A clever premise, but Dewberry takes Ellen (and Diana) far more seriously than most readers will.
In Dewberry’s fourth novel (Sacrament of Lies, 2001, etc.), a woman staying at the Ritz in Paris the night that Princess Diana dies finds herself re-examining her own identity as the trophy wife of a powerful man.
Ellen, a tall, blond beauty without a career of her own, has accompanied her Nobel Prize–winning physicist husband Lawrence to a conference in Paris. The day before Diana’s death, Ellen is briefly mistaken for the princess while getting out of a limo, then crosses paths with her in the hotel’s beauty parlor (the one scene in this oh-so-seriously interior monologue when Dewberry shows a witty light touch) and in the restaurant. With Lawrence busy giving speeches and delving into issues of string theory with his colleagues, including a German woman whose caustic self-assurance underlines Ellen’s intellectual insecurity, Ellen has way too much time on her hands. Out jogging because she can’t sleep, she comes upon the accident scene where she meets a mysterious American photographer named Max, who had taken her picture in front of the hotel that afternoon. Increasingly neglected by Lawrence, who understandably finds her a tad trivial, Ellen obsesses about the death, especially after Diana begins to talk to her. Ellen is soon agonizing over the handsome Max too and tracks him down. He’s fighting his own demons as a guilty member of the paparazzi. There’s the requisite single moment of passionate, deeply meaningful lovemaking before he motorcycles away into the mist. Diana’s soul travels on too, but not before Ellen recognizes the parallels in their lives: unsympathetic mothers, husbands with little time for their emotional needs, their own yearnings for love. The mundane human moments, as when Ellen realizes with embarrassment that she’s walking in the wrong direction, are far more resonant than her ponderous soul-searching.
A clever premise, but Dewberry takes Ellen (and Diana) far more seriously than most readers will.Pub Date: March 20, 2006
ISBN: 0-15-101221-0
Page Count: 288
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2005
BOOK REVIEW
BOOK REVIEW
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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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