Piquant works in progress more than finished works of art.
Italian novelist Parrella makes her English-language debut with four stories set in Naples, her hometown.
“Siddhartha” is the slight but engaging account of rough-and-tumble life in a family business, a print shop whose boss does time for mail fraud. Crime figures in three of the tales, and all but one are narrated by women threading their way through a complicated world. In “Run,” Anna is a beautician living with Mario, a drug courier; the unmarried couple have an eight-year-old son, Tonino. The story opens with a precisely choreographed street scene. Mario is on foot, as is a total stranger who’s flush with cash. A motorcycle roars up; the passenger stabs Mario in the back, then frisks him. An ambulance retrieves Mario; the stranger follows it to the hospital, where he meets Anna and Tonino. Mario dies; Anna is recruited into his business, gets caught, does time. What’s memorable is not the mess of intrigue (Parrella omits two vital details from the opening), but Anna’s blazing devotion to her son. Complications of a different sort drive “The Imaginary Friend.” Marina, a museum curator, is married to a doctor; their small daughter has a constant companion, the eponymous friend. Marina has a long-distance friendship with Ernesto, another museum official, in the north. Fantasy, it seems, is not just the prerogative of children. Could this friendship be the “spare and exquisite” affair Marina desires? Teasing and unpredictable, a delayed disclosure is as important here as in “Run.” The title story is less satisfying. The nameless narrator is a shop clerk pushing 40. Years ago, her life was transformed by her near-fatal decking of a young street thief who tried to snatch her cell phone; it ended her relationship with her boyfriend and the neighborhood. Here the postponed revelation seems pointless, denying us a handle on the narrator’s character.
Piquant works in progress more than finished works of art.Pub Date: Sept. 1, 2009
ISBN: 978-1-933372-94-5
Page Count: 144
Publisher: Europa Editions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2009
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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