Tedious, and unpleasantly so.
Pulp fiction from one of Indonesia’s most important young writers.
Beauty Is a Wound (2015), Kurniawan’s English-language debut, was vast in scope and boldly executed. It was rude and brutal, but it was also funny and beautiful. This newly translated novel is simply rude and brutal. The carnage and acts of sexual assault in the first book were starkly depicted, but they were also imbued with a fabulist sensibility. The author was exploring the violent history of his country through a folkloric lens and using the language and modes of pop culture to make it immediate. He seems to be trying to do something similar here, but the results are much closer to Man Tiger (2015) than to the earlier work. Both latter novels are spare and quick rather than epic, and the fact that they’re short, at least, is good. The protagonist of this latest book is a young man whose impotence is his most defining feature. Ajo Kiwar’s flaccid penis is both a private struggle and a public fact. There are many scenes of Ajo Kiwar trying to rouse his flaccid penis and many moments in which he talks to and consults with his flaccid penis. Ajo Kiwar’s flaccid penis is the first thing that comes to the minds of his friends and acquaintances when they think of him, and it is the subject of much of the book’s dialogue. Even when he’s at his best, character development is not one of Kurniawan’s strengths. The mythic qualities of Beauty Is a Wound made up for this lack of depth; the characters there were real people but also archetypes and figures from fairy tales. Ajo Kiwar is just flat and uninteresting, and none of the other characters are much more compelling—not even the sexy lady bodyguard who falls in love with him after they beat each other soundly. There’s a lot of rape in this novel, and it feels even more gratuitous than many murders.
Tedious, and unpleasantly so.Pub Date: Aug. 1, 2017
ISBN: 978-0-8112-2564-9
Page Count: 214
Publisher: New Directions
Review Posted Online: July 3, 2017
Kirkus Reviews Issue: July 15, 2017
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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