It is many years since we left the Steuben glasshouse world that was, so unmistakably, Cheerer country. Via Bullet Park, a gentler, more vulnerable book than this, he introduced his broader and deeper ranging metaphysics of life and death, always in mysterious tandem. They're constants here in Falconer prison where Farragut, 734-508-32, a fratricide and a drug addict, is serving a zip to ten sentence. The drug he really hopes to find is a "distillate of earth, air, water, and fire." While Farragut reflects on his mortality and courts "death's dark simples," filth and degeneracy—redolent of Genet—are all around him. The Valley, for instance, is a urinal trough where you really go to relieve other needs unless you've turned homosexual. Farragut is briefly drawn to Jody, indicted on 53 counts, Jody who talks and listens in his abandoned water tower—his own private treehouse. But in spite of the physical solace Jody provides, Farragut is alone with his thoughts or dreams or memories. Cheever's prose is an amazingly flexible instrument, moving from the scatological within these cold, granite wails to the high of the true "croyant"—the believer detached from life and racked by the prospect of Judgment Day. He's equally in sync with bitter-sentimental satire—the annual Christmas tree and color photograph with inmates, the bequest of a "fucking do-gooder. . . they cause all the trouble." As another cellmate, Chicken Two, lies dying, he says quietly "I'm intensely interested in what's going to happen next." So evidently is Cheever. It is part of the upsweep, the shackled vision of the book. Though the fate of Farragut and Falconer may be open-ended, Cheever's novel is a strong fix—a statement of the human condition, a parable of salvation.
Pub Date: March 1, 1977
ISBN: 0679737863
Page Count: 169
Publisher: Knopf
Review Posted Online: Sept. 20, 2011
Kirkus Reviews Issue: March 1, 1977
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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