A spare, sharp-boned bird of a novel, whose song is wrenchingly sad yet full of indomitable spirit. Astley (The Slow Natives, 1993, etc.) writes of old age, of life slipping past and freedom lost, and of loneliness. As Kathleen, dozing and daydreaming her way into decrepitude and oblivion, looks back over her life, the ``pictures came in savagely illuminated splats,'' edged by disappointment and unnameable desire. The setting is Australia, but the vast emptiness surrounding Astley's characters is a symptom of psychology rather than setting. Kathleen recalls her marriage: ``seeking the idyll yet somehow missing it...Solitariness nibbling away even in the middle of parties, dances, pillow-talk.'' Her husband, ``a tensed sales clerk with the distant crazed eyes of a visionary unable to satisfy his yearnings,'' disappeared into the jungle, searching for his ``new Jerusalem,'' then succumbed, quite willingly, to cancer. Then there were—and are—her two children. The monstrously selfish Shamrock (Sham) took a year off to find herself (`` `Where will you look, dear?' Kathleen had asked mildly'') en route to fulfillment as the wife of a crooked politician and hostess of opulent dinner parties. The somewhat less monstrously selfish Brian (Brain) is miserably married, miserably adulterous, and prone to quoting Tennyson over his breakfast bran. Kathleen—except when available to baby-sit—has become nothing but a burden, a threat to her children's cherished, illusory liberty. When Sham dumps her unceremoniously in a retirement community called Passing Downs, Kathleen makes one last dash for her own freedom. ``It's time to go feral,'' she announces to a stranger. ``Tribes of feral grandmothers holed up in the hills, just imagine it, refusing to take on those time-honoured mindings and moppings up after the little ones while the big ones jaunt into the distance.'' Astley is a marvelous writer and a hilarious, merciless, and poignant truth-teller.
Pub Date: Sept. 15, 1994
ISBN: 0-399-13966-4
Page Count: 192
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1994
BOOK REVIEW
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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