Tedious, and unpleasantly so.

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VENGEANCE IS MINE, ALL OTHERS PAY CASH

Pulp fiction from one of Indonesia’s most important young writers.

Beauty Is a Wound (2015), Kurniawan’s English-language debut, was vast in scope and boldly executed. It was rude and brutal, but it was also funny and beautiful. This newly translated novel is simply rude and brutal. The carnage and acts of sexual assault in the first book were starkly depicted, but they were also imbued with a fabulist sensibility. The author was exploring the violent history of his country through a folkloric lens and using the language and modes of pop culture to make it immediate. He seems to be trying to do something similar here, but the results are much closer to Man Tiger (2015) than to the earlier work. Both latter novels are spare and quick rather than epic, and the fact that they’re short, at least, is good. The protagonist of this latest book is a young man whose impotence is his most defining feature. Ajo Kiwar’s flaccid penis is both a private struggle and a public fact. There are many scenes of Ajo Kiwar trying to rouse his flaccid penis and many moments in which he talks to and consults with his flaccid penis. Ajo Kiwar’s flaccid penis is the first thing that comes to the minds of his friends and acquaintances when they think of him, and it is the subject of much of the book’s dialogue. Even when he’s at his best, character development is not one of Kurniawan’s strengths. The mythic qualities of Beauty Is a Wound made up for this lack of depth; the characters there were real people but also archetypes and figures from fairy tales. Ajo Kiwar is just flat and uninteresting, and none of the other characters are much more compelling—not even the sexy lady bodyguard who falls in love with him after they beat each other soundly. There’s a lot of rape in this novel, and it feels even more gratuitous than many murders.

Tedious, and unpleasantly so.

Pub Date: Aug. 1, 2017

ISBN: 978-0-8112-2564-9

Page Count: 214

Publisher: New Directions

Review Posted Online: July 4, 2017

Kirkus Reviews Issue: July 15, 2017

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An exuberant comic opera set to the music of life.

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DEACON KING KONG

The versatile and accomplished McBride (Five Carat Soul, 2017, etc.) returns with a dark urban farce crowded with misjudged signals, crippling sorrows, and unexpected epiphanies.

It's September 1969, just after Apollo 11 and Woodstock. In a season of such events, it’s just as improbable that in front of 16 witnesses occupying the crowded plaza of a Brooklyn housing project one afternoon, a hobbling, dyspeptic, and boozy old church deacon named Cuffy Jasper "Sportcoat" Lambkin should pull out a .45-caliber Luger pistol and shoot off an ear belonging to the neighborhood’s most dangerous drug dealer. The 19-year-old victim’s name is Deems Clemens, and Sportcoat had coached him to be “the best baseball player the projects had ever seen” before he became “a poison-selling murderous meathead.” Everybody in the project presumes that Sportcoat is now destined to violently join his late wife, Hettie, in the great beyond. But all kinds of seemingly disconnected people keep getting in destiny's way, whether it’s Sportcoat’s friend Pork Sausage or Potts, a world-weary but scrupulous White policeman who’s hoping to find Sportcoat fast enough to protect him from not only Deems’ vengeance, but the malevolent designs of neighborhood kingpin Butch Moon. All their destines are somehow intertwined with those of Thomas “The Elephant” Elefante, a powerful but lonely Mafia don who’s got one eye trained on the chaos set off by the shooting and another on a mysterious quest set in motion by a stranger from his crime-boss father’s past. There are also an assortment of salsa musicians, a gentle Nation of Islam convert named Soup, and even a tribe of voracious red ants that somehow immigrated to the neighborhood from Colombia and hung around for generations, all of which seems like too much stuff for any one book to handle. But as he's already shown in The Good Lord Bird (2013), McBride has a flair for fashioning comedy whose buoyant outrageousness barely conceals both a steely command of big and small narrative elements and a river-deep supply of humane intelligence.

An exuberant comic opera set to the music of life.

Pub Date: March 3, 2020

ISBN: 978-0-7352-1672-3

Page Count: 384

Publisher: Riverhead

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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