A complicated and promising debut that spoofs the current health culture craze even as it anticipates its appalling...
In a frighteningly plausible future, the economy revolves around the currency of health, life spans are potentially eternal, and the new have-nots are born with poverty encoded in their genes.
Lea Kirino is a career Lifer. At 100 years old, she is already high up the ladder at the Healthfin fund, where she spends her days working with clients whose fortunes are invested in the organ trade—mostly hearts, lungs, and livers. A stringent devotee of the shadowy Ministry’s recommendations for maximum life expectancy, Lea and her equally genetically pedigreed fiance, Todd, are perfectly poised to join the long-rumored Third Wave. If chosen to receive newly developed life-prolonging treatments, Lea’s expected life span of 300 years might be extended indefinitely through a combination of organ replacement, enhancements, nutrient and exercise regimes, and, of course, strict avoidance of cortisol-increasing activities like listening to music or looking at art. Yet, even with immortality at stake, Lea can’t let go of the complications of her past—her brother’s death, her own violent impulses, the disappearance of her “antisanct” father, Kaito, who turned his back on the family 88 years ago and hasn’t been seen since. When Kaito suddenly returns, his radical influence stirs up Lea’s own unruly impulses and exposes her to scrutiny from the Ministry. His presence also has the unintended consequence of introducing her into the inner circle of the Suicide Club—a group of well-connected rebels who choose the crime of death over the sentence of eternal life—forcing Lea to decide if living means the experience of life or adherence to the cult of immortality that has replaced all other forms of culture in this speculative New York of the future. Heng expertly threads a ribbon of dread through her glittering vistas and gleaming characters; however, the plot is so solidly foreshadowed that the climax, when it comes, feels almost preordained. This speaks to the intricacy of the world Heng has created and sets a dark mirror against the robotic bureaucracy of the Ministry's oversight that assigns at birth "an algorithm [that] decides who lives and who doesn't" so as not to waste resources on anyone with subpar genetic potential. Unfortunately, it also undercuts the author's considerable skill at rendering her characters in all their solid, bodily reality by making their actions seem less like startling acts of free will and more like functions of an overweening plot.
A complicated and promising debut that spoofs the current health culture craze even as it anticipates its appalling culmination.Pub Date: July 10, 2018
ISBN: 978-1-250-18534-1
Page Count: 352
Publisher: Henry Holt
Review Posted Online: April 15, 2018
Kirkus Reviews Issue: May 1, 2018
BOOK REVIEW
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
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