Whatever its novelistic flaws, the rock criticism and pop-culture insights are sharp throughout.
In this entertainingly chatty novel, the Irish author revisits some characters from the well-received debut that launched his career, but he isn’t quite sure what to do with them.
The publication of The Commitments (1987) established Doyle as a master of the Irish vernacular, earning its place on the short shelf of great rock novels and inspiring a movie that reached an even wider audience. The prolific author has since written some novels that are even better than the first, though his recent output has been more erratic. This represents a return to form, not quite a sequel to that debut and not quite as good but a novel that shows how the musical generation he chronicled earlier is now dealing with mortality, family, nostalgia and all sorts of issues of getting older but not necessarily smarter (or, in some cases, happier). Protagonist Jimmy Rabbitte, who formed and managed the Commitments, is still a musical hustler, but now his racket is reuniting and reissuing music from bands of that earlier era, many of whom he holds in great contempt. It seems that even in the midst of an economic downturn, “[t]he middle aged are still finding the money to fund their nostalgia.” There’s a hilarious middle-aged, punk-rock duo—a married couple who break up (the band at least) during every session—and there’s another very funny episode about Jimmy’s response to one of his more popular musicians and the affair that musician seems to be conducting with a young staffer—which requires a series of apologies when Jimmy discovers that he has misjudged the relationship entirely. Much of the book is very funny, audaciously so, considering that Jimmy is suffering from bowel cancer, undergoing chemo (while reading Chemotherapy & Radiation for Dummies), cheating on his saintly wife and watching while the country’s entire economy goes down the toilet. Yet, it is full of loose ends—a reconciliation with his brother, the attempt to fake a recording from 1932—that the author never ties together, perhaps since Jimmy’s is not the sort of tidy life.
Whatever its novelistic flaws, the rock criticism and pop-culture insights are sharp throughout.Pub Date: Jan. 27, 2014
ISBN: 978-0-670-01643-3
Page Count: 336
Publisher: Viking
Review Posted Online: Oct. 18, 2013
Kirkus Reviews Issue: Nov. 1, 2013
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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