A wry, sardonic romp made even more vibrant by its various satires and absurdities.

I'LL SELL YOU A DOG

A novel of retirement, regret, and revolution in Mexico City.

Teo, short for Teodoro, which may or may not be his real name, lives in an old, broken-down building where the cockroaches run rampant. Teo is approaching 80. Every day he drinks. He drinks either in the bar on the corner; with the greengrocer, Juliet, whom he calls Juliette; or in his room, with a Mormon missionary named Willem (whom he calls Villem) or with a young revolutionary named Mao, who may not be a revolutionary and may not be named Mao. Teo either keeps track of his drinks, or he loses count. “Maybe if you didn’t drink so much…” is a refrain he hears often. Teo had a long career as a taco seller in Mexico City, but before that he was an aspiring artist. Then he gave up his ambition to support his mother, who’d been abandoned by his father and began taking in stray dogs, to whom she bestowed names like Market and Eighty-Three, for the place and the year, respectively, she found them. Now Teo carries around a copy of Adorno’s Aesthetic Theory, from which he reads passages to telemarketers and anyone else who annoys him. He carries on an ever escalating battle with the “literary salon” that meets on the first floor of his building. When the salon kidnaps Teo’s Aesthetic Theory, he takes revenge on their bulky copies of In Search of Lost Time. Throughout this lark of a novel, there are many appearances by dogs, some of whom die, ignominiously, by strangling, some of whom are sold, illegally, as taco meat, and some of whom roam the streets in lonely, mangy packs. This is the third novel by Villalobos (Quesadillas, 2014, etc.), and it should help establish his reputation as a maniacally witty writer of satire and absurdity. He takes on Mexican history, literary theory, and the just-scraping-by lives of the 99 percent, all while telling a damn good story. He has a novelist’s eye for detail, a painter’s for image, and a poet’s for turn of phrase. Remember those cockroaches? They “take advantage” of the building’s elevator to ride “downstairs to visit their associates.”

A wry, sardonic romp made even more vibrant by its various satires and absurdities.

Pub Date: Aug. 9, 2016

ISBN: 978-1-9082-7674-2

Page Count: 256

Publisher: & Other Stories

Review Posted Online: May 30, 2016

Kirkus Reviews Issue: June 15, 2016

Did you like this book?

No Comments Yet

Absolutely enthralling. Read it.

Reader Votes

  • Readers Vote
  • 13

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2019

  • New York Times Bestseller

  • IndieBound Bestseller

NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

Did you like this book?

This book sings with the terrible silence of dead civilizations in which once there was valor.

THINGS FALL APART

Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.

Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.

This book sings with the terrible silence of dead civilizations in which once there was valor.

Pub Date: Jan. 23, 1958

ISBN: 0385474547

Page Count: 207

Publisher: McDowell, Obolensky

Review Posted Online: April 23, 2013

Kirkus Reviews Issue: Jan. 1, 1958

Did you like this book?

No Comments Yet
more