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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