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LOVE & ORDINARY CREATURES by Gwyn Hyman Rubio

LOVE & ORDINARY CREATURES

by Gwyn Hyman Rubio

Pub Date: Oct. 1st, 2014
ISBN: 978-1-61822-031-8
Publisher: Ashland Creek Press

A self-consciously erudite cockatoo narrates this avian-human romance from Rubio (The Woodsman’s Daughter, 2005, etc.).

In 1993, cockatoo Caruso lives on Ocracoke Island on North Carolina’s Outer Banks with Clarissa, a redheaded chef who whips up ambitious culinary delicacies while declaring her own favorite foods remain her beloved late grandmother's traditional Southern dishes. (Health-conscious readers may cringe at a chef who never seems to wash her hands and lets her bird loose in the kitchen.) Caruso became a domestic pet after he was kidnapped from his bird family in Australia years earlier. One smart cockatoo, Caruso is given to ruminating on man’s narcissistic self-importance, following the teachings of the “Great Mother” and quoting Emily Dickinson. That appreciation of poetry came from Caruso’s first owner, Theodore. A saintly romantic, Theodore retired from his career as headmaster of a boys school to move next door to the woman he’d silently loved since childhood despite her long marriage to a rich bully. Before entering a nursing home, Theodore introduced Caruso to concepts of love the bird carries with him as he faces a similar romantic crisis of his own. Caruso is in love with the giggly, annoyingly sweet Clarissa and basks in her attentive affection. Then Clarissa meets Joe, who has come to surf on Ocracoke while on summer break from studying environmental law. Clarissa's past boyfriends didn't threaten Caruso, but she seems serious about Joe. Plucking out his feathers in avian distress, Caruso begins plotting to win Clarissa back. Unfortunately, the cockatoo companion Clarissa finds to mollify Caruso only annoys him before fatally diving headlong into a pot of pasta sauce after a tantalizing feather Caruso has purposely dropped—a moment of unintentional comic relief in the slog through whimsy and New Age–y environmentalism.

Worse, the cliché-ridden novel sends uncomfortable cues: Are readers really supposed to blame Clarissa’s younger brother for being emotionally troubled or dislike her sous chef because he’s effeminate?