This slim novel engages but doesn’t surprise.
A talking rabbit, a hunting party, and an apocalyptic storm descend on the French countryside.
Any novel with talking animals—any novel for adults, anyway—is immediately suspect. Desarthe’s (Chez Moi, 2008) latest does feature a talking rabbit, but the result isn’t as tacky as you might think. Tristan is a yielding, nonconfrontational (human) transplant to the French countryside. When his unyielding wife urges him to join the ultramacho village men on a hunting trip, he acquiesces—but he doesn’t mean to kill anything. When he shoots a rabbit, he does so by mistake and scoops the injured-but-still-living body into his game bag with the hope of protecting it. Tristan and the rabbit go on to engage in a conversation the rest of the hunting party is apparently unable to hear (“Don’t die,” Tristan thinks; “I’m not dying,” the rabbit replies). But then Dumestre, the leader of their little hunting circle, falls into a deep hole, unable to climb out; two of the men go for help, while Tristan (and the rabbit) wait with him. As if that weren’t enough, it soon starts to rain—a heavy, apparently apocalyptic rain. And if that wasn’t enough, flashbacks from Tristan’s sad childhood intersperse with the action. Desarthe’s prose is elegant and clear, and, like other recent French authors, she’s interested in larger existential questions: what it means to be a man, to be human, to live a courageous life. But still: Why the talking rabbit? It’s not clear. It’s not clear, either, what the novel adds up to in the end, not even when the entirely unsurprising secret between Dumestre and Tristan’s wife is revealed.
This slim novel engages but doesn’t surprise.Pub Date: July 17, 2018
ISBN: 978-1-944700-71-3
Page Count: 175
Publisher: Unnamed Press
Review Posted Online: April 2, 2018
Kirkus Reviews Issue: April 15, 2018
BOOK REVIEW
Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.
Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.
In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.
Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.Pub Date: May 6, 2014
ISBN: 978-1-4767-4658-6
Page Count: 448
Publisher: Scribner
Review Posted Online: March 5, 2014
Kirkus Reviews Issue: March 15, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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