Another new fictional world entered, as Updike himself enters old age, with skills and ambitions very much intact.
Updike’s 20th novel is, like its predecessor, Gertrude and Claudius (2000), yet another illustration of this adventurous writer’s enduring curiosity, versatility, and stylistic energy.
In a single unbroken scene, well-known (if not precisely “famous”) painter Hope Chafetz is interviewed in her rural Vermont home by young New York City journalist Kathryn D’Angelo. Their day-long session begins as Kathryn probes for details about Hope’s first husband, Zack McCoy, an ebullient, self-destructive nonrepresentational painter (“America’s marvelous drip machine”) whose checkered career and violent accidental death unmistakably parallel the life and death of Jackson Pollock. Hope keeps meandering, the stern Kathryn keeps tugging her back to the subject at hand—and Updike gradually builds the reader’s confidence in his loose structuring, in which flashbacks of varying length and fullness are triggered by both random musings and pointed specific questions. The initial impression of contrivance fades, as the richness of detail has its way with us. The result is a compact panoramic view of the postwar “revolution” in American art, especially among the Long Island crowd surrounding Zack/Pollock; (sometimes forced and tedious) reiterations of conflicting theories about “the redemptive mission of paint” and the artist’s responsibilities to society and to himself; and Hope’s fragmented personal history, including her second marriage to commercially successful collagist Guy Holloway (another dead ringer, this time for Andy Warhol) and conflicted motherhood to the three children she bore him, a happy third marriage to a companionable stockbroker and art collector, and her sturdy passage into solitary, meditative old age. The story can be faulted for its cook’s-tour approach to the history of modern art, but its portrayal of the unillusioned Hope’s understanding of her limits, and of her difference and distance from the passionate risk-takers who were her contemporaries and confederates, is stunningly revealing.
Another new fictional world entered, as Updike himself enters old age, with skills and ambitions very much intact.Pub Date: Nov. 19, 2002
ISBN: 0-375-41490-8
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2002
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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