Pretentious, overtold, and transparent—Joy mistakes literary allusion for literary merit.
A fatal hunting accident and its coverup prompt this tale of violence and revenge in the mountains of western North Carolina.
When Darl Moody, who’s poaching out-of-season deer, accidentally kills Carol “Sissy” Brewer, who’s poaching someone else’s ginseng, he knows he’s got a problem: namely Sissy’s brother, Dwayne Brewer, who steals chainsaws for a living, pulls guns on bullies in Walmart bathrooms, and spends his spare time “fieldstripping and reassembling his Colt 1911 as fast as he [can] with his eyes closed.” Darl knows Dwayne isn’t the kind of guy who'd say, “Hey man, I know you killed my brother and all, but...no hard feelings,” so he decides to bury Sissy, and he gets his friend Calvin Hooper to help. Unfortunately, they leave a breadcrumb trail, and Dwayne, whose love for Sissy was “the deepest…he’d ever known," follows it, bent on revenge. Joy’s (The Weight of This World, 2017, etc.) third novel is a fast-paced, tightly plotted thriller that falls short of its literary pretensions—in fact, it's more pretension than anything else. Dwayne, misunderstood “trash” who loves his brother and can quote the Bible, has been explicitly compared to the Misfit in Flannery O’Connor’s “A Good Man Is Hard to Find,” Anton Chigurh of Cormac McCarthy’s No Country for Old Men, Judge Holden of McCarthy’s Blood Meridian, and Lester Ballard of McCarthy’s Child of God. But where these prophetic villains are classically inscrutable, Dwayne—like the rest of Joy’s novel—is the opposite. There is no human mystery. Every action, thought, and motivation is explained. To be fair, there are some competent fight scenes. And Sissy’s decomposing body is nicely visceral. And in between the melodrama and cliché, Joy does manage a few inspired local details: “as each addition rotted away, a new one was hammered together…so that slowly, through decades, the five-room shanty shifted around the property.” But for the most part this book is a sculpture of lazy sentences (“The place where he could take no more had come and gone in the blink of an eye and now here he sat little more than a husk of what he was a week before”) and prepackaged profundity (“mothers should not bury their children”).
Pretentious, overtold, and transparent—Joy mistakes literary allusion for literary merit.Pub Date: Aug. 14, 2018
ISBN: 978-0-399-57422-1
Page Count: 272
Publisher: Putnam
Review Posted Online: May 27, 2018
Kirkus Reviews Issue: June 15, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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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