Brevity is the anodyne here for Roubaud's customary low-yielding high jinks (Hortense in Exile, etc.) in this postmodern, word- processor-in-cheek fairy-tale starring Hoppy, a Princess, and her dog, whose name cannot be given for security reasons. Plot summary would be exasperating, misleading, and irrelevant for a tale whose narrative structure most closely resembles that of a toccata and fugue. After a cute, leaden introduction (``Some Indications about What the Tale Says''), the first four chapters lay out a riddle-riddled world peopled by Hoppy and her Dog-speaking dog; her four kingly uncles—Imogäne, AligotÇ, Babylas, and Eleonor (without the E)—who spend their time entertaining and plotting against each other; their queens; and such visitors as the black horseman and the Babylonian astronomer. After an interchapter warning that things are about to get dicier, the tale resets to start, changing and embroidering such details as the names of the kings and queens, the color of the horseman (purple, if you're keeping track), and the cosmology and geometrical configuration of the kingdom. A closing list of 79 questions, a dedication to the Princess, and two exhaustive but mercifully brief indexes conclude the farrago of Monty Python, Barthelme's Snow White, Through the Looking-Glass and ``The Hunting of the Snark,'' the gospel according to John, and the ``Mathematical Games'' section of Scientific American. This savants' brew, full of jocosity though devoid of wit (it sounds like a lot more fun than it is), seems handsomely enough translated. ``The usefulness of certain enigmas will thus only appear to the listener if he already has a fairly good grasp of the Tale or if he has sufficient patience to stay his drowsiness until he has occasion to be convinced of their need (or even to resolve them).'' On this evidence, Joyce and Derrida have a lot to answer for.
Pub Date: Sept. 3, 1993
ISBN: 1-56478-032-5
Page Count: 133
Publisher: Dalkey Archive
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 1993
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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