A humorous novel about very unfunny things.
This genius has as many insecurities as the rest of us—and a quirky family that helps her address mortality.
Rayfiel is a shape-shifting writer. After the beautiful and mysterious monologue of In Pinelight (2013), his last novel, this new work presents what amounts to a morbidly funny conversation. There is little narration, with the book taking place almost entirely in dialogue, and Rayfiel creates clear and memorable characters through their banter. Kara Bell is a 23-year-old small-town girl who's pursuing a Ph.D. in philosophy in New York City. Diagnosed with cancer, she returns to Witch’s Falls, Arkansas, in search of a bone-marrow match within her family. She's a fish out of water in this town of no secrets, at odds with her mother, cynical about her brother's vacuous girlfriend and tattoo business, lustfully infatuated with her old friend Christy, and literally dying to get out of town. Neither her brother, Gerald, nor her mother, Jean, is a match for her, and they're reluctant to give her any information about her late father’s family as another potential source for the transplant. Kara is thoroughly grounded in epistemology but can't find the answers she needs for her cure. When her mother insists she see the local doctor for a second opinion, she finds out she's pregnant with the child of her 75-year-old doctoral adviser, a genius himself. At physical risk because of her illness and indifferent to motherhood given her strange relationship with her own mother, she has Christy take her to an abortion clinic in Little Rock. She may hold the answers to the universe in her brilliant head, but secrets begin to emerge about her life and her family that she could never have guessed, and life becomes something she has to figure out without the guiding voice of Kant in her ear. “The thing-in-itself. Not what we perceive through our senses but what is. What we can never know.”
A humorous novel about very unfunny things.Pub Date: March 7, 2016
ISBN: 978-0-8101-3246-7
Page Count: 240
Publisher: TriQuarterly/Northwestern Univ.
Review Posted Online: March 15, 2016
Kirkus Reviews Issue: April 1, 2016
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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