De Moor's book fails to provide easy answers or pat conclusions, but of course life is like that, too. Like the widow, we...
During a bout of insomnia, a young widow ruminates on her husband’s suicide. While a Bundt cake bakes in the oven and the house is silent, she scrutinizes the past for telling details, the moment on which everything hangs.
Compact, haunting, and lovely, the story takes place over the course of one long night interspersed with flashbacks to the unnamed narrator’s young adulthood. She recalls meeting her husband, Ton, as college students in the late 1960s and their fall through winter ice while skating on frozen canals. We learn of their brief marriage, as they establish themselves as a couple on Ton’s inherited family farm. Dutch author de Moor (The Kreutzer Sonata, 2014, etc.) was a classical singer and pianist before becoming a writer, and even in translation, her prose retains a balanced, musical quality. Descriptions of places and people are evocative, but de Moor also renders more abstract concepts—such as what it’s like to be alone and wide awake in the middle of the night—with razor-sharp specificity: “The fever of sleeplessness drives people to do the strangest things. They whisper poems that appear in mirror-writing behind their eyes, weigh grains of rice on imaginary scales, picture themselves lying on a bed of red velvet.” Despite the novel’s short length, it is unhurried and assured; no word is wasted even as de Moor spends paragraphs recounting often slow and mundane processes, like mixing eggs and milk and yeast to make dough. Yet there is vitality in the chores, too, as when the dough is later kneaded, when the widow begins “slamming my fists into the pale, pliant lump in front of me.” In both its rich and unapologetic descriptions of domesticity and frank attitude toward sex (as the widow’s cake bakes, her latest lover lies asleep upstairs), the book is a treatise on one individual’s womanhood.
De Moor's book fails to provide easy answers or pat conclusions, but of course life is like that, too. Like the widow, we must all learn to tolerate that which is ambiguous, unexplained, incomplete.Pub Date: May 7, 2019
ISBN: 978-1-939931-69-6
Page Count: 122
Publisher: New Vessel Press
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
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
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...
Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.
At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.Pub Date: Aug. 2, 2016
ISBN: 978-1-5011-1036-8
Page Count: 320
Publisher: Atria
Review Posted Online: May 30, 2016
Kirkus Reviews Issue: June 15, 2016
SEEN & HEARD
SEEN & HEARD
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