A skillful dramatization of the consequences of making and inhabiting your own world. The Stones ought to write a song about...
The often self-destructive misadventures of “young people severed from all ties to the ordinary world” are chronicled in Lazar’s alluringly creepy second novel (Aaron, Approximately, 1998).
It tells three linked stories, each populated by iconic figures of the late 1960s. Beautiful-boy drifter and sometime rock musician Bobby Beausoleil wanders into the orbit of a charismatic “messiah” named Charlie, whose southern Californian “family” obediently isolate themselves in order to articulate his vision of uncompromising “love.” A few years earlier, several young males survive a frigid winter in an unheated London flat, devoting themselves to the creation of a driving musical style compounded of ingeniously mingled influences and raw technical virtuosity. As Mick, Brian, Keith et al. become the Rolling Stones and their “aloof antistyle” makes them famous, an introverted California boy, Kenneth Anglemyer, having survived the late Depression years and converted his fear of his physically abusive father into an artistic passion, becomes a furtive homosexual cruiser and the celebrated underground filmmaker Kenneth Anger, creator of such abrasive cinema as Scorpio Rising and Flaming Creatures. As pansexual Bobby glides in and out of Anger's life, the Stones grow ever more famous, abuse various substances and one another and attract the attention of the itinerant Anger—who sees in Mick Jagger’s polymorphous perversity the “Angel of Light” Lucifer, for which role Anger had groomed the unstable Bobby. The novel moves swiftly, and Lazar handles the numerous segues from one story to another with a veteran film editor's finesse. The novel drags, so to speak, when focused on the Stones’s sartorial campiness, the suicidal shenanigans of their least energetic member Brian Jones and the sniping brought on by sexual sharing of notorious rock molls Anita Pallenberg and Marianne Faithfull. But the ending has a powerful kick, and we're still hearing its echoes.
A skillful dramatization of the consequences of making and inhabiting your own world. The Stones ought to write a song about it.Pub Date: Jan. 7, 2008
ISBN: 978-0-316-11309-0
Page Count: 224
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2007
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PROFILES
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
