ONE LAST THING BEFORE I GO

Name: ONE LAST THING BEFORE I GO
Author: Jonathan Tropper
ISBN: 978-0-525-95236-7

by Jonathan Tropper ‧ RELEASE DATE: Aug. 21, 2012

Tropper entertainingly examines the angst of middle-age masculinity as he looks at Silver, a man both growing up and growing...

bookshelf

Drew Silver is dying in many ways: his marriage has been over for seven years, his ex-wife is getting remarried, his career as a rock drummer is long past, his 18-year-old daughter is pregnant, and he has a life-threatening heart condition. Tropper finds unexpected humor in all of these incongruous elements.

Silver has never been much of a dad or a husband, so when he finds out about his defective heart, he determines he will not have a life-saving operation. After all, what does he have to live for? He’s lived long enough to see the breakup of his band, The Bent Daisies, and his music career ended with their one-hit wonder, “Rest in Pieces.” Now he’s living his days with other losers at The Versailles, a run-down motel. To his credit, the awareness of his precarious health causes him to rethink his pathetic life, and he’s able to come up with a to-do list that includes “Be a better father. Be a better man. Fall in love. Die.” By the end of the novel he’s able to cross almost everything off. Knowing he’s going to die concentrates his mind, and even the surgeon—both coincidentally and ironically his ex-wife Denise’s fiancé—can’t persuade Silver to undergo the operation. Silver is able, albeit briefly, to reestablish intimacy with Denise, and Casey, Silver’s daughter, effects a temporary reconciliation that leads her to call her father “Dad” (which both perplexes and pleases him) instead of “Silver.” In other words, what Silver ultimately achieves is to move beyond the inscription he imagines on his tombstone: his name, the years of his birth and death, and a phrase, the acronym for which is “WTF?”

Tropper entertainingly examines the angst of middle-age masculinity as he looks at Silver, a man both growing up and growing old.

Pub Date: Aug. 21, 2012

ISBN: 978-0-525-95236-7

Page Count: 352

Publisher: Dutton

Review Posted Online: July 21, 2012

Kirkus Reviews Issue: Aug. 1, 2012

Categories:

LITERARY FICTION

- BOOK REVIEW
THIS IS WHERE I LEAVE YOU
by Jonathan Tropper

- BOOK REVIEW
HOW TO TALK TO A WIDOWER
by Jonathan Tropper

- BOOK REVIEW
EVERYTHING CHANGES
by Jonathan Tropper

bookshelf

IF CATS DISAPPEARED FROM THE WORLD

by Genki Kawamura ; translated by Eric Selland ‧ RELEASE DATE: March 12, 2019

Jonathan Livingston Kitty, it’s not.

bookshelf

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

Categories:

LITERARY FICTION

bookshelf

THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

bookshelf

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.