by Doris Lessing ‧ RELEASE DATE: May 1, 1973
With what tenacity, as well as shattering effectiveness, has Doris Lessing functioned as the cartologist of women in our time scanning their various intellectual, biological and emotional binds ali the way beyond reality. This is certainly her most accessible (viz. successful) book since The Golden Notebook — not quite as overwhelming but whatever may have been lost in urgency has other compensations. On the surface, for example, it takes place within a much more fashionable and attractive ambit than she has used before. This of course narrows the distance and heightens the rapport even if, when all is said — or rather thought, and done (or undone by default) — Miss Lessing is only dealing in the cold comforts of home and universal truths. The summer before the dark is the one in which Kate Brown, wife of Michael, mother of four now quite self-sufficient children, finds herself alone — not only with time but many options on her hands. Still attractive, in her early forties, she's offered a summer job as a translator. She really can do what she likes since Michael for years has been having desultory affairs. However "We are what we learn" and what Kate has learned in the years of her marriage is to be amenable and available — "the warm center of the family, the source of invisible emanations like a queen termite." Now for the first time she realizes how useless she is on the terms she has so admirably fulfilled. She goes to the continent, then on to Spain with a young man — not young enough or anything enough. She becomes ill and returns to England, first to a hotel, and then to the apartment of a young woman who keeps changing her mind about what she'll be along with the way she looks from day to day — shying away from the "home paddock" — from what Kate is. And finally Kate completes her dream — her long serial dream about the seal (that other ecological casualty) trying to decide although what is there really left for her to decide? All of Doris Lessing's novels are defoliating acts of protest. But this time she's chosen a problem common enough to be commonplace without submitting to any of its overfamiliarity and managing her material with greater technical sharpness than ever before. Her novel is, as it should be, an experience which is apposite and applicable and all too true. Who can remain exempt?
Pub Date: May 1, 1973
ISBN: 0307390624
Page Count: 282
Publisher: Knopf
Review Posted Online: Sept. 28, 2011
Kirkus Reviews Issue: May 1, 1973
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by Genki Kawamura ; translated by Eric Selland ‧ RELEASE DATE: March 12, 2019
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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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
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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