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BABA DUNJA'S LAST LOVE

Name: BABA DUNJA'S LAST LOVE
Author: Alina Bronsky
ISBN: 978-1-60945-333-6

by Alina Bronsky ; translated by Tim Mohr ‧ RELEASE DATE: June 7, 2016

With quiet understatement, Bronsky offers us a glimpse of life in the radioactive abyss.

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A quiet novel about a woman who returns home after some time away—not unusual in itself, perhaps, but it is when the home she returns to is in Chernobyl.

As one might expect, life is both quiet and grim in Chernobyl (or Tschernowo, as it's referred to by the Russian narrator, who's also the title character). Baba Dunja is recognized as one of the pioneers of the region, for she is one of only two current residents who lived in Chernobyl “before the reactor” and has returned to make some kind of life for herself, though it’s a grim one. Not even half the houses are inhabited on the main road, and everyone not from the region—primarily those residents of the nearest town, Malyschi—shuns everyone from Chernobyl, fearing they’ll be contaminated by radiation. She and her neighbors occupy themselves with getting food and just getting through the day. Baba Dunja has a daughter, Irina, a medical doctor in Germany, as well as a granddaughter whom she has never met. Mother and daughter have a desultory correspondence, and Irina very much wants Baba Dunja to leave the “death zone.” And while Baba Dunja has never met her granddaughter, she has a picture and occasional glimpses of her life through Irina’s letters. By the end of the story we learn that the image of her family Baba Dunja has been encouraged to create is out of kilter with reality. The central event in the narrative is the death of a man who comes to Chernobyl with his healthy daughter to get revenge on his wife—and the townspeople, especially Baba Dunja, recognize how foolish it is to undertake such a venture with such a motivation.

With quiet understatement, Bronsky offers us a glimpse of life in the radioactive abyss.

Pub Date: June 7, 2016

ISBN: 978-1-60945-333-6

Page Count: 192

Publisher: Europa Editions

Review Posted Online: April 12, 2016

Kirkus Reviews Issue: May 1, 2016

Categories:

LITERARY FICTION | DYSTOPIAN FICTION

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JUST CALL ME SUPERHERO
by Alina Bronsky ; translated by Tim Mohr

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THE HOTTEST DISHES OF THE TARTAR CUISINE
by Alina Bronsky & translated by Tim Mohr

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BROKEN GLASS PARK
by Alina Bronsky and translated by Tim Mohr

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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.