More jaded and demanding than most American domestic tragicomedies, this novel packs a surprising emotional wallop, raising...
The title perfectly captures the tone of French author Alard’s second novel, which examines a marriage in crisis as if it were a working, or perhaps broken, machine.
In 2003, techie Juliette and her husband, Olivier, are the Parisian equivalents of Brooklynites, raising their two adored children in a formerly rough but gentrifying Parisian neighborhood where they are surrounded by a circle of like-minded, urbane friends. Then Olivier announces that for three weeks he’s been sleeping with a socialist politician he met in his work as a reporter. Olivier says he wants to stay married but needs time to break things off with emotionally fragile Victoire. Juliette hasn’t forgotten that days after their first kiss, Olivier betrayed her by meeting another woman; he and Juliette didn’t get back together for three years. Looking back, it would be easy to blame Olivier for his pattern of betrayal, but as he and Juliette struggle to repair their relationship, overtly simple explanations become tangled in the complexity of their connection to and resentments against each other. Olivier has acted abominably and remains difficult to trust, but Juliette—despite a history that includes her father’s abandonment when she was 5, an abortion, and a rape—refuses to let anyone consider her a victim. As much as she wants to fall to pieces, she doesn’t. Alard records the couple’s evolution moment to moment—internal thoughts, endless conversations, and a range of telling gestures—in obsessively minute detail. For Juliette, sex becomes an expression of feelings but also a tool. Olivier backslides with phone calls and meetings that he at first hides from Juliette as he gradually disengages from Victoire. Page by page, the marriage’s survival is uncertain.
More jaded and demanding than most American domestic tragicomedies, this novel packs a surprising emotional wallop, raising questions about the natures of passion and marriage within the context of early-21st-century French politics with references to France’s Muslim veil controversy and Simone de Beauvoir.Pub Date: Jan. 19, 2016
ISBN: 978-1-59051-731-4
Page Count: 320
Publisher: Other Press
Review Posted Online: Aug. 29, 2015
Kirkus Reviews Issue: Sept. 15, 2015
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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