McCracken’s skewed perspectives make this a powerfully if quietly disturbing volume.
These nine stories from fiction and memoir author McCracken (An Exact Replica of a Figment of My Imagination, 2008, etc.) excavate unexplored permutations of loss and grief.
The volume starts and ends with bookending wallops. The opener, “Something Amazing”—combining a not-quite-ghost story about a grieving mother “haunted” by her dead child with the unfolding story of a mother unaware she is about to suffer her own loss—taps into every parent’s worst fears. The final story, “Thunderstruck,” follows a family in which the mother and father react in very different ways after their joint efforts to be good parents disastrously backfire. The rest of the volume deals with various forms of sorrow and coping. “Property” considers the stuff of grief as a newly widowed man moves into a rental house full of what he considers junk left by the house’s owner. In “Some Terpsichore,” a woman remembers an abusive former lover with horror and nostalgia. Memory also plays tricks in “The Lost & Found Department of Greater Boston”: A store manager’s memory of helping a young boy he once discovered being starved by his grandfather sustains him through his own losses, but the boy, now grown, remembers the incident differently. In “Juliet,” the murder of a library patron causes a series of off-kilter reactions among the librarians, showing that guilt is not limited to perpetrators or sorrow, to those officially bereaved. In “The House of Two Three-Legged Dogs,” a foolhardy expat in rural France realizes his son, whom he’s raised with outrageous carelessness, has betrayed his trust and left him broke. “Peter Elroy: A Documentary by Ian Casey” describes a different kind of betrayal when a dying man attempts to visit the former friend who ruined his life. In the surprisingly tender “Hungry,” about a woman caring for her granddaughter while the girl’s father (the woman’s son) lies in the hospital, food and a patriotic speech serve as metaphors for the power and limitations of love.
McCracken’s skewed perspectives make this a powerfully if quietly disturbing volume.Pub Date: April 22, 2014
ISBN: 978-0-385-33577-5
Page Count: 240
Publisher: Dial Press
Review Posted Online: Feb. 5, 2014
Kirkus Reviews Issue: Feb. 15, 2014
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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