Definitely not a book for sourpusses. The rest of the world will chuckle all the way through it.
A funny and completely implausible farce about a woman, a bomb and a man’s frustrated ambition to overthrow the king of Sweden.
Nombeko Mayeki is a 14-year-old latrine cleaner in apartheid-era Soweto who is exceptionally good at her job. Because of her race, she is incorrectly presumed to be illiterate. She gets another job as the housemaid of the nuclear engineer in charge of South Africa’s secret program to build six atomic bombs, and in her spare time, she masters Wu Chinese at the library in Pretoria. The engineer is an incompetent fool who accidentally builds a seventh bomb that remains a secret even to his bosses. Soon, Nombeko ships two crates: dried antelope meat to feed herself as she escapes to Sweden and the 1,700-pound atomic bomb the engineer wants sent to the Mossad in Israel. But the packages get switched, and for years Nombeko carts a 3-megaton bomb around Sweden while the Mossad doesn’t know what to do with the antelope meat. Meanwhile, Ingmar Qvist’s lifelong dream is to abolish the Swedish monarchy. He indoctrinates his identical-twin sons, both named Holger, to carry on after his death. But Holger One is an idiot, and Holger Two, whose birth was not registered and who thus technically doesn’t exist, is intelligent. Because Nombeko is an illegal immigrant, she doesn’t exist either. And of course the bomb doesn’t exist. Can Nombeko and Holger Two prevent the idiot anarchist Holger One and his idiot girlfriend, Celestine, from blowing up the king, themselves and a sizable chunk of Sweden? Author Jonasson is wickedly inventive with a constant flow of absurdities, for which his narrator blames the Almighty: “If God does exist, He must have a good sense of humor.” This book follows Jonasson’s equally crazy The 100-Year-Old Man Who Climbed Out the Window and Disappeared (2012).
Definitely not a book for sourpusses. The rest of the world will chuckle all the way through it.Pub Date: April 29, 2014
ISBN: 978-0-06-232912-7
Page Count: 400
Publisher: Ecco/HarperCollins
Review Posted Online: April 15, 2014
Kirkus Reviews Issue: May 1, 2014
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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
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