Written in 1952, Queer remained unprinted all these years, its publishers tell us, because of its "candid homosexual content, and. . .its author's own reluctance to make public the painful events it recounts." So now, in our latter-day age of liberation, we get to see it at last: a faded-trendy piece of 1950s hip arcana that preserves, if anything, a thin, petulant narcissism of feeling that might once upon a time have passed fleetingly for depth, however it may or may not be related to the development of the later Burroughs. Lee, American expatriate in Mexico City in the late 1940s, falls in love with the reluctant young Allerton, and, from the start, we're in for an affair that reads often now like one of the lesser forms of genre romance ("Lee watched the thin hands, the beautiful violet eyes, the flush of excitement on the boy's face"). As for feeling, we know it's deep, because the author says so, time and again, when Allerton holds back from Lee: "Lee was deeply hurt"; "Lee was depressed and shattered"; "He felt a deep hurt. . . Tears ran down his face." A ludicrous, comic-strip shorthand becomes more apparent in the narrative after Allerton agrees to serve as Lee's companion on a trip to South America, a trip that becomes a search for Yage, a thought-control drug: "'A Colombian scientist who lives in Bogota isolated Telepathine from Yage. We must find that scientist.'" Later, another clue takes them deep into the jungle: "'A botanist! What a break. He is our man. We will go tomorrow.'" What happens? The search for the drug is futile. Allerton drops Lee. Lee drifts back to Mexico City. Lee is cosmically sad. Burroughs explains in his introduction that all of this occurs while Lee is withdrawing from junk, and that's one reason (read the introduction to find out the other) why "a smog of menace and evil rises from the pages" of the book. It's a good thing he mentions the smog, so you'll be sure to notice it when you go back; what Burroughs doesn't do, though, is say much about why the book now reads so artificial, posed, thin, contrived, and silly, albeit with some effective travelogue footage. First printing of 30,000. Certainly more than enough.
Pub Date: Nov. 1, 1985
ISBN: 0143117831
Page Count: -
Publisher: Viking
Review Posted Online: Sept. 19, 2011
Kirkus Reviews Issue: Oct. 15, 1985
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
PERSPECTIVES
IN THE NEWS
SEEN & HEARD
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