A very relevant love story with strong crossover possibilities for teen readers.
In Boston, an idealistic schoolteacher gets her artist boyfriend a job with her father’s video game company even as she's losing a promising student to the addiction of gaming.
Goodman’s (The Cookbook Collector, 2010, etc.) eighth novel takes place in two skillfully evoked worlds that are at war for the hearts and minds of young people: video games versus education, specifically high school English classes. Nina is the only child of the rich and powerful man behind Arkadia, a virtual-reality game company. Just out of college, she has taken a position with TeacherCorps and is now somewhat desperately attempting to communicate the joys of Emerson and Shakespeare to the ethnically diverse but universally bored students of Emerson High. Collin, the “chalk artist” of the title, is a 23-year-old dropout who works in a bar and can draw like an angel. Soon after the two fall in love, he finds himself designing horses on a high-tech tablet at the Arkadia image factory. Twins Aidan and Diana are Nina’s students, but Aidan is not doing his homework. He is deeply lost in the world of “EverWhen,” where his avatar meets and falls in love with a sexy Tree Elf named Riyah who says she can get him a pre-release of “Underworld,” Arkadia’s hotly awaited next game, if he will perform a real-world promotional task that crosses the line into criminality. The language and details of the games—sparkling aeroflakes, epic qwests, diamond flasks “filled with a hatchling dragon’s blood”—are the strongest and most original elements of the book: in fact, nongaming readers may be surprised to find themselves wondering if they are missing out on something. On the other hand, some of the plot developments relating to Aidan feel forced, and his twin almost seems to be living in a different novel with her weight problems and sexuality issues.
A very relevant love story with strong crossover possibilities for teen readers.Pub Date: June 13, 2017
ISBN: 978-1-4000-6987-3
Page Count: 352
Publisher: Dial Press
Review Posted Online: Feb. 20, 2017
Kirkus Reviews Issue: March 1, 2017
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
Jonathan Livingston Kitty, it’s not.
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
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