The humor is dark. So is the general outlook. Still, Döblin’s stories are uplifting in their elegance and beauty.
Essential anthology of short works by the master of German literary expressionism.
Berlin Alexanderplatz, the sprawling saga for which Döblin is best known, is long in the telling but without much narrative trickery. The stories gathered here, including the whole of his 1912 debut book, The Murder of a Buttercup, are another matter; many seemingly seek to defy all expectation. The opening story begins with realistic resolution: a Brazilian man finds his way to a Belgian beach and there takes an interest in a woman with rust-colored hair. A gloominess has settled over the story from the outset, with the suggestion that Döblin is working toward a rejoinder to Death in Venice, but if he is, in the end it is by way of Ovid as man and woman sink beneath the waves of the North Sea: “And as they touched the wet waves together, his face turned young; her face turned young and youthful.” Wet waves? Young and youthful? Never mind, for Döblin is off to another fantastic vignette reminiscent not, in the end, of Thomas Mann but instead of Jorge Luis Borges or perhaps Stanislaw Lem. Some of the metamorphoses are literal, some figurative, but which is which is not always clear: does Mary really turn “into a ripe blossom” (and are blossoms ripe, strictly speaking?) when, sitting alongside Joseph, she says to her blessed son, “I love you, I love you, you pledge from God”? That story, “The Immaculate Conception,” exemplifies Döblin’s quiet interest in religious experience, though it is more cheerful, all in all, than most of the stories, which, if quirky and sometimes oddly funny (cow’s cheese, anyone?), end up with the demise of someone or another: “Even in death, the ballerina still had a cold contemptuous look around her mouth.” “Then Death stood up and pulled the canoness by her cold little hands behind him, out through the window.”
The humor is dark. So is the general outlook. Still, Döblin’s stories are uplifting in their elegance and beauty.Pub Date: Aug. 9, 2016
ISBN: 978-1-59017-973-4
Page Count: 240
Publisher: New York Review Books
Review Posted Online: May 16, 2016
Kirkus Reviews Issue: June 1, 2016
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
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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
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