An unpredictable, formally inventive collection of stories still leaves something wanting.
The real and the unreal merge in this latest collection by a young Bolivian writer.
A young girl discovers that a schoolmate has died of an asthma attack. “The funeral is at seven,” her mother says, instructing Elsa, the family’s nanny/maid, to have the girl ready by then. “Elsa, I asked as she braided my hair, where do the dead go? The dead never go, she answered me, her mouth full of bobby pins.” At the funeral, the girl and her classmates gather before the coffin. Then, suddenly, “the hall, people, coffin, flowers, our own astonished bodies, everything levitated in a single iridescent shaft of light.” So ends “Alfredito,” the second story in Colanzi’s (Permanent Vacation, 2010) latest book. It’s a telling moment in what is anything but a conventional collection of stories. In “Cannibal,” a man waits for his drug-trafficking girlfriend in a Paris bar. In “Story with Bird,” a disgraced surgeon hides out on a country estate run by slave labor. In story after story, the everyday ends up merging, one way or another—by sloping gently or by veering suddenly—with the otherworldly or the absurd or the untethered or some combination of these. There is no way to predict what is coming. As soon as you’ve found a foothold in Colanzi’s world, her rules of engagement will suddenly shift. “Our Dead World” ends in a line of verse; neither that story nor “Story with Bird” ends with a period, never mind a complete sentence. “Family Portrait” shifts rapidly between various points of view. Colanzi is an original talent with an utterly unique vision. Still, this slim collection doesn’t entirely satisfy. Colanzi might strip the rug out from beneath your feet, but then she seems to falter. So what, you might wonder. What comes next? Maybe her next book will satisfy more fully.
An unpredictable, formally inventive collection of stories still leaves something wanting.Pub Date: May 26, 2017
ISBN: 978-1-94315-0-113
Page Count: 120
Publisher: Dalkey Archive
Review Posted Online: April 17, 2017
Kirkus Reviews Issue: May 1, 2017
BOOK REVIEW
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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