A novel undone by Lee’s indecisiveness over how much slack to cut his protagonist, the obnoxious Joshua.
During college and afterwards, some aspiring Asian-American artists figure out their identities in this third novel from the former editor of Ploughshares (Wrack and Ruin, 2008, etc.).
Eric Cho, the narrator, is a third generation Korean-American from California. In 1988 he arrives at Macalester, a small liberal arts college in St. Paul, Minn. Unformed and eager to please, he falls under the influence of Joshua Yoon, a Korean orphan adopted and raised lovingly by two Harvard professors, both Jews. While Joshua, a loudmouth and provocateur, complains about the pervasiveness of racism, Eric finds a willing girlfriend in Didi, a blonde Irish Catholic from Boston. When Didi ends the relationship, it’s an I-told-you moment for Joshua; obviously she had just been slumming. He presses his point home in a creative writing class (both he and Eric are would-be novelists) by savagely attacking a white girl’s story; she retaliates, leaving a racist slur outside his dorm. Eric draws closer to Joshua and Jessica, a Taiwanese-American art student; they style themselves the 3AC (Asian American Artists Collective). Eric also acknowledges that they are “insufferable twits.” After graduation, all three find themselves in Boston. They expand the Collective to include a range of avant-garde types intent on combating media stereotypes of Asians, but it never really gets off the ground; the group can’t even agree on a mission statement for the website. Joshua’s leadership has failed. Years later, after his suicide (Lee uses it as a hook for his opening), Eric concludes that “Joshua was a liar, a narcissist, a naysayer, a bully, and a misogynist.” Add to that list: a bore. Lee doesn’t persuade us that Joshua has the charisma necessary to keep Eric in thrall to him. In lieu of a plot, he gives Eric another doomed relationship, and then a controversy and media circus over a risqué installation of Jessica’s that celebrates the Asian phallus.
A novel undone by Lee’s indecisiveness over how much slack to cut his protagonist, the obnoxious Joshua.Pub Date: July 16, 2012
ISBN: 978-0-393-08321-7
Page Count: 320
Publisher: Norton
Review Posted Online: June 16, 2012
Kirkus Reviews Issue: July 1, 2012
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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