The Ian McEwan paradox continues. As before (The Cement Garden, In Between the Sheets), he writes some of the cleanest, most sparely seductive narration this side of Graham Greene. Also as before, what his page-by-page craft sweeps you along to is a virtual dead end: a kinky, symbolic sexual situation which is neither effective as storytelling nor freshly resonant as metaphor. Here he follows an unmarried English couple, Colin and Mary, on vacation in an unnamed, Venice-like city. They are beautiful, bright, liberated, a bit androgynous, and having a mostly miserable time. Then, one night, wandering the streets in search of a restaurant, they meet Robert—a wealthy native (though London-bred) who squires them about, regales them with tales of his childhood (strict training in old-fashioned European sex roles), and spirits them off to his splendid villa. . . where his demure, smiling Canadian wife Adrienne seems to be in constant pain, perhaps a prisoner. Other oddnesses accumulate as well: Robert, who seems at least latently homosexual, punches Colin in the stomach after delivering a tirade on the misery caused by today's sex-role confusion; Mary sees a secretly-snapped photo of Colin on Robert's wall. But the lovers continue—with exasperating passivity (or have they been drugged?)—to hang around with these weirdos. . . until it's too late: Adrienne confesses her sadomasochistic conjugal life (Robert even broke her back); Colin becomes the sex/death sacrifice of the odd couple; and Mary is left to announce McEwan's theme—"how the imagination, the sexual imagination, men's ancient dreams of hurting, and women's of being hurt, embodied and declared a powerful single organizing principle, which distorted all relations, all truth." Plausible psycho-sociology, perhaps—but a thunderingly clunky ending to a novella whose first half promises important fiction. So, once again, McEwan seems to be a huge talent constricted by the need to preach, philosophize, or work out private obsessions; and one can only hope that writing beguiling but disappointing essay-stories like this one will free him to write more wide-ranging, full-visioned fiction in the future.
Pub Date: June 1, 1981
ISBN: 0679749845
Page Count: 132
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: June 1, 1981
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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