A New Age Old Testament, at once pompous and vapid.
The Greatest Story Ever Told, sort of. Set in the age of Genesis and narrated by an angel, Adiel (winner of the 1999 Jerusalem Literary Prize) is a very weird history of the world as written down by Israeli novelist DuNour (Yet Another, 1978, not reviewed).
It’s not easy to have a boss who is invisible, but then just about every aspect of Adiel’s job is strange. An angel from the tribe of the Uriels, he was responsible (as all Uriels were) for guiding the sun along its daily course until it passed into the care of the Melanols, who took it at eventide and doused it in the sea for the duration of the night. Like all angels, Adiel is keenly aware of hierarchies, and he’s well aware that he ranks pretty low in terms of angelic glory and power—not that he’d have it otherwise. He is still higher than the strange being named Adam, who has lately been set loose in his own private paradise. Adam looks like trouble, frankly, and none of the angels can understand why the Creator has devoted so much care to him (it may have something to do with his having been made in the image of the Creator himself, incredible as that may seem). He even receives private visitations from the angel Lilith, who ministers to Adam’s grosser desires until he’s presented with a mate named Eve. After that, things progress quickly from bad to worse, until the Creator becomes so sick of the entire lot that he sends a flood (managed, of course, by the angels) to wipe the whole earth clean. After that, a new start is made and there’s more hope for mankind. Throughout, Adiel is guided by the greater angels (especially Michael), who make clear that the Creator’s ways are not always logical but invariably just and worthy of praise.
A New Age Old Testament, at once pompous and vapid.Pub Date: Aug. 1, 2002
ISBN: 1-902881-32-X
Page Count: 304
Publisher: Toby Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2002
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
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"This soil," concludes the young narrator of this quiet chronicle of garrotted innocence, "is bad for all kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear." And among the exclusions of white rural Ohio, echoed by black respectability, is ugly, black, loveless, twelve-year-old Pecola. But in a world where blue-eyed gifts are clucked over and admired, and the Pecolas are simply not seen, there is always the possibility of the dream and wish—for blue eyes. Born of a mother who adjusted her life to the clarity and serenity of white households and "acquired virtues that were easy to maintain" and a father, Cholly, stunted by early rejections and humiliations, Pecola just might have been loved—for in raping his daughter Cholly did at least touch her. But "Love is never better than the lover," and with the death of her baby, the child herself, accepting absolutely the gift of blue eyes from a faith healer (whose perverse interest in little girls does not preclude understanding), inches over into madness. A skillful understated tribute to the fall of a sparrow for whose small tragedy there was no watching eye.
Pub Date: Oct. 29, 1970
ISBN: 0375411550
Page Count: -
Publisher: Holt Rinehart & Winston
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Oct. 1, 1970
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