Articoli correlati a Very Old Bones
It is 1958 and the Phelan clan has gathered to hear Peter Phelan's will, read by the living Peter himself, an artist whose paintings about members of the family have given him belated critical recognition. The paintings illuminate the lives of his brother Francis (the exiled hero of Ironweed), and a family ancestor, Malachi McIlhenny, a true madman beset by demons, and determined to send them back to hell. Orson Purcell, bastard son of Peter, and half-mad himself, encounters his first true solace through this obsessive and close-knit family he has never quite entered; most especially through his Aunt Molly, whose intense love affair holds secrets that only another love can resurrect. It is through Orson's modern eye that we see the tragedies, obsessions, and clandestine joys of this singular family. This is climatic work in William Kennedy's Albany Cycle, riding on the melody of its language and the power of its story, which is full of surprise, comedy, terror, and earthly delight.
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About the Author:
William Kennedy was born and raised in Albany, New York. His Albany Cycle of novels is recognised as one of the great achievements of postwar American literature, and includes LEGS, BILLY PHELAN'S GREATEST GAME, IRONWEED, VERY OLD BONES, QUINN'S BOOK and the FLAMING CORSAGE.
From Kirkus Reviews:
Kennedy's latest installment in the Albany cycle (Billy Phelan's Greatest Game, Ironweed) continues the saga of the Phelan family in a familiar mix of surreal flourishes and gritty naturalism. Humor leavens the mix, but this one is still a grab- bag--a family chronicle that gets weighed down with too many attempts to sum up or recapitulate. It's written as a mock-memoir by Orson Purcell, ``a bit of a magician,'' who is the bastard son of Peter Phelan, older brother of Francis (Ironweed). Orson is attempting to put the humpty-dumpty of familial life together again during a climactic family gathering, in 1958, by chronicling his own life, his father's, and three past generations. Peter, a painter, returns to Albany (from a long exile in Greenwich Village) in 1954, and stays to document the family's history in paint and to care for brother Tommy, a sort of ``holy moron.'' The cast here is large and various: highlights include Francis, who returns in 1934 to attend a family funeral for matriarch Kathryn and nearly commits suicide, and Orson's own colorful interlude in Germany during the Korean War, where he meets Giselle (``I had never been more excited by a woman's body...'') and becomes a cardsharp. While some of this is thumbnail-thin, covering too much ground, Orson's narrative is finally a meditation on art, focused on father Peter, whose artistic cycle includes guilt, remorse, delight with remorse, self-destruction, boredom, and the resumption of art--``art again being the doorway into the emotional life....'' Orson's family saga, then, narrates and enlarges the pictorial one of his father: Kennedy's achievement is to place all of this into a comic structure that is, in the end, elegiac and celebratory. Tough-guy dialogue, hardheaded realism, flights of prose- -Kennedy's trademarks are here, but this one has the feel of a code: ``...we are never without our overcoats, however lice-ridden, of our ancestors.'' -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.
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- EditorePenguin Canada
- Data di pubblicazione1993
- ISBN 10 0143195948
- ISBN 13 9780143195948
- RilegaturaPaperback
- Numero di pagine288
- Valutazione libreria
(nessuna copia disponibile)
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