Deliberately excessive, Wilson’s latest lacks artistic coherence but does offer a feast for music lovers.
Winnie is Richard Wagner’s daughter-in-law; Wolf is Hitler. Their relationship is just one item in this fact/fiction hybrid, an appealing grab bag of impressions of the Bayreuth Festival, the Weimar Republic and much more.
There are three strands in the latest narrative from Wilson (Betjeman, 2006, etc.). The first dips into Wagner’s life while examining his major operas. The second is the relationship of Winnie and Wolf between 1923 and 1939. The third is the narrator’s story. N (no name vouchsafed) starts work as clerical assistant to Siegfried (Fidi) Wagner in Bayreuth in 1924. A young German with musician parents, he is quite bland beside the larger-than-life Fidi and his wife Winnie. Festival director Fidi was a flamboyant homosexual. Fearing scandal, his mother Cosima, Wagner’s widow, arranged his marriage to the teen orphan Winnie, and he surprisingly sired four children before his death in 1930, when Winnie became director. We see her through the eyes of the helplessly smitten N, a not altogether reliable narrator. Winnie is a bundle of contradictions, a fervent Nazi in love with Hitler, but a good-hearted woman who refuses to connect Hitler to his Jew-baiting street thugs. As for Hitler, N first sees him benevolently (he’s marvelous with the Wagner children); the scales fall from his eyes after he meets Helga, his Communist girlfriend. N conjectures the two were briefly lovers and had an unacknowledged love child; once married, he and Helga will adopt her. Wilson revels in contradictions, in Wagner’s work as well as in his protagonists, while celebrating Wagner as “a free creative spirit,” not shackled to any ideology. It’s a measure of the work’s idiosyncrasy that it’s not Wolf and Winnie but Richard and Cosima who, in the dying widow’s memory, enter the Wagnerian Venusberg, while Hitler’s greatest coup involves the set design for the opera Parsifal.
Deliberately excessive, Wilson’s latest lacks artistic coherence but does offer a feast for music lovers.Pub Date: Nov. 18, 2008
ISBN: 978-0-374-29096-2
Page Count: 368
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2008
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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