A quartet of isolated personalities drift the streets of post-9/11 New York in Bollen’s debut literary novel.
Joseph Giteau graduated high school in Cincinnati, immediately left his reclusive, conspiracy-obsessed mother and moved to New York. Delphine Kousavos left a tiny Greek island and entered Columbia University. Madi and Raj Singh left a fractured biracial Florida home and found success in the Big Apple. The four characters’ stories intertwine in this postmodern tale, seemingly random and chaotic on the surface but layered with existential malaise and good intentions gone wrong. Joseph found success as an actor, mostly in commercials, and mostly because of his good looks. But Joseph believes, though he admits his fear to no one, that he will die this year, his 35th, of heart failure, as did his father and grandfathers. Del drifted into a job as a reptile curator at the Bronx Zoo, a profession she dislikes enough to persuade Joseph, her lover of 10 months, to marry her so that she might stay in the country without a work visa. Madi, Del’s closest friend from college, is the most successful of the four, a vice-president of a company outsourcing jobs to India. Raj, a talented photographer and Del’s former lover, has fallen into an unidentifiable depression. Circling the group is William Asternathy, also an actor. William’s looks are fading, and his career has been derailed by drugs and the party scene sparked by “that fast live-wire current circulating through the city." Another narrative opens when Joseph meets Aleksandra Andrews, widow of a suicide, a man embroiled in utility-deregulation fraud. Told in third person, there is symbolism to be contemplated, internal dialogue to define character and flashbacks that make Joseph the most sympathetic of the four. Nevertheless, in this realistic tale of love and loss, love and ambivalence, angst and anger, death deliberate and accidental, there are no heroes.
A dark character study rife with paradox and indirection.
Pub Date: Sept. 1, 2011
ISBN: 978-1-59376-419-7
Page Count: 368
Publisher: Soft Skull Press
Review Posted Online: July 19, 2011
Kirkus Reviews Issue: Aug. 1, 2011
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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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