An inventive exploration of the place where love, chance, expectations and ambitions intersect in the city that never sleeps.
A novel within a novel spanning one eventful spring day in New York.
There’s nothing special about Larry Bloom, a city tour guide, aspiring novelist and loser in love. As the novel begins, he laments that “there hasn’t been a civil rights movement for the nondescript and homely people of the world.” On the flip side is the object of Larry’s affection, Starshine Hart, whose physical beauty shines. Larry has written a novel for and about Starshine, from her perspective, an imagined narrative about the day he will reveal his love for her as well as the existence of his book and—with luck—the fact that it is to be published. Everything hinges on the contents of the letter from Stroop & Stone, Publishers, which Larry picks up in the book’s opening pages and tucks away to open later. At first, the structure of Appel’s (The Man Who Wouldn’t Stand Up, 2012, etc.) novel—the purportedly real-time adventures of Larry interwoven with chapters from Larry’s book—seems a familiar approach in emulation of John Irving (The World According to Garp, 1978), Kurt Vonnegut (Mother Night, 1961, Slaughterhouse-Five, 1969, etc.) or Margaret Atwood (The Blind Assassin, 2000). What’s different here, though, is that the “real world” action and the fictional events of Larry’s novel are taking place on the same day and that all of the events and musings from each narrative thread will somehow have to come together at day’s end, in a real-world conclusion, when Larry and Starshine have their date. To read the book—to separate out the “fact” of Larry’s story from the “fiction” of the book about Starshine and to realize that all we learn of Starshine is filtered through Larry’s romantic and novelistic ambitions—is to undergo an exercise in what Appel describes, in the question-and-answer section at the end of the book, as postmodern romance: “hyper-aware, ambivalent, fragmented.” Interwoven plot points—things Larry couldn’t possibly have known about in order to have written about them in advance—further stress the fact that readers’ understanding of time, cause and effect is fragmented and partial at best. Still, Appel’s clever, evocative prose deftly navigates the story’s witty dialogue, high drama and only occasionally overblown imagery.
An inventive exploration of the place where love, chance, expectations and ambitions intersect in the city that never sleeps.Pub Date: Oct. 7, 2013
ISBN: 978-0975374689
Page Count: 234
Publisher: Elephant Rock Books
Review Posted Online: Jan. 11, 2014
Kirkus Reviews Issue: Feb. 1, 2014
Review Program: Kirkus Indie
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
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
© 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.
