Warm and affirming, yes, though Clayton still stretches the credulity.
Owens’s third about the Sims and Catts family of north Florida (Myra Sims, 1999, etc.) can too often seem a reworking of its two predecessors.
Clayton “Catbird” Catts, now in high school, is a problematical young narrator, seeming too perceptive and knowledgeable for his age—though he says often enough that he’s stupid and dumb and should have been more astute. Labeled dyslexic (he was in Special Education during elementary school), he recalls for us how he came to move out of his own grand but haunted house and into his aunt Candace’s smaller one. But his life really changed, he contends, when he was 11 and his father, Michael, died from cancer—and when Uncle Gabe, his father’s younger brother, came home for the funeral and then stayed. The dead Michael had worked hard, eventually became rich, and had married Myra Sims, who’d once lived next door with her abusive father. Michael fixed up an old house in the country where he and Myra raised their three children—Sim, Missy, and Clayton. Michael was the perfect father, and although Clayton loved his mother, he sensed something strange about her—his best friends said she was a vampire because she came out only at night—and the day Michael died was the worst day of Clayton’s life. Gabe, who’d come home at the request of the dying man, after a year married Myra, having loved her since childhood. The children seemed not to mind—they liked Gabe, who reminded them so much of Michael—but on the weekend before he started high school, Clayton’s grandmother absent-mindedly remarked that Clayton resembled his daddy Gabe more each day. Hurt and shocked, Clayton thus moves in with his aunt, who tells him the truth about his family. And his mother, who also tells all, helps him accept the idea that Michael was his father in every way but the biological, and that Clayton can mourn him still.
Warm and affirming, yes, though Clayton still stretches the credulity.Pub Date: March 4, 2003
ISBN: 0-06-009062-6
Page Count: 304
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2003
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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