Worth reading for its searing depiction of modern Africa, but Abani is no Chinua Achebe.
A Nigerian-born poet and first-novelist limns a teenage boy struggling for direction in Lagos under the heel of a brutal military dictatorship.
Elvis Oke is 16, saddled with an alcoholic father, a hostile stepmother, and fading memories of his dead mother, who named him for her favorite American singer and whose tattered journal is his only connection to happier days in the Nigerian countryside. Abani weaves the journal’s recipes and tribal lore together with Elvis’s memories of his early years to provide background for the main action during 1983. The Okes are Igbo, “one of nearly 300 indigenous people in this populous country,” the narration informs us—sounding, as it frequently does, like an informational guide for foreigners. Elvis’s father, Sunday, ran for elected office in a hopeful period between juntas, but he didn’t have enough money to compete in Nigeria’s hopelessly corrupt system, the army seized power again, and now Sunday is drunk and jobless in Lagos, while his son wonders what kind of life he can fashion for himself in this desperate land. Sensitive and bookish, Elvis tries to make a living as a Presley impersonator, dancing and singing for handouts from tourists, but he’s tempted by his friend Redemption to make quick cash ferrying drugs and other contraband for the sinister Colonel, nastiest of the corrupt, vicious soldiers whose arbitrary whims rule the lives of ordinary people in Nigeria. A horrific lynching scene shows the mob to be as savage as the military—“How long can we use the excuse of poverty?” Elvis asks—and Abani paints a compelling portrait of a society in frightening chaos. Unfortunately, the factual background is superior to the author’s fictional gifts; the grim story of the Oke family arouses our pity but fails to evoke a more active empathy that would enable readers to see their own yearnings and failures in the rather schematic characters.
Worth reading for its searing depiction of modern Africa, but Abani is no Chinua Achebe.Pub Date: Feb. 1, 2004
ISBN: 0-374-16589-0
Page Count: 368
Publisher: Farrar, Straus and Giroux
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Nov. 1, 2003
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
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
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