What readers learn in Rorke’s moving, bittersweet story is that hard realizations are often necessary on the road to...
A charming, self-destructive Irish-American father takes his family on a troubled joy ride.
"Vintage car” is a loaded phrase in New York Post TV editor Rorke’s evocative debut, which introduces the Flynns, a working-class family struggling to stay afloat in 1970s Brooklyn. Patrick Flynn is a charismatic, impulsive drunk who grandly brings home a string of cars with nicknames like The Black Beauty—a ’58 Pontiac Parisienne—bought on the cheap at police auctions and later ditched because of engine problems. The cars are beautiful, but their insides are rotted out—just like Flynn’s own promises to his children and long-suffering wife Claire. “Dad operated purely on instinct, which didn’t always work in his favor,” says his teenage son, Nicky, the narrator. Nicky balances the story of his father’s decline with his own maturing awareness of life, especially a love of acting that hints at his future theater career. At times the story arc feels a little predictable and the scenes unnecessarily padded out, but Rorke’s writing is always assured as he paints a charming portrait of 1970s family life right down to the Amana fridge in the kitchen and Filet-O-Fish Fridays for the Catholic school kids during Lent. Rorke avoids easy psychologizing to explain Pat’s behavior; Nicky never tries to understand why his father seesaws between the roles of family man and “Himself,” a nickname the family gives his drunken alter ego. The closest Nicky ever gets to an answer comes one night when he finds his father at the Dew Drop, a local bar, and heartbreakingly realizes it is packed with men just like Pat Flynn, “playing the away game from their families.”
What readers learn in Rorke’s moving, bittersweet story is that hard realizations are often necessary on the road to discovering one’s true self.Pub Date: Sept. 11, 2018
ISBN: 978-0-06-284849-9
Page Count: 416
Publisher: Harper Perennial/HarperCollins
Review Posted Online: July 16, 2018
Kirkus Reviews Issue: Aug. 1, 2018
Still, a respectful and absorbing page-turner.
Hannah’s new novel is an homage to the extraordinary courage and endurance of Frenchwomen during World War II.
In 1995, an elderly unnamed widow is moving into an Oregon nursing home on the urging of her controlling son, Julien, a surgeon. This trajectory is interrupted when she receives an invitation to return to France to attend a ceremony honoring passeurs: people who aided the escape of others during the war. Cut to spring, 1940: Viann has said goodbye to husband Antoine, who's off to hold the Maginot line against invading Germans. She returns to tending her small farm, Le Jardin, in the Loire Valley, teaching at the local school and coping with daughter Sophie’s adolescent rebellion. Soon, that world is upended: The Germans march into Paris and refugees flee south, overrunning Viann’s land. Her long-estranged younger sister, Isabelle, who has been kicked out of multiple convent schools, is sent to Le Jardin by Julien, their father in Paris, a drunken, decidedly unpaternal Great War veteran. As the depredations increase in the occupied zone—food rationing, systematic looting, and the billeting of a German officer, Capt. Beck, at Le Jardin—Isabelle’s outspokenness is a liability. She joins the Resistance, volunteering for dangerous duty: shepherding downed Allied airmen across the Pyrenees to Spain. Code-named the Nightingale, Isabelle will rescue many before she's captured. Meanwhile, Viann’s journey from passive to active resistance is less dramatic but no less wrenching. Hannah vividly demonstrates how the Nazis, through starvation, intimidation and barbarity both casual and calculated, demoralized the French, engineering a community collapse that enabled the deportations and deaths of more than 70,000 Jews. Hannah’s proven storytelling skills are ideally suited to depicting such cataclysmic events, but her tendency to sentimentalize undermines the gravitas of this tale.
Still, a respectful and absorbing page-turner.Pub Date: Feb. 3, 2015
ISBN: 978-0-312-57722-3
Page Count: 448
Publisher: St. Martin's
Review Posted Online: Nov. 19, 2014
Kirkus Reviews Issue: Dec. 1, 2014
BOOK TO SCREEN
SEEN & HEARD
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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