For Kings and Planets: A Novel (Hardcover)

Marshall is a genius with the gift of eidetic memory. He's a rogue student, voyeur, classic alcoholic/drug addict, and maybe even manic-depressive. Orno is magnetized to him like an alter ego, and consequently, Marshall is also drawn to Orno, recognizing in him the qualities he lacks in spite of his seemingly privileged background. They attend many of the same classes, date the same women and eventually, after he makes the decision to attend dental school (much to Marshall's disapproval), Orno falls in love with Marshall's more stable and wise sister. Belittling his own stable yet naïve background, Orno tries to make his way in an unfamiliar world, mistaking the dysfunction of the Emerson family for sophistication. Triumphant, Orno manages to hold onto his integrity, learns to appreciate his own father and is an earnest and likeable character.

For Kings and Planets is a love story (exploring love between friends, siblings, parents and children and lovers), and ultimately a coming of age tale. Beautifully-written, a fast read and I highly recommend.

From the author of "I'm Living Your Dream Life," McKenna Publishing Group.

Help other customers find the most helpful reviews   Was this review helpful to you?

Report this

But less can be less, too, and at times there just doesn't seem to be much excuse for the sheer lack of dialogue in the book. Canin's characters can barely breathe, he does so much of the talking for them. On the book's opening page two women are mentioned, and you'd guess they figure prominently, but only one of them actually has a speaking "part" in the book, and a small one at that. I can appreciate that Canin is guiding us to package this knowledge as a hazy fling that our main character, Orno Tarcher, once had, but still. At times, it just isn't enough.

The story is not complicated: There is Orno, an earnest Midwestern kid and Marshall, a brilliant, depressed New Yorker. They become friends when they meet Columbia University, mostly by chance, and then remain friends ever as Marshall drifts away into other circles. Canin draws Orno very nicely as a decent kid with a tad too much give in his personality. He takes it on the chin from Marshall a few too many times. And Marshall seems more than willing to throw the punch. And there is Simone, Marshall's sister, a sweet, considerate girl with less brilliance than Marshall but twice as much maturity. Orno recognizes those qualities in her and falls in love.

The book appeals to a certain taste. These days, the "in" thing is to delve and delve and delve into a scene or a character or a subject until it's been turned inside out. Canin rejects that. He has great instincts; the book is well thought-out, and well executed. It takes a lot more effort to write a book this way than it does to write a 1000-page tome that just goes on and on. Canin is after crafting realistic characters. That means that not every burden of the week is included.

Did some of the critics have a tough time with this one? Sure they did, because many of them are from the Marshall Emerson set, and it's not in their natural prediliction to side with someone without nihilism and sarcasm. Books like these are hard for the critical community for two reasons:

1. They want more ugliness to get their hands around, more pure, mean drama, more villanous behavior, more tension, more rivalry, presumably because it equals their life.

2. They see earnestness as a naivete, as intellectually underwhelming.

Thus, they disapprove of some of Marshall's changes late in the book, but they disapprove because they, like Orno, saw the Marshall they wanted to see, not the one Canin was quietly creating. Canin craftily shows us just he wants to show us, revealing Marshall's layers slowly, but clearly. There's much more, and in a sense less, there than we first believed.

Are we disappointed with how Marshall turns out? You bet we are. That's part of the point, and what a lot of critics failed to understand. It's clear to me some mistook their disappointment that Canin didn't uphold the jaded academic "standard" of greatness as poor or boring writing.

But "For Kings and Planets" is neither poor nor boring, it's simply a curve ball; for once here's a colorful genius that, we figure, will probably fail, but in a spectacular, weird, grand way that befits an intellectual giant. Orno, we sense, half expects it, too.

The trick, then, is that Marshall has invented half of his greatness, maybe because he wanted to be great, but didn't know how to be, and, in the end, is pretty blase like all the other wasted geniuses out there. Like the book that Marshall writes, the words are there, but not the music; Marshall has the knowledge to lead a great life, but not the style.

Thankfully, Dr. Canin knows the music to make this story sing.

Help other customers find the most helpful reviews   Was this review helpful to you?

Report this

But less can be less, too, and there just doesn't seem to be much excuse for the sheer lack of dialogue in the book. Canin's characters can barely breathe, he does so much of the talking for them. On the book's opneing page two women are mentioned, and you'd guess they figure prominently, but only one of them actually has a speaking "part" in the book, and a small one at that. I can appreciate that Canin is guiding us to package this knowledge as a hazy fling that our main character, Orno Tarcher, once had, but still. At times, it just smacks of laziness.

The story is not complicated: There is Orno, an earnest Midwestern kid and Marshall, a brilliant, depressed New Yorker. They become friends when they meet Columbia University, mostly by chance, and then remain friends ever as Marshall drifts away into other circles. Canin draws Orno very nicely as a decent kid with a tad too much give in his personality. He takes it on the chin from Marshall a few too many times. And Marshall seems more than willing to throw the punch. And there is Simone, Marshall's sister, a sweet, considerate girl with less brilliance than Marshall but twice as much maturity. Orno recognizes those qualities in her and falls in love.

The book appeals to a certain taste. These days, the "in" thing is to delve and delve and delve into a scene or a character or a subject until it's been turned inside out. Canin rejects that. He has great instincts; the book is well thought-out, and well executed. It takes a lot more effort to write a book this way than it does to write a 1000-page tome that just goes on and on. Canin is after crafting realistic characters. That means that not every burden of the week is included.

And yet, and yet...the book is a little flat. It reads too fast for a story of a life lived. Orno is simply bounced from place to place, while Marshall just disappears for large quantities of the book. While that's certainly in character for Marshall, it takes away our main pleasure in reading the book; Orno is deliberately played up as the put-upon guy, and if there isn't anybody interesting to put something upon him, we're left waiting.

And yet I'm torn back in the other direction, because I understand Canin's motives and his style and the book really does earn the sadness that pervades it. In Canin's small glimpses of Marshall's young and adult life, one does yearn to have had his advantages, his talents. And when Canin begins to reveal what isn't there for Marshall, it still doesn't change how we feel about that life, and it doesn't change for Orno, either. Even though every person in any life has struggles, we still see the grass as always greener. We still can't understand why others struggle when they're so blessed.

Help other customers find the most helpful reviews   Was this review helpful to you?

Report this