Yglesias of course exploits headlines and Hollywood to tell his tale but not without sensitivity. Most important, he shines...
Three New York friends, in their childhood and adult selves, deal with a wily pedophile in an affecting novel that is big-screen lurid without being superficial or too slick.
In his 10th novel, Yglesias (A Happy Marriage, 2009, etc.) presents the children’s past trauma and their present-day reckoning in alternating chapters. Jeff’s adult cousin, Richard Klein, has already molested the 8-year-old boy when his predatory attention turns to Jeff’s best friend, Brian. The third victim is Julie, Jeff’s young cousin, who is 11. It's hard to say whether the more devastating scene is the 23-page playlet in which Klein traps Julie on his lap in a room full of adults and children and forces the boys to watch him secretly molest her; or the paragraph in which Jeff makes an imaginary adventure of his desperate efforts to dispose of bloodied underwear without his mother’s knowledge. As adults, Brian is single and a successful screenwriter, Julie is a library archivist and married with a teenage son, while Jeff, on his third marriage, is the top film director in the U.S. After years apart, the three reunite because Klein has just managed to elude exposure in another scandal and the trio is debating going public. Yglesias provides several revelations that ramp up the shock in an already awful tale and add a touch of Agatha Christie–like mystery. The author’s experience with Hollywood as a producer and screenwriter (his own novel Fearless and other scripts) brings color and humor to the Brian and Jeff characters. Early in the book, a strange apologia for a character named Aries Wallinksi, who is clearly Roman Polanski (could this be a roman à clef in more ways than one?), previews many of the novel’s themes and then reverberates late in the story with Julie’s cry: “I want people to understand it isn’t just priests and a couple loner weirdos.”
Yglesias of course exploits headlines and Hollywood to tell his tale but not without sensitivity. Most important, he shines a Kleig light where it may be most needed, into the parlors and playrooms where many Americans endure or perpetrate these nightmares.Pub Date: March 24, 2015
ISBN: 978-1-61620-384-9
Page Count: 384
Publisher: Algonquin
Review Posted Online: Jan. 6, 2015
Kirkus Reviews Issue: Jan. 15, 2015
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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
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