LOVE IN THE TIME OF CHOLERA | Kirkus Reviews

LOVE IN THE TIME OF CHOLERA

Almost two decades after One Hundred Years of Solitude, Garcia Marquez has delivered another long, woolly, at times wonderful but consistently elective novel. Elective in the sense that, like One Hundred Years (a book more grazed-in than fully read, the candid reader will admit), you can loll in the lushness and the brilliant details and the generous metaphors, but getting up and walking out of Garcia Marquez's imagination is fairly easy to do: it's a book that doesn't hold on to you. But maybe here it doesn't mean to—it's a story of a decades-long love triangle that bridges the turn of the century in a Caribbean sea-coast town. The principals are a merchant-trader, Florentino Ariza; the sheltered and beautiful Fermina Daza; and the starchy physician who marries her, Dr. Juvenal Urbino de la Calle. Ariza is a born lover, patient beyond belief, in love with love (platonic and sexual), an eroticist of impressive concentration—and his conquests and griefs at least keep the book moving chronologically. Which it only rarely seems to want to do; Garcia Marquez's talent is for peripherals: tastes, comments, colors, sounds, all flocking spectacularly inside any given paragraph like iron filings. The style everywhere is rich and good-humored, but, except for isolated scenes (such as the doctor's confession to his wife of a late-in-life indiscretion), it focuses on the paragraph more than on the chapter. And little finally distinguishes these gorgeous paragraphs—story-turns never undermine them, and you suspect they're there to be admired more than felt. Still, there's almost nothing here (thankfully) of Garcia Marquez's cloying political ironies dressed up as mysteries and cosmogonies; and the stylish sexual histories are fun and will be popular. Broad and brilliant as it is, though, there's an awful lot about a little here—a candy-box of a novel: more paper slots and creamy centers than something hard to bite down on.

Pub Date: April 29, 1988

ISBN: 0307387143

Page Count: -

Publisher: Knopf

Review Posted Online: Sept. 30, 2011

Kirkus Reviews Issue: March 15, 1988

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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in White society, is shedding her fur coat. Jude, so Black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her White persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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