Another of Brookner's elegiac tales of a wasted life: Harriet Lytton is the latest in a long line of Brookner protagonists too timid to stake their claim. An only child with an unprepossessing birthmark and a docile nature, Harriet is born on the eve of WW II. Parents Hughie and Merle, Bright Young Things in prewar England, have a difficult time adjusting to postwar austerity; Hughie is a basket case after his POW experiences, but hard, practical Merle holds things together with her London dress-shop, and marries Harriet off to wealthy, middle-aged oil-man Freddie Lytton, who's looking for calm waters after a humiliating first marriage and divorce. Harriet, with no experience of men, accepts the arrangement, feeling for Freddie a ``tender but detached amusement''; only when she meets Jack Peckham, the sexy journalist-husband of best friend Tessa, does she feel physically aroused. Fulfillment of a sort comes when she has an astonishingly beautiful daughter (Imogen), but it's not until much later—after Tessa has died of cancer—that she gets to kiss Jack. That kiss is the novel's central event, illuminating for Harriet the bleakness of her life, yet it changes nothing (she knows she could never manage adultery); because of this impasse, the life goes out of the story. Restlessly, Brookner turns to her other characters: tough-cookie Imogen, uninhibitedly staking her claim until killed off in an improbable car-crash; Tessa's daughter Lizzie, destined for as lonely a life as Harriet's; and boring old Freddie, who decomposes slowly in Switzerland while Harriet tries to recapture her life's one sunny period, nurturing little Immy. The singular attention that Brookner pays to her love-starved protagonist is as impressive as ever, but the lack of events, plus Harriet's inability to change, does the novel in: you can't make bricks without straw.
Pub Date: March 1, 1992
ISBN: 0-679-40447-3
Page Count: 272
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 1991
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
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.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
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BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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