Filled with literary aperçus and fragments of history: an elegant, affecting close to a masterwork.
The final volume in the trilogy devoted to Argentinian novelist and essayist Piglia’s alter ego.
That Renzi’s diaries are à clef is certain. Whether they’re roman à clef or reportage is a question that only Piglia, who died in 2017, could answer. In whatever case, Renzi enters this third volume with presentiments of a vaguely defined illness that, over the course of the narrative, resolves into the neuromuscular disorder that ended Piglia’s life: “I can no longer dress myself, so I’ve had to get a cape or rather tunic tailored for me; it covers my body comfortably, with two cords to fasten it,” Renzi records at the end. “I have two outfits; while one is being washed, I wear the other, they’re made from blue linen, I need nothing more.” What's worse is a steadily diminishing ability to use his writing hand, and being a writer—no, simply one who writes—is all he ever wanted. The illness occasions his reminiscences of a long life of letters; whereas before Renzi had filled box after box with handwritten journals that went into every corner, now he has cause to revisit “the catastrophic stupidity of the way he lived.” Well, not so stupid: Renzi is a careful observer of the small details around him, such as the disappearance of the white poles at bus stops, in the time of the military dictatorship, with signs that turned the whole city of Buenos Aires into “detainment areas” that Renzi fears are the vestibules of concentration camps to follow. What is one to do but reread Don Quixote, pretend that things are normal, and take note of things afar, such as the attempt on Ronald Reagan’s life and the Janet Cooke affair? There are happy moments, too: seeing the great Gato Barbieri play his saxophone, going to see a Werner Herzog film. Alas, though, happiness must give way to Renzi’s grim conclusion: “Genius is disability.”
Filled with literary aperçus and fragments of history: an elegant, affecting close to a masterwork.Pub Date: Oct. 13, 2020
ISBN: 978-1-63206-047-1
Page Count: 368
Publisher: Restless Books
Review Posted Online: Sept. 1, 2020
Kirkus Reviews Issue: Sept. 15, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
A vibrant tale of a remarkable woman.
Who was Shakespeare?
Move over, Earl of Oxford and Francis Bacon: There’s another contender for the true author of plays attributed to the bard of Stratford—Emilia Bassano, a clever, outspoken, educated woman who takes center stage in Picoult’s spirited novel. Of Italian heritage, from a family of court musicians, Emilia was a hidden Jew and the courtesan of a much older nobleman who vetted plays to be performed for Queen Elizabeth. She was well traveled—unlike Shakespeare, she visited Italy and Denmark, where, Picoult imagines, she may have met Rosencrantz and Guildenstern—and was familiar with court intrigue and English law. “Every gap in Shakespeare’s life or knowledge that has had to be explained away by scholars, she somehow fills,” Picoult writes. Encouraged by her lover, Emilia wrote plays and poetry, but 16th-century England was not ready for a female writer. Picoult interweaves Emilia’s story with that of her descendant Melina Green, an aspiring playwright, who encounters the same sexist barriers to making herself heard that Emilia faced. In alternating chapters, Picoult follows Melina’s frustrated efforts to get a play produced—a play about Emilia, who Melina is certain sold her work to Shakespeare. Melina’s play, By Any Other Name, “wasn’t meant to be a fiction; it was meant to be the resurrection of an erasure.” Picoult creates a richly detailed portrait of daily life in Elizabethan England, from sumptuous castles to seedy hovels. Melina’s story is less vivid: Where Emilia found support from the witty Christopher Marlowe, Melina has a fashion-loving gay roommate; where Emilia faces the ravages of repeated outbreaks of plague, for Melina, Covid-19 occurs largely offstage; where Emilia has a passionate affair with the adoring Earl of Southampton, Melina’s lover is an awkward New York Times theater critic. It’s Emilia’s story, and Picoult lovingly brings her to life.
A vibrant tale of a remarkable woman.Pub Date: Aug. 20, 2024
ISBN: 9780593497210
Page Count: 544
Publisher: Ballantine
Review Posted Online: June 15, 2024
Kirkus Reviews Issue: July 15, 2024
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