STRAYING

Name: STRAYING
Author: Molly McCloskey
ISBN: 978-1-5011-7246-5

by Molly McCloskey ‧ RELEASE DATE: Feb. 20, 2018

Elegant prose and nuanced self-awareness, reminiscent of early Edna O'Brien, enhance this intensely focused story of memory...

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McCloskey burrows inside the ruminations of a middle-aged American woman returning to Ireland, where she lived as a young woman, to confront memories of her failed marriage.

Raised in Oregon by her loving single mother, Alice first came to Ireland on an adventurous whim in the late 1980s when she was 24 but left after her divorce. Years later, she is working for an Irish NGO in Kenya when her mother dies. At emotional loose ends, she returns to Ireland. Ostensibly there to write a report on her refugee work, unsure how long she’ll stay, Alice begins sorting through memories of her earlier time in Ireland: working at a pub in Sligo and hanging out with a bohemian crowd before meeting and falling in love with furniture importer Eddie, a gentle, solid man of few words. Alice, who barely knew her father, was drawn to the cocoon of safety and love Eddie provided despite her “flashes of doubt” about his verbal reticence. Once married, Alice found herself veering between loving contentment and emotional claustrophobia, resenting yet seduced by the “ready-made role” of conventional wife. She worked half-heartedly as a journalist while the couple’s social life revolved around Eddie’s friends and family. Then she fell into a mindlessly passionate affair with Cauley, a writer with a burgeoning career. The story of the affair and its impact on Alice’s marriage offers few surprises, but McCloskey excels in weaving Alice’s twin griefs over her lost marriage—Eddie has remarried and become a father—and her mother’s death into her present life as a solitary woman willing to accept the choices she has made. Despite the importance of the men in Alice’s life, the novel’s heart lies with Alice’s mother, a woman who loved her daughter fiercely, married for the first time in her 50s, and found a happiness that has so far eluded Alice.

Elegant prose and nuanced self-awareness, reminiscent of early Edna O'Brien, enhance this intensely focused story of memory and self-imposed loss.

Pub Date: Feb. 20, 2018

ISBN: 978-1-5011-7246-5

Page Count: 224

Publisher: Scribner

Review Posted Online: Nov. 27, 2017

Kirkus Reviews Issue: Dec. 15, 2017

Categories:

LITERARY FICTION

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IF CATS DISAPPEARED FROM THE WORLD

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

Jonathan Livingston Kitty, it’s not.

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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

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THE SECRET HISTORY

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

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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.