The lives of others, in all their peculiarity, are given sympathetic scrutiny in this diverting European oddity.
Diagnosed with a terminal illness, a mother known for her lack of empathy reunites with her daughter, but will the pair finally be able to connect? The U.S. debut of a prizewinning Dutch author offers a far from conventional response.
Bizarre interior landscapes are exposed to the light in Gerritsen’s off-kilter, at times blackly comic work of fiction. The baldness of its opening sets the tone, as Elisabeth de Wit unexpectedly encounters Coco, the adult daughter she rarely sees, on a busy street and seizes the moment to reveal she’s dying of untreatable cancer. “ ‘You’re not likely to live a long time with something like this,’ Elisabeth tells her daughter. ‘Not likely?’ ‘Probably not.’ ‘Christ.’ ‘We’ll call each other. Let’s call. Yes? We’ll call?’ ” Elisabeth found motherhood perplexing and uncomfortable, and after her marriage to Wilbert broke down, 5-year-old Coco spent six days a week with her father and stepmother. But now Coco wants to move back in with Elisabeth and take care of her. In cool prose and naturalistic dialogue, Gerritsen explores Elisabeth and Coco’s restored proximity, their internal dialogues and idiosyncratic norms as they interact with each other and a small surrounding cast: Wilbert and his new wife, Miriam, Coco’s boyfriend, Hans, Elisabeth’s hairdresser, and her employer at a frame store. Mother and daughter make efforts to reach each other across an ingrained history of misunderstanding, but isolation seems immutable as each pursues her private trajectory, Coco’s driven—dangerously—by her cravings, Elisabeth’s by her corporeal state. Gerritsen’s searching story of alienation and separation may well engender discomfort in the reader, yet there’s empathy too, especially in Elisabeth’s slow fade from the picture.
The lives of others, in all their peculiarity, are given sympathetic scrutiny in this diverting European oddity.Pub Date: Oct. 2, 2018
ISBN: 978-1-64286-002-3
Page Count: 192
Publisher: World Editions
Review Posted Online: Aug. 20, 2018
Kirkus Reviews Issue: Sept. 1, 2018
BOOK REVIEW
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
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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