The latest from a generation of literary novelists who are erasing the distinction between art and pulp.

ZONE ONE

The zombie genre provides unlikely inspiration for the author’s creative renewal.

Whitehead (Sag Harbor, 2009, etc.) never writes the same book twice, though his eclectic output had fallen short of the promise he flashed in his early novels (The Intuitionist, 1998, etc.). Yet here he sinks his teeth into a popular format and emerges with a literary feast, producing his most compulsively readable work to date. Though there’s enough chomp-and-spurt gorefest to satiate fans of the format, Whitehead transforms the zombie novel into an allegory of contemporary Manhattan (and, by extension, America), where “it was the business of the plague to reveal our family members, friends, and neighbors as the creatures they had always been” and the never-explained apocalypse “sentenced you to observe the world through the sad aperture of the dead, suffer the gross parody of your existence.” The reader’s guide through this particular circle of hell is a clean-up/extermination operative called Mark Spitz (for reasons that aren’t worth the elaborate explanation the novel eventually gives). He was formerly employed as a social-network functionary for a Starbucks-style coffee chain, an occupation that seems even more ludicrous in the wake of a society transformed by hordes of organ-eating zombies. (A colleague’s former occupation was “a sommelier at a high-end eatery in Cambridge that specialized in offal.”) With its savage sense of humor and thematic ambitions, the narrative is to contemporary zombie novels what the movies of George Romero are to other zombie flicks. As survivors of the “Last Night” struggle through “PASD, or Post-Apocalyptic Stress Disorder," the government (located in Buffalo) peddles hope in the form of its “American Phoenix Rising” campaign, with its own power-ballad anthem: “Stop! Can You Hear the Eagle Roar? (Theme from Reconstruction).” When the protagonist was a child, he asked his father the meaning of the word “apocalypse.” His father replied, “It means that in the future, things will be even worse than they are now.” And, sure enough, they are.

The latest from a generation of literary novelists who are erasing the distinction between art and pulp.

Pub Date: Oct. 18, 2011

ISBN: 978-0-385-52807-8

Page Count: 272

Publisher: Doubleday

Review Posted Online: July 20, 2011

Kirkus Reviews Issue: Aug. 1, 2011

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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TRUE BETRAYALS

Thoroughbreds and Virginia blue-bloods cavort, commit murder, and fall in love in Roberts's (Hidden Riches, 1994, etc.) latest romantic thriller — this one set in the world of championship horse racing. Rich, sheltered Kelsey Byden is recovering from a recent divorce when she receives a letter from her mother, Naomi, a woman she has believed dead for over 20 years. When Kelsey confronts her genteel English professor father, though, he sheepishly confesses that, no, her mother isn't dead; throughout Kelsey's childhood, she was doing time for the murder of her lover. Kelsey meets with Naomi and not only finds her quite charming, but the owner of Three Willows, one of the most splendid horse farms in Virginia. Kelsey is further intrigued when she meets Gabe Slater, a blue-eyed gambling man who owns a neighboring horse farm; when one of Gabe's horses is mated with Naomi's, nostrils flare, flanks quiver, and the romance is on. Since both Naomi and Gabe have horses entered in the Kentucky Derby, Kelsey is soon swept into the whirlwind of the Triple Crown, in spite of her family's objections to her reconciliation with the notorious Naomi. The rivalry between the two horse farms remains friendly, but other competitors — one of them is Gabe's father, a vicious alcoholic who resents his son's success — prove less scrupulous. Bodies, horse and human, start piling up, just as Kelsey decides to investigate the murky details of her mother's crime. Is it possible she was framed? The ground is thick with no-goods, including haughty patricians, disgruntled grooms, and jockeys with tragic pasts, but despite all the distractions, the identity of the true culprit behind the mayhem — past and present — remains fairly obvious. The plot lopes rather than races to the finish. Gambling metaphors abound, and sexual doings have a distinctly equine tone. But Roberts's style has a fresh, contemporary snap that gets the story past its own worst excesses.

Pub Date: June 13, 1995

ISBN: 0-399-14059-X

Page Count: 400

Publisher: Putnam

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 1995

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