What it means to see things through at the end of everything.
In the last days of an American metropolis, a grieving artist finds purpose in preserving an elderly neighbor’s legacy.
In her marvelously graceful debut, artist and writer Kwan looks to the future with an arc of emotions ranging from existential panic to quiet moments of hope. While this gem sits firmly between the mushrooming genre of climate fiction and the more subdued melancholia of Station Eleven or The Dog Stars, it’s very much its own creature, meditating with fresh eyes on the resilience of memory and the inevitability of time. It’s become an all-too-familiar scenario in novels like The Mars House and New York 2140: Here San Francisco is the drowned world where life, against all odds, goes on for now. “Everyone wanted Bo to believe that there were better places out there, places that weren’t under relentless threat,” Kwan explains. “They called this city a death trap. But she knew the truth: it was terrible, sometimes, everywhere.” Why Bo hasn’t left, long after her mother disappeared and her remaining family fled to Vancouver, she keeps mostly to herself. “If I leave,” she asks, “how can I be found?” Just as she’s been convinced to finally abandon her home, she gets a note under her door from Mia, one of the holdout supercentenarians in her building, who needs home care. Even as Mia’s health deteriorates, connecting with her brings Bo back to the world in the wake of her grief. With the help of Antonia, a resilient and determined librarian, and Eddie, a conservation biologist, Bo sets about composing a work of art that will layer her story on top of the places and history that made the city live and breathe. What might seem at first like sacrifice is really more like endurance—holding on tight because letting everything go means losing who we are.
What it means to see things through at the end of everything.Pub Date: May 13, 2025
ISBN: 9780593701409
Page Count: 320
Publisher: Pantheon
Review Posted Online: March 8, 2025
Kirkus Reviews Issue: April 1, 2025
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
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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