A well-turned debut that airdrops its characters into an appealingly offbeat milieu.
A sad-sack ornithologist navigates the wilds of southern Indiana and its quirky denizens.
Kimberling’s debut is a collection of linked stories narrated by Nathan Lochmueller, a smart but mostly luckless man who stumbles into a job monitoring bird patterns. The pay is awful, and Nathan is conflicted about how his unfaithful girlfriend, Lola, helped him get the gig. But at least the job introduces him to a colorful, if occasionally scarifying, array of characters: He meets diner patrons who reply to kids’ letters to Santa Claus, would-be mushroom-hunters, ersatz Klansmen and dimwitted bureaucrats who legislate on the environment without knowing the first thing about it. As Nathan notes, southern Indiana is an odd mix of levelheaded Midwest culture and oddball Southern folkways, and Kimberling’s prose nicely evokes this culture clash: His unusual scenarios are rendered with a wry, self-deprecating wit. Violence abounds on Nathan’s turf—a snapping turtle takes off a friend’s thumb (hence the title), a drunk friend takes a two-by-four to a few parking meters, a stoner pal is stabbed, and Nathan himself gets pushed down a flight of stairs—but more as evidence of life’s absurdity than of its tragedy. Kimberling’s stories have depth, but he never forces a message on them; a chapter in which Nathan comes across a human bone in a graveyard is handled with easy humor instead of ponderous metaphor. This book has enough of a story arc that the fact that it’s not a full-fledged novel is somewhat frustrating: We learn about Lola’s romantic wanderings but not enough to suggest their full impact on Nathan, and while Nathan’s emotional evolution in the closing story is a pleasant surprise, it's a jarring one—a more intricately structured tale could give his character more resonance.
A well-turned debut that airdrops its characters into an appealingly offbeat milieu.Pub Date: April 16, 2013
ISBN: 978-0-307-90805-6
Page Count: 224
Publisher: Pantheon
Review Posted Online: Jan. 20, 2013
Kirkus Reviews Issue: Feb. 1, 2013
BOOK REVIEW
PROFILES
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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