The theme of political commitment is explored from an unusual and rewarding perspective in this moving short novel, set in Fascist-ruled Portugal in 1938, by the Italian author of Requiem (1994), etc. Its unsuspecting hero is Dr. Pereira, a former Lisbon crime reporter who now edits the ``culture page'' of the cautiously apolitical newspaper Lisboa. Pereira himself eschews political opinions, but finds he's drowning in them after he hires a young university graduate, Monteiro Rossi, to write ``advance obituaries of great writers who might die at any moment.'' The latter writes ``nothing but raving revolutionary stuff''—he can't help himself; Pereira, declaring Rossi's effusions ``unpublishable,'' fills the page with his own translations of favorite writers. But Pereira is soon overtaken by events; involved against his will in his protÇgÇ's dangerous affairs; accused of concealing treasonable sentiments in the stories (by Balzac and Daudet) that he innocently translates; and pushed toward a gesture of defiance that brings the novel to a wonderfully satisfying and surprising end—because we could not have guessed him capable of it, and because we do anticipate his fate, which Tabucchi refrains from specifically disclosing (the story is narrated by an unidentified interrogator whose repeated phrase crediting the Doctor's statements under questioning give the novel its' title). Pereira is a marvelously complex creation: An aging widower who talks to his dead wife's photograph, overweight, timid, afflicted with a heart condition, self-indulgent, yet fundamentally moral, even courageous. The raising of his consciousness proves every bit as convincing as it is awkward and hesitant. One of the most intriguing and appealing character studies in recent European fiction, and easily the best work of Tabucchi's to have appeared in English translation.
Pub Date: May 1, 1996
ISBN: 0-8112-1319-6
Page Count: 144
Publisher: New Directions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1996
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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