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TINTIN IN THE NEW WORLD

Like Tallien (1988), etc., Tuten's latest is conceptually interesting and quite the rage—a post-mod mix of high and low culture. But not all hip ideas translate into compelling fiction. Reminiscent of Jay Cantor's Krazy Kat, Tuten's ponderous fable reimagines the famous Belgian cartoon character, Tintin, in a grown-up world peopled with refugees from The Magic Mountain. Tuten thus fills in his comic-strip word balloons with dialogue from an old-fashioned novel of ideas. Once an ``incorruptible, a natural spirit, a blond elf,'' the stunted boy-man discovers himself in the greatest adventure of his life. In Peru, on Machu Picchu, Tintin, his faithful terrier, Snowy, and his sidekick, the salty sea- captain Haddock, encounter Clavdia Chauchat, Peeperkorn, and others from Mann's classic. In the New World, they must all reconceive their purposes in life. These rather inanimate talking heads debate the merits of revolution, the value of art, and the designs of power. Meanwhile, Tintin falls madly for Clavdia after a night of wild passion, a moment so fraught with meaning that it leads to an elaborate dream of their future together. But Tintin's vision of contentment at his retreat, Marlinspike, is dashed by the decadent Peeperkorn, who reveals Clavdia's history of madness and nymphomania. Tintin grows, his voice deepens, he broods. He pushes Peeperkorn off the mountain edge and embarks on his last great adventure. High on psychedelic mushrooms, he flashes on ``the Grand Spectacle of the New World'' and sees himself as the fulfillment of ancient prophecy. A beggar in Lima, a shaman in Brazil, Tintin finally submerges himself in the Amazon, at one with the primal forces. HergÇ meets Mann, and the result would be as delightfully silly as an Abbott and Costello movie if Tuten didn't take all this so seriously. But, alas, he does, and the reader must suffer through his arch prose, with its pretentiously elevated diction.

Pub Date: June 21, 1993

ISBN: 0-688-12314-7

Page Count: 236

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 1993

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 21, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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