by Hiro Arikawa ; translated by Philip Gabriel ‧ RELEASE DATE: Oct. 23, 2018
Gentle, soft-spoken, and full of wisdom.
A wise and witty cat and his gentle master share an indomitable spirit that helps them survive and thrive in any situation in this Japanese bestseller.
The white cat with the crooked tail is happy with life as a stray. He is just fine without humans, thank you very much. But when a car hits him, breaking his leg, he thinks of the kind man who leaves him food and lets him sleep on the hood of his van. Satoru Miyawaki welcomes the stray that shows up at his door and nurses him back to health. He names the cat Nana, the Japanese word for the numeral seven, the shape of the cat’s crooked tale. Nana and Satoru form a bond of love and loyalty that grows deeper over the five-plus years they share their lives. So it’s a surprise when Satoru embarks on a road trip across Japan with Nana in an attempt to find a new home for the cat with childhood friends. The reason for the journey is revealed later, and we also learn details of Satoru’s life through conversations with his friends and Nana’s smart-alecky commentary. Despite its seeming simplicity, the novel contains surprising depth. Arikawa artfully portrays Nana’s “catness,” from the subtle flick of an ear to a lashing tail. He pairs Nana with the gentle soul of Satoru, who has learned to allow the trials of life to strengthen him and polish his spirit. And he leads readers to see what Satoru learned and Nana already knew: that the key to a well-lived life is acceptance.
Gentle, soft-spoken, and full of wisdom.Pub Date: Oct. 23, 2018
ISBN: 978-0-451-49133-6
Page Count: 288
Publisher: Berkley
Review Posted Online: July 30, 2018
Kirkus Reviews Issue: Aug. 15, 2018
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by Hiro Arikawa ; translated by Allison Markin Powell
by Kristin Hannah ‧ RELEASE DATE: Feb. 3, 2015
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
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BOOK TO SCREEN
SEEN & HEARD
by Margaret Atwood ‧ RELEASE DATE: Sept. 10, 2019
Suspenseful, full of incident, and not obviously necessary.
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New York Times Bestseller
Booker Prize Winner
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
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edited by Margaret Atwood & Douglas Preston
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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