Kashua fails to illuminate his characters’ troubled souls.
Two Arab-Israelis struggle with their insecurities in this unconvincing third novel from the Arab-Israeli writer.
He’s sitting pretty, this Arab from the villages of northern Israel; at only 32, he’s one of the top criminal-defense lawyers in Jerusalem, and an expert navigator through the thicket of Arab-Jewish relations. The unnamed lawyer also has a good marriage to Leila, a social worker; it may lack passion, but Leila makes sure the household, which includes two small children, runs like clockwork. The lawyer’s calm, measured tone changes dramatically when a note falls from the used book, a Tolstoy novella, he’s about to read. It’s in his wife’s handwriting and could be construed as erotic. The calculating lawyer turns into a raging monster of sexual jealousy. Has Tolstoy’s wife-killer leapt from the page to possess him? Or is his naïveté about matters of the heart taking its toll? (The lawyer has no experience with other women.) Disappointingly, these questions go unanswered, and their urgency ebbs as Kashua introduces another character, Amir, the protagonist of alternating sections. It’s an awkward structure, made more so by a six-year time difference. Back then Amir, also an immigrant to Jerusalem from an Arab village, was a newly minted social worker, a socially inept kid who went on a not-quite-date with his co-worker Leila, who afterwards wrote that altogether innocent note. So there’s the slender plot connection. Amir has a second job as a caregiver for Yonatan, a young Jewish man in a vegetative state. Gradually Amir assumes Yonatan’s identity. He’s alienated from his mother but finds a willing surrogate in Yonatan’s mother; together, they pull the plug on the Jew and Amir buries him in an Arab cemetery. Creepy, for sure, yet the sequence resolves nothing. By now the time periods are in sync. The lawyer has tracked down Amir, who tells him everything, and the lawyer’s marriage returns to normal; much ado about nothing, then.
Kashua fails to illuminate his characters’ troubled souls.Pub Date: April 3, 2012
ISBN: 978-0-8021-2019-9
Page Count: 352
Publisher: Grove
Review Posted Online: March 4, 2012
Kirkus Reviews Issue: March 15, 2012
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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