Another Trevor collection of short stories is always good news, and here in these 12 tales (many previously published in The New Yorker), the author again attends to the usually sad, small defeats of victims caught in the consequences of distant searing events, betrayed by their own wrong turns or, worse, simple inadequacy. In the title story, set in Ireland in 1847-48, a dry leaf of a "poor Irish" Protestant butler acts as a kind of persistent guide and prophet to the poverty, starvation, misery and horror of the ravished Irish countryside outside the English-occupied estate of a blandly oblivious, newly arrived English family. The soul he would turn back to England is the governess, a young woman of "principle and sensibility," another in a long line of Ireland's "visitors and strangers." Will she listen? Yes, reluctantly, and she'll be "sick at heart." But like her employers and other destroying strangers, she will, by the close, "learn to live with things." Joureys to times past bring illumination but also loss. In "Virgins" two middle-aged women meet in Italy, too late to ever find again their joyous girlhood friendship in Ireland—drawn apart long ago by the feverish wiles of a dying boy. Yet "that friendship. . .ran deeper than [their] marriages." Torment for torment is the destiny of a young hotel-heir who discarded his lover because of caste and cowardice; and in "On the Zattere," an elderly widower and his daughter, the latter wasted by a self-serving lover, are trapped in a stasis of silent anger. Love is elusive: "Mr. Robin Right" is always just around the corner for an aging chorine; and in Florence, a middle-aged woman disappears (probably dead), and the man she desired, hopelessly impotent, muses on their "affair": "She had arrived at the happiest moment of love, when nothing is destroyed." The dream lies forever out of reach; one simply "settles"; and parents doom children to fear and hatred. As always, Trevor, the consummate storyteller, writes with skill and compassion as he scrupulously weighs the press and passions of time and event on restless lives straining after illusions—or held by the potency of an evil never fully understood.
Pub Date: May 1, 1986
ISBN: 0140088571
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 6, 2011
Kirkus Reviews Issue: April 15, 1986
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
IN THE NEWS
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
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