Beautifully written, and as charming as it is dark, the novel unwraps the endless secrets that elude a child.
Debut novelist Lovett offers a dreamy portrait of an English childhood, with some sharp edges beneath the blur.
Following the death of his father, 9-year-old Peter and his mother move from London to a mysterious house in the country. Peter states at the onset of the novel, “I can’t promise that this is the way it was, not exactly, only that this was perhaps how it sometimes seemed to be.” He tells and retells stories, all in luminous and evocative language, as he begins to realize that the secrets of the past are layered and complex. Among the many changes that occur quite quickly in Peter’s life is his mother’s strange request that he refer to her as Kat and keep the details of their home life to himself. That secret, and the secrets that begin to rise up all around him, become more difficult to protect when he meets Anna-Marie, a bossy neighborhood girl, and Tommie, an outcast schoolmate. Taking to the countryside, they begin to investigate a series of intertwined mysteries stemming from the discovery of a hidden room within Peter’s new house, a museumlike nursery filled with artifacts for a lost baby girl that the children long to understand. The narrative is driven by images, connecting and unfolding like the mysteries beneath the surface: mirrors, clocks, butterflies and a storybook rambling through the physical Everlasting Lane, lush and green and seemingly unending. Deeper still is the reminder that the narrative itself is connected to the realm of imagination, as Peter muses on the idea that like stories, real life can be amended for happy endings and a second chance to make the right decision.
Beautifully written, and as charming as it is dark, the novel unwraps the endless secrets that elude a child.Pub Date: Jan. 13, 2015
ISBN: 978-1-61219-380-9
Page Count: 368
Publisher: Melville House
Review Posted Online: Oct. 22, 2014
Kirkus Reviews Issue: Nov. 1, 2014
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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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