A moving, eloquent exploration of faith and its response to the refining fire of life’s challenges.
Molded by their backgrounds and childhood experiences, the individual members of two couples adopt beliefs which will define them—until they are confronted by a heart-wrenching challenge.
Writing with restrained lyricism, Wall’s debut—15 years in the making—offers a kind of literary chamber music, combining the viewpoints of a quartet of characters across multiple decades and events. Charles, the son of a Harvard professor, is a man reliant on research and insight. James, whose drunken father was broken by war, will grow up to be full of impatience and the urge to action. Nan, the daughter of a Southern minister, has learned patience and generosity while Lily, orphaned at 15, is happiest when withdrawn. Charles’ unswerving love for Lily is matched by James’ determination to marry Nan even though neither couple seems a natural fit. When both men opt for a life in the church, Nan is better equipped for the role of clergyman’s wife than independent, brittle Lily, who feels no obligation to conform. The four eventually connect when Charles and James are offered the joint ministry of Third Presbyterian Church in Greenwich Village. Old-fashioned in tone and subject matter, the story is set in the mid-20th century and evokes some of the stifling social norms of the era. Wall has a very precise sensibility, and there is no escaping the sense of tidy predetermination in the clear, fixed positions of her four figures and their various oppositions, seen through the debates, struggles, rejections, and consolations that arise among them. Finely drawn and paced and written with intense compassion, the novel shifts ground with a late development that will test and push forward each of the four, leading to a conclusion consistent with Wall’s grace and control.
A moving, eloquent exploration of faith and its response to the refining fire of life’s challenges.Pub Date: Aug. 13, 2019
ISBN: 978-1-982104-52-8
Page Count: 352
Publisher: Simon & Schuster
Review Posted Online: May 12, 2019
Kirkus Reviews Issue: June 1, 2019
PROFILES
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
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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