A celebration of the lonely little guy who fights back, but too schematic to convince or engage.
Sailor/novelist Michelsen (To Sleep With Ghosts, 1992, etc.) sets his latest on Cape Cod, where the environmental toll of urban sprawl—plus the anguish of fishermen trying to compete with big boats—is more affecting than the plight of his overdrawn and overloaded protagonist.
Michelsen adds heft to the story of Ollie Cahoon, the seemingly doomed fisherman, by interrupting the narrative with short chapters from a fictional book about the ecology of Cape Cod. The information there—facts about population growth, geology, the water supply—validate Cahoon’s responses to developers, who want his inheritance, and to the local fishing authorities and factory ships, who are making it impossible for him to earn a living from the sea. Cahoon’s life is a mess: his marriage is on the rocks, his wife tired of the uncertainties and dangers of fishing; he’s been in jail for armed robbery; and he’s frequently in trouble for drinking and brawling. Cahoon’s a victim, if somewhat headstrong and stupid, but his heart is basically in the right place: he cares about the sea, overfishing, and preserving the land. The tale opens as Cahoon, confined to a wheelchair, is about to go on trial for shooting local developer Thatch Hallett. In flashbacks, Cahoon recalls how his life fell apart as he tried to keep on fishing, his mate Pig left for easier work, and Billy, his inexperienced brother-in-law, made a costly mistake and was badly injured in a storm at sea. Cahoon’s family, which includes a kayak-rowing mother, a gay great-uncle, and a sister with a baby and no husband, sympathized, but couldn’t help. So when it all got to be too much, Cahoon reluctantly agreed to sell the water rights to the land on which Hallett was building a shopping mall. A visit to the site of what was once pristine marsh is wrenching, though, and he decides to take action.
A celebration of the lonely little guy who fights back, but too schematic to convince or engage.Pub Date: June 29, 2001
ISBN: 1-58465-081-8
Page Count: 400
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2001
BOOK REVIEW
BOOK REVIEW
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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