bookshelf

THE HOUSEGUEST

Name: THE HOUSEGUEST
Author: Kim Brooks
ISBN: 978-1-61902-605-6

by Kim Brooks ‧ RELEASE DATE: April 12, 2016

Brooks offers an imperfect but insightful depiction of the choices individuals make in unbearable times.

bookshelf

It’s 1941, and the Jews of Europe are disappearing to the East or fleeing on ships that can find no safe harbor. This sophisticated first novel considers the response by Americans Jews to the ever more insistent evidence of racial conflagration across the Atlantic.

An inevitable cloud of despair hangs over this timely, psychologically questing debut, since the reader, like many of the book’s characters, already knows things will not end well. Brooks uses a handful of figures to express various responses of American Jews to the terrible news filtering out of Europe and the national reluctance to intervene. In Manhattan, firebrand Shmuel Spiro wants to raise a Jewish army to fight the Nazis; in upstate Utica, otherworldly rabbi Max Hoffman understands the hypocrisy behind America's refugee visa quotas and how high the bureaucratic bar is set; and Utica junkyard owner Abe Auer, a first-generation immigrant himself, remains haunted by his role in his Russian family’s history. While opposing factions argue and disagree at conferences about how to rescue Hitler’s victims, many middle-class Jews like Abe’s wife and daughter find their comfortable lifestyles largely undisrupted. Then a refugee arrives, an atypical one—glamorous, unsettling Yiddish actress Ana Beidler. Mature in tone and unhurried in pace, Brooks’ novel is at its best in its portraits of unhappy men confronted by cataclysmic events in the world and unexpressed longings at home. Its dramatic fulcrum, however, is the book’s weakness. Ana, blessed with irresistible allure and a burned-out attitude, is a more familiar character—the disruptive seductress—than the troubled men in Utica and New York. Her actions may be central to the novel’s development, yet it’s a more compelling and original book in the scenes without her.

Brooks offers an imperfect but insightful depiction of the choices individuals make in unbearable times.

Pub Date: April 12, 2016

ISBN: 978-1-61902-605-6

Page Count: 356

Publisher: Counterpoint

Review Posted Online: Jan. 19, 2016

Kirkus Reviews Issue: Feb. 1, 2016

Categories:

LITERARY FICTION

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.