Verne's recently discovered first novel, written over 125 years ago and now smoothly translated from its French edition by the poet Richard Howard. Verne's editor rejected the manuscript in 1863 for its ``unrealistic'' view of the future, though, as it turns out, Verne's grim predictions are chillingly exact. A better reason to reject his novel would have been that Verne had not yet learned to portray believable characters. Not that he'd ever be very good at it, but his young hero here, Michel DufrÇnoy, is little more than a prop to be shuttled about various neighborhoods of Paris in 1960, as imagined from the perspective of 1860. Michel has two male friends and a girlfriend, none of them memorable. Michel's artistic, more-or-less blacklisted uncle is, however, quite so, but only because Verne uses him as a mouthpiece to explain what happened in the 19th and early 20th centuries to bring about a dystopian Paris. In any case, Verne's predictions, as always, surpass any other writer's in their precision: ``. . . the study of belles lettres and of ancient languages (including French) was at this time virtually obsolete . . . some classes in literature were still taught, though these were sparsely attended.'' FAX machines, computers, automobiles, and high-speed trains are all clearly described, as are a number of devices that boggle the mind in their complexity but have yet to be invented. Remarkably, Verne's 20th- century Paris rarely seems dated. This may be because Verne was uncannily correct in his major predictions, that the future would be dominated by corporations and that technology would be the dominant god. Nothing impractical or unprofitable can exist in this world, and, in the end, people are no more than fragile machines expected to serve without question the corporate deities. Hardly H.G. Wells, or even Verne at his best, but, still, quite a welcome—and startling—curiosity.
Pub Date: Dec. 1, 1996
ISBN: 0-679-44434-3
Page Count: 240
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1996
Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.
Coelho is a Brazilian writer with four books to his credit. Following Diary of a Magus (1992—not reviewed) came this book, published in Brazil in 1988: it's an interdenominational, transcendental, inspirational fable—in other words, a bag of wind.
The story is about a youth empowered to follow his dream. Santiago is an Andalusian shepherd boy who learns through a dream of a treasure in the Egyptian pyramids. An old man, the king of Salem, the first of various spiritual guides, tells the boy that he has discovered his destiny: "to realize one's destiny is a person's only real obligation." So Santiago sells his sheep, sails to Tangier, is tricked out of his money, regains it through hard work, crosses the desert with a caravan, stops at an oasis long enough to fall in love, escapes from warring tribesmen by performing a miracle, reaches the pyramids, and eventually gets both the gold and the girl. Along the way he meets an Englishman who describes the Soul of the World; the desert woman Fatima, who teaches him the Language of the World; and an alchemist who says, "Listen to your heart" A message clings like ivy to every encounter; everyone, but everyone, has to put in their two cents' worth, from the crystal merchant to the camel driver ("concentrate always on the present, you'll be a happy man"). The absence of characterization and overall blandness suggest authorship by a committee of self-improvement pundits—a far cry from Saint- Exupery's The Little Prince: that flagship of the genre was a genuine charmer because it clearly derived from a quirky, individual sensibility.
Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.Pub Date: July 1, 1993
ISBN: 0-06-250217-4
Page Count: 192
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1993
SEEN & HEARD
SEEN & HEARD
BOOK TO SCREEN
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
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