In this high-temperature fever dream of a novel, with images that boil and explode with emotional intensity, author Antonio Lobo Antunes describes the life of a newly graduated Lisbon physician who has been sent to Angola from 1971 – 1973, during Portugal’s war to preserve its colonies. As the novel begins, six years have passed since the speaker has returned to Lisbon from Angola, but the young physician still cannot come to grips with all he saw and felt there. Furious by the betrayal of the Portuguese government, consisting of the ultra-right wing Estado Novo led for many years by Antonio de Oliveira Salazar, the speaker accuses that government of responsibility for all the African dead and all the Portuguese lost souls who had to fight that senseless war. After bedding a woman he has just met, he is suddenly impelled to talk about his experiences in Angola, and, once started, he cannot stop. The intensity of the feelings and images throughout this book belie the usual objectivity of a novelist. Like his speaker, the author, too, was a young physician when he was sent to perform military service in Angola from 1971 – 1973, and though this is considered a novel, it is obviously extremely autobiographical.
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In this newly reprinted book from 1998, William Boyd details the life and work of Nat Tate, an artist whose work became highly sought-after in the 1950s. One of the Abstract Expressionists in New York City during that decade, he could usually be found at his studio in the heart of the art district, at galleries, in conversation with Gore Vidal, Frank O’Hara or Peggy Guggenheim, or drinking with Jackson Pollock, Willem de Kooning, and others at the Cedar Tavern on University Place. He traveled to Europe in 1959 and visited Pablo Picasso and Georges Braque, who became his idol. Every one of his paintings sold almost immediately, most of them before the scheduled gallery openings even took place. His most famous work consisted of over two hundred pen-and-ink drawings of the Brooklyn Bridge, in honor of his favorite poet Hart Crane’s “The Bridge” cycle, and he had started a new series, also honoring Crane, called “White Buildings.” Then, unexpectedly, in January, 1960, at age thirty-one, Nat Tate committed suicide. Later, his entire reputation would be questioned.
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Posted in 9a-2011 Reviews, England, Humor, Satire, Absurdity, Literary, Mystery, Thriller, Noir, Psychological study, Social and Political Issues on Jun 11th, 2011
Described on Amazon and elsewhere as “the first credit crunch novel,” something that, frankly, would never have lured me into reading it, Get Me Out of Here is much more like an adult version of Patrick McCabe’s novel of psychological horror, The Butcher Boy, than it is a broad satire of the London business community at large. The book focuses almost exclusively on Matt Freeman, a thirty-three year-old Londoner who is trying to run his financial business, an overly-driven young urban professional, with all the stereotypical hang-ups about appearances, brand names, personal connections, and the toys of success. Matt, as narrator, conveys every thought that enters his mind, every twisted bit of false logic, every sensation, every hope for the future, and every self-deluded justification for the crimes he commits—and he commits a lot of them. We know his personal friends, all his lovers, and his neighborhood–he is individualized, not the generic stick figure we usually see in satires. The focus here is on the small, not the broad and universal–the life of one young man whose problems are so extreme that he cannot be considered “typical,” even among psychopaths. Full of wonderful, grim humor and irony.
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In this collection of stories about life’s uncertainties, Robert Boswell picks up his characters like mechanical toys and winds them up tight, and just when they are at maximum tension, he twists the key one more turn, guaranteeing that they will unwind noisily, out of control. Virtually all his characters are losers. A woman, having lost her disabled husband, now finds that she has also lost her best friend. A housecleaner has been abandoned by her husband. An attention-seeking motel manager demands that a patron strip search her. A needy young man goes broke while in the thrall of a fortune teller. A priest tries to help a pathetic family by offering a “story to have faith in, even if he cannot entirely believe it.” The stories are sometimes bleak, but they are always haunting. The characters are just one twist away from the normal, the safe, and the real, feeling instead to be “different,” irrational, sometimes dangerous, and even frightening. Ultimately, these unforgettable characters with their haunted and damaged lives, leave the reader uncomfortable with their ironies. Damaged as many characters are, they are close enough to ourselves and those we know to feel familiar to us.
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From the time of Irish “independence,” recognized by treaty between Ireland and Britain in 1922, to the Good Friday Accords of 1998, the island has suffered from sectarian violence. Even in recent years, after the “Peace” agreement, many Republicans, nearly all of them Catholic, and including the IRA and Sinn Fein, continue to want a united Ireland and the return of the six northern counties which have been ruled by Britain for eight-five years. Ardent Loyalists, mostly Protestants who support British rule and the Royal Ulster Constabulary, want to protect their minority interests by remaining in control in their limited area of the island. Set in Belfast in November and December of 1979, this novel by Louise Dean focuses on the violence which reached its irrational peak at that time, and she holds back nothing in describing the brutality and tit-for-tat horrors in which both sides engaged.
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