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MOSHI MOSHI

A fleeting portrait of a critical moment in a young woman’s life, one with which the late John Hughes might have felt some...

A young Japanese woman is left hurt, confused, and lost in the wake of her father’s mysterious death.

Prolific novelist Yoshimoto (The Lake, 2011, etc.) offers another story of youth, grief, and redemption in this ephemeral yet lovely portrait of an unformed woman. The narrator here is Yocchan, who's fled her childhood home for the hip urban district of Shimokitazawa in central Tokyo to seek work and independence. A year ago, her musician father, Imo, was found dead in a murder-suicide with a mysterious woman in a forest. The story, like many of Yoshimoto’s arcs, is one in which there’s little real drama, yet a pressing emotional alchemy emerges that leaves everyone changed at the end. Yocchan struggles but doesn't give up, pressing ahead with her new job at a French bistro and flirting with a handsome admirer, Shintani-kun. Her mother, haunted by her husband’s ghost, moves in with her daughter in her small apartment and struggles to remake her own life. “We each had to live our own battles,” Yocchan confesses. “We could hardly give up and die; and if we had to live, we’d have to rely on what we were made of.” Along the way, there are delicate and vivid descriptions of food, work, loneliness, and human connection, too, painted with subtle yet heartfelt language. Yocchan enters a relationship with Shintani-kun yet finds herself drawn to Yamazaki-san, an older man who was a band mate of her father's. The book culminates in a ceremony to free her father’s spirit and a tipping point that leaves Yocchan on the verge of leaving for Paris and, as all young people do, standing on the precipice of becoming her adult self.

A fleeting portrait of a critical moment in a young woman’s life, one with which the late John Hughes might have felt some kinship.

Pub Date: Dec. 13, 2016

ISBN: 978-1-61902-786-2

Page Count: 256

Publisher: Counterpoint

Review Posted Online: Sept. 20, 2016

Kirkus Reviews Issue: Oct. 1, 2016

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THE MOST FUN WE EVER HAD

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

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HOUSE OF LEAVES

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.

Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad.  The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized).  As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses).  Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture.  Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly.  One of the most impressive excursions into the supernatural in many a year.

Pub Date: March 6, 2000

ISBN: 0-375-70376-4

Page Count: 704

Publisher: Pantheon

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2000

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