Next book

HOME BOY

A breezy, thoughtful and witty novel about the immigrant experience.

In this case the homies are Pakastani-Americans and Pakistanis who want to be American—at least until 9/11 upsets the cultural balance.

Shehzad (aka “Chuck”) and his homeboys Jamshed (aka “Jimbo”) and Ali (aka “AC”) have three different takes on life in New York City. Narrator Chuck is the most recent emigré, having come from Karachi to attend college; he breezes through in three years, majoring in literature and graduating magna cum laude. Jimbo, “born and bred in New Jersey” and hence a “bona-fide American,” is a “deejay slash producer” more or less engaged to a blue-blooded Mayflower descendant the three friends call “The Duck.” AC is the intellectual of the group, a graduate student with a green card who loves the freedoms of America and at the same time rails against cultural stereotypes. Chuck, who takes a job after graduation as a Wall Street investment banker, seems to be on his way to becoming an immigrant success story. But he gets laid off in July 2001, and in a strange professional leap links up with the owner-operator of a medallion cab who’s looking for a fellow Pakistani to split the work week. Driving a taxi suits Chuck fine, until 9/11 changes the perceptions of him and his pals. “We fancied ourselves boulevardiers, raconteurs, renaissance men,” he says; now for the first time they become outsiders. Following an anonymous tip about “suspicious activity,” police arrest all three men and then claim to have discovered “bomb-making manuals” in AC’s apartment. Chuck isn’t even allowed to make his phone call from prison; he’s not a citizen and thus has no rights. “Although I’d been listening to N.W.A. since I was a teenager,” he bitterly comments, “it was the first time I understood where they were coming from.” He’s released after 48 hours, but becomes more disenchanted, less exuberant, and eventually decides to return to his homeland.

A breezy, thoughtful and witty novel about the immigrant experience.

Pub Date: Sept. 1, 2009

ISBN: 978-0-307-40910-2

Page Count: 288

Publisher: Shaye Areheart/Harmony

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2009

Categories:

Awards & Accolades

Likes

  • Readers Vote
  • 20


Our Verdict

  • Our Verdict
  • GET IT


  • Kirkus Reviews'
    Best Books Of 2019


  • New York Times Bestseller


  • IndieBound Bestseller

Next book

NORMAL PEOPLE

Absolutely enthralling. Read it.

Awards & Accolades

Likes

  • Readers Vote
  • 20


Our Verdict

  • Our Verdict
  • GET IT


  • Kirkus Reviews'
    Best Books Of 2019


  • New York Times Bestseller


  • IndieBound Bestseller

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth

Review Posted Online: Feb. 17, 2019

Kirkus Reviews Issue: March 1, 2019

Categories:
Next book

THE BLUEST EYE

"This soil," concludes the young narrator of this quiet chronicle of garrotted innocence, "is bad for all kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear." And among the exclusions of white rural Ohio, echoed by black respectability, is ugly, black, loveless, twelve-year-old Pecola. But in a world where blue-eyed gifts are clucked over and admired, and the Pecolas are simply not seen, there is always the possibility of the dream and wish—for blue eyes. Born of a mother who adjusted her life to the clarity and serenity of white households and "acquired virtues that were easy to maintain" and a father, Cholly, stunted by early rejections and humiliations, Pecola just might have been loved—for in raping his daughter Cholly did at least touch her. But "Love is never better than the lover," and with the death of her baby, the child herself, accepting absolutely the gift of blue eyes from a faith healer (whose perverse interest in little girls does not preclude understanding), inches over into madness. A skillful understated tribute to the fall of a sparrow for whose small tragedy there was no watching eye.

Pub Date: Oct. 29, 1970

ISBN: 0375411550

Page Count: -

Publisher: Holt Rinehart & Winston

Review Posted Online: Sept. 30, 2011

Kirkus Reviews Issue: Oct. 1, 1970

Categories:
Close Quickview