A few experimental touches don’t compensate for the lack of a compelling narrative.
British novelist McGregor (So Many Ways to Begin, 2007, etc.) takes a bleak look at some drug addicts.
Robert’s decomposing body has been found by the cops in his apartment in an unidentified English city. In this plotless novel, the ramifications of his death serve as a focal point. The middle-aged alcoholic slob loved company. The deal was that druggies could hang out and shoot up at his place if they kept him supplied with food and drink; Robert was not himself a user. The puzzle is why his body was left to rot. Where had the addicts gone? The author eventually provides a grisly explanation, but his main purpose is a portrait of Robert’s ruined peers. Heroin is their drug of choice, but they’ll settle for anything else in its absence: “Full-time job just keeping the rattles off.” We get to know Danny best. Well-meaning but feckless, he discovered Robert’s corpse but failed to call the cops. First he had to score, then find Laura, Robert’s grown daughter. Hers may be the saddest story. Her mom left Robert when Laura was seven. She had two unsuccessful reunions with her father and became an addict herself, scabbed and scarred and filthy like the rest of them, clinging to pipedreams of rehab. There is power in McGregor’s description of this desperate subculture, but the repetition becomes numbing. There’s nothing new about portrayals of the heroin scene, and a habit does not necessarily make for interesting characters. These junkies are just plain dull, as is Robert. An invisible Greek chorus of addicts follows his autopsy and inquest; homicide is ruled out. The bureaucratic efficiency of these proceedings contrasts sharply with the helter-skelter drug world, but Robert’s lonely cremation yields only a so-what shrug.
A few experimental touches don’t compensate for the lack of a compelling narrative.Pub Date: Feb. 1, 2010
ISBN: 978-1-59691-348-6
Page Count: 208
Publisher: Bloomsbury
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2009
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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