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CAKE TIME

Name: CAKE TIME
Author: Siel Ju
ISBN: 978-1-59709-031-5

by Siel Ju ‧ RELEASE DATE: April 6, 2017

A promising start for a brave and unapologetically bold new writer.

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In Ju’s debut novel in stories, a young woman explores the dangerous, voyeuristic, and violent undertones of her sexual encounters.

The blistering opening salvo, “How Not to Have an Abortion,” traces the narrator’s teenage journey to Planned Parenthood and handles reproductive rights with humor, grace, and an unflinching eye for detail. We follow her to college, a “no-name liberal arts school in rural Pennsylvania,” then out to Los Angeles, where she encounters a self-absorbed copy editor and a nudist, among other lackluster beaus. As she ages, she grows ever more distant and apathetic about her decisions, most of which revolve around men. At times, the narrator is distressingly disconnected from the other people in her life, from her mother and sister, who share a “dank, cramped walk-up apartment in Koreatown,” to her single friend, a sour young woman named Erin. This distance is a product of the ease with which the narrator disassociates, and it’s no wonder why. The men that dominate her life tip easily from tenderness to violence, especially in “Easy Target,” a complicated, menacing story about rape set at a swingers party in Eagle Rock. Throughout these stories of ugliness and disconnection, Ju has a gift for plucking the exact right phrase out of the air: a date is described as “a decent-looking guy with a conservative haircut, the kind you might see in a Men’s Warehouse ad,” while a roommate has “a scrim of mousy hair and soft chub.” At times uneven, the collection would benefit from more breadth and the sustained energy of its early stories. Like the narrator’s frustrated boyfriend in “The Regulars,” readers might eventually wonder “Why draw attention to something ugly?” But for Ju, who has a strong, nimble voice, attention—and ugliness—is the point.

A promising start for a brave and unapologetically bold new writer.

Pub Date: April 6, 2017

ISBN: 978-1-59709-031-5

Page Count: 192

Publisher: Red Hen Press

Review Posted Online: Jan. 22, 2017

Kirkus Reviews Issue: Feb. 1, 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.