Watson's (Montana 1948, 1993, etc.) sixth novel resonates with language as clear and images as crisp as the spare, flat prairie of its Minnesota setting.
Matthew Garth's father died when Matt was a young boy, leaving him to be raised, or watched over as he raised himself, by a withdrawn, hard-working waitress mother. But Matt has a second family, the Dunbars, parents of his best friend, Johnny. Rex Dunbar is Willow Fall's most prominent physician, and his passion for medicine fascinates Matt and Johnny, high-school seniors. Dunbar often allows them to follow along as he carries out his practice, always offering instructions about medicine's basics. It is Thanksgiving 1962. Kennedy is president but all that is Willow Falls is evocative of Eisenhower and Father Knows Best. The Dunbars, with Matt, are celebrating when word comes that young Louisa Lindahl has been shot by her boyfriend and has gone missing. The boys are sent to help search. Dr. Dunbar prepares his clinic. Louisa is discovered by other searchers, and when the boys return, Dr. Dunbar has completed surgery. The boys are curious about the nature of a gunshot wound, and as Dunbar lifts the sheet from the unconscious woman to explain his abdominal surgery, Matt catches a glimpse of her breasts. Matt is captivated, and with that, a vivid story of sexual tension, family loyalty and betrayal unfolds. Matt wants Louisa, mysterious and thoroughly erotic, everything high-school girls are not, and since her lover and assailant committed suicide, he believes he can have her. Louisa is also a manipulative opportunist. After she is given shelter by the Dunbars, she quietly sets out to seduce the doctor, determined to "…advance her station in life through imitation and force of will." The introspective, insightful and reflective narrative unfolds from Matt's adult perspective, easily inferred early but not confirmed until the conclusion.
A literary tale chronicling the painful struggle required of a boy to birth himself as a man.
Pub Date: Oct. 1, 2011
ISBN: 978-1-57131-078-1
Page Count: 224
Publisher: Milkweed
Review Posted Online: Sept. 19, 2011
Kirkus Reviews Issue: Oct. 1, 2011
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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