Published in Esquire in the mid-1970's but never before in book form, here are the three extant chapters from Capote's notorious, never-finished "non-fiction novel" about his society/literary friends—part roman á clef, part naked gossip using real names. (A fourth chapter, "Mojave," was cut from the novel and published separately in Music for Chameleons, his final collection.) All three pieces are narrated circa 1971 by 35-ish P.B. Jones—a composite portrait (including some Capote) of the ultimate bisexual writer/hustler/gigolo, impish and languid and bitchy. In "Unspoiled Monsters," P.B. recounts his climb from St. Louis orphanage to teen-age "Hershey Bar whore" ("there wasn't much I wouldn't do for a nickel's worth of chocolate") to New York—where he gets published via sex with Turner Boatwright, fiction editor of a women's fashion magazine; from there he moves on to opportunistic liaisons with legendary Southern writer Alice Lee Langman ("a relentless bedroom back-seat driver"), drug-addict Denny Fouts in Paris ("Best-Kept Boy in the World" of Isherwood fame), et al.—but ends up penniless back in NY, reduced to working as a professional whore for Miss Victoria Self's "Self Service." (Among his clients: a thinly disguised Tennessee Williams—in the grotesque, pathetic version that's now familiar, thanks to Dotson Rader and others.) Then, in "Kate McCloud," P.B. recalls his first meeting with reclusive beauty Kate—"goddess of the fashion press," ex-wife of a mad young society scion, current estranged wife of an old billionaire German industrialist; P.B. is hired to be Kate's masseur/bodyguard (the German hubby may be out to kill her), there's great erotic tension. . .but the story remains incomplete. Finally, in the infamous "La Cote Basque," P.B. recalls a lunch date at that restaurant: a nonstop gossip-a-thon, including overheard conversation from the nearby table occupied by Gloria Vanderbilt and Mrs. Walter Matthau (an unflattering duo-portrait). Along, the way, P.B. delivers (or hears) nasty tidbits about bygone celebs—Barbara Hutton, Dorothy Parker, Montgomery Clift, Tallulah, Cole Porter, Peggy Guggenheim, Natalie Barney—as well as some still living; (Ned Rorem is "an intolerable combination of brimstone behavior and sell-righteous piety.") So, though dated, this is an undeniable source of slimy scuttlebutt—especially for those able, or interested enough, to decode the clefs. And, along with the malicious eloquence and an unprecedented ribaldry (sometimes exuberant, sometimes just gross), there are glimmers of Capote's storytelling talent. But the overall effect, somewhat wearying even at novella length, is shiny and shallow—with nothing to suggest that a completed Answered Prayers would have been anything like a masterpiece.
Pub Date: Sept. 21, 1987
ISBN: 0679751823
Page Count: 216
Publisher: Random House
Review Posted Online: Oct. 10, 2011
Kirkus Reviews Issue: Aug. 15, 1987
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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