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THE GRAND TOUR

Name: THE GRAND TOUR
Author: Adam O'Fallon Price
ISBN: 978-0-385-54095-7

by Adam O'Fallon Price ‧ RELEASE DATE: Aug. 9, 2016

Fans of literary writers will find much to appreciate here, while more casual readers are likely to view our man’s...

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A novelist on the ropes gets one last shot at redemption—and predictably screws it up, right on cue.

In this debut novel, Price offers up an acridly witty portrait of the artist in decline. We meet his protagonist, writer Richard Lazar, as he’s shaken awake from an Ambien-and-vodka-induced coma aboard an airplane. It turns out the aging pugilist of an author has been sent out on the unlikeliest of book tours for Without Leave, a memoir about his service in Vietnam. It’s not much, but it beats eking out an existence in a trailer park in Phoenix and annoying his estranged daughter, Cindy. Lazar is met by his student escort, Vance Allerby, a shy wannabe writer whose life has been dominated by his depressed mother. If there’s a theme to the book, it’s that the cliché of drinking writers is characteristically true, at least in this case—we follow Richard from bar to hotel room to bar for blackout drinking sessions. It’s only in rare moments that we learn that Lazar’s character isn’t really a cynic, just a disappointed optimist. "You asked me the other night, at the thing, what advice I’d give young writers,” Richard tells Vance. “And I gave you some glib answer, and I feel shitty about that. I probably acted like I think it’s all a waste of time, which I do, but still. Everything’s a waste of time, but books are better than everything else. There’s some kind of dumb honor in it, at least.” From here, the novel becomes a road comedy of sorts, interspersed with excerpts from Lazar’s novel, the core of which turns out to be as counterfeit as its creator. Price is a finely trained writer, and the novel recalls the late John O’Brien’s Leaving Las Vegas in many respects.

Fans of literary writers will find much to appreciate here, while more casual readers are likely to view our man’s unraveling like a car crash, watching from between their fingers.

Pub Date: Aug. 9, 2016

ISBN: 978-0-385-54095-7

Page Count: 320

Publisher: Doubleday

Review Posted Online: May 17, 2016

Kirkus Reviews Issue: June 1, 2016

Categories:

LITERARY FICTION

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IF CATS DISAPPEARED FROM THE WORLD

by Genki Kawamura ; translated by Eric Selland ‧ RELEASE DATE: March 12, 2019

Jonathan Livingston Kitty, it’s not.

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A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.

The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.

Jonathan Livingston Kitty, it’s not.

Pub Date: March 12, 2019

ISBN: 978-1-250-29405-0

Page Count: 176

Publisher: Flatiron Books

Review Posted Online: Feb. 16, 2019

Kirkus Reviews Issue: March 1, 2019

Categories:

LITERARY FICTION

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.