The author’s depiction of the culture’s racial dynamic will surely cause a stir.
A provocative, illuminating novel that imagines the inner life and explores the cultural legacy of Bert Williams, the first popular black stage performer of America’s early 20th century.
Born in the West Indies, Williams delighted white audiences and embarrassed his family and associates by playing the bumbling, slow-witted “coon” or “nigger,” corking his visage in blackface. He considered this stereotype a peculiarly American phenomenon, unknown in his homeland. Was he the artistic creator of his role, or was he the prisoner of it? Williams claimed that the caricature should not offend since it had no basis in reality, but it plainly reinforced a popular prejudice, one that put strict limitations on acceptable roles for a performer of his color. West India–born novelist and cultural critic Phillips (A Distant Shore, 2003, etc.) employs Williams to explore themes of racial identity and the twisted relationship between black artists and white audiences. Though generally avoiding polemic, the novel’s implications extend from the minstrelsy of a hundred years ago to the marketing of today’s hip-hop and gangsta rap. While interspersing snippets from stage productions and newspaper accounts, the novelist takes considerable creative license in fictionalizing the reflections of the comic entertainer, a man of sad dignity and ambiguous sexuality who keeps the various parts of his life compartmentalized. Structured into three acts, the novel traces the rise and fall of the team of Williams and the more assertively political George Walker, whose partnership formed the first all-black company to achieve success on Broadway, a triumph both enhanced and undermined by Bert’s ability to play the fool. In rescuing Williams’s reputation from obscurity, Phillips gives his leading man a tragic dimension. As times were changing—from Harlem’s transformation into a nightlife mecca to the heavyweight championship of Jack Johnson to the assertive activism of W.E.B. Dubois—Williams couldn’t change with them.
The author’s depiction of the culture’s racial dynamic will surely cause a stir.Pub Date: Sept. 18, 2005
ISBN: 1-4000-4396-4
Page Count: 224
Publisher: Knopf
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: June 15, 2005
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
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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