As a critic once observed: "The language is the character and the action. To say that Herzog is written in the first person would be like saying that Genesis is written in the first person. The voice is the whole case; it contains everything." Even if, as now, we sometimes stop listening. And even if—to take it a step further—the character is always to a large degree Bellow, while the action (let him describe it) is "cantankerous erroneous silly and delusive objects actions and phenomena." In two words, energized chaos. Humboldt, he of the gift, was a "culture-Jew," poet, trickster, genius with a passionate gift of gab and intellectual grandiloquence. He was also a noble man who had attained prominence in the '40's only later to decline not only in terms of fame but physically. Humboldt, with his gin, pills, and his own innate highs and lows of increasing intensity, was institutionalized in Bellevue toward the end and finally dropped dead, alone, in a seedy hotel. His protege, heir and bloodbrother is Charlie Citrine who tells this so-called story: Citrine who wins a Pulitzer and also knows the "glory and gold" which attend success; Citrine who has been divorcing his wife for a beautiful girl who pussywhips him; Citrine who becomes involved with a second-string underworld godson and all kinds of manipulative shenanigans; Citrine who gyrates all around the world; Citrine who is left the "gift"—an outline for a movie script which will net a great deal of that gold. Throughout of course there are some of Bellow's central concerns: the sense of destiny which is never far from the abyss; that "for self-realization it's necessary to embrace the deformity and absurdity of the inmost being (we know it's there!)" and Humboldt knew better than anyone that it is there; that light—light which is talent or inspiration or gift—receding in the last years when "the dark turned darker" and death becomes an almost daily presence. Bellow writes continually in the recognition of approaching death—both seriously and less so. There's a marvelous piece on our burial malpractices down to "short sheeting" with the legs up. But Humboldt/Citrine/Bellow, however well he talks, talks too much. The novel sprawls in a picaresque fashion without the humor of Herzog or the humanity of that nice Mr. Sammler. Still if one is left with ""a kind of light-in-the-being"" that can overcome the terminal terror, it will represent underachiever Humboldt's great achievement.
Pub Date: Aug. 25, 1975
ISBN: 0140189440
Page Count: -
Publisher: Viking
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Aug. 1, 1975
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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