Painfully honest, compassionately cognizant of human frailty and complexity, alive to the magic of creativity yet aware of...
Mansbach (Angry Black White Boy, 2004, etc.) searchingly examines the fraught relations between Jews and gentiles, blacks and whites, men and women, artists and those who nurture them.
The bravura opening set piece catches Tristan Brodsky racing through his East Bronx neighborhood in 1935. “Fifteen years old, the sum total of five thousand years of Jewry, one week into City College, a mind on him like a diamond cutter,” Tristan is an aspiring writer desperate to break free from his immigrant parents’ narrow expectations. A half-century later in Prague, teenage photographer Nina Hricek similarly burns to escape stifling communist Czechoslovakia, maybe even find the father who fled for the States five years earlier and hasn’t been heard from since. The third chapter introduces Tristan’s grandson, Tris Freedman, or RISK, as he prefers to be known in 1989, when the suburban teen spray-paints his tag on freight trains in between gigs playing hip-hop music at Connecticut bar mitzvahs. In one of the novel’s many smart, socially revealing scenes, RISK takes Grandpa—a famous novelist who’s having a bad bout of writer’s block—out to the yards with some cans of Red Devil. Rejuvenated by his contact with a new kind of culture, Tristan begins a novel that, when it’s published in 1997, completely overshadows his embittered grandson’s fiction debut. A raft of full-bodied characters helps Mansbach maintain equal interest in the separate plot lines until Nina eventually meets Tris, but the central, tragic story concerns the slow disintegration of Tristan’s marriage to Amalia, a gifted poet whose initial connection with Tristan as a fellow writer is so electric that it takes her 50 years to finally rebel against his cold, punishing ways and dedication to his work at the expense of his family. The moving, chilling final scenes suggest that Tris is the same sort of unapologetically egotistical artist.
Painfully honest, compassionately cognizant of human frailty and complexity, alive to the magic of creativity yet aware of its consequences—very exciting fiction indeed.Pub Date: March 18, 2008
ISBN: 978-0-385-52044-7
Page Count: 304
Publisher: Spiegel & Grau
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2007
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An illuminating read for anyone interested in the inner workings of the Catholic Church; for prelate-fiction superfans, it...
Harris, creator of grand, symphonic thrillers from Fatherland (1992) to An Officer and a Spy (2014), scores with a chamber piece of a novel set in the Vatican in the days after a fictional pope dies.
Fictional, yes, but the nameless pontiff has a lot in common with our own Francis: he’s famously humble, shunning the lavish Apostolic Palace for a small apartment, and he is committed to leading a church that engages with the world and its problems. In the aftermath of his sudden death, rumors circulate about the pope’s intention to fire certain cardinals. At the center of the action is Cardinal Lomeli, Dean of the College of Cardinals, whose job it is to manage the conclave that will elect a new pope. He believes it is also his duty to uncover what the pope knew before he died because some of the cardinals in question are in the running to succeed him. “In the running” is an apt phrase because, as described by Harris, the papal conclave is the ultimate political backroom—albeit a room, the Sistine Chapel, covered with Michelangelo frescoes. Vying for the papal crown are an African cardinal whom many want to see as the first black pope, a press-savvy Canadian, an Italian arch-conservative (think Cardinal Scalia), and an Italian liberal who wants to continue the late pope’s campaign to modernize the church. The novel glories in the ancient rituals that constitute the election process while still grounding that process in the real world: the Sistine Chapel is fitted with jamming devices to thwart electronic eavesdropping, and the pressure to act quickly is increased because “rumours that the pope is dead are already trending on social media.”
An illuminating read for anyone interested in the inner workings of the Catholic Church; for prelate-fiction superfans, it is pure temptation.Pub Date: Nov. 22, 2016
ISBN: 978-0-451-49344-6
Page Count: 304
Publisher: Knopf
Review Posted Online: Sept. 6, 2016
Kirkus Reviews Issue: Sept. 15, 2016
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
