The novel's slower moments are like a pomegranate's dull skin before it breaks to reveal a cache of jewels.
Lee’s third novel returns to the terrain of The Serpent’s Gift (1994) as it follows a Black woman working to reunite with her children in the wake of addiction and incarceration.
After a four-year sentence, Ranita Atwater exits the Oak Hills correctional facility into a freedom that is shackled to her past. As Ranita seeks to shore up her sobriety and defend her parental status, she bumps up against memories from her former lives—her childhood as a girl with a loving Daddy and a Mama who found her wanting; her tumultuous relationship with Jasper, the father of her children, who introduced her to opiates; her descent into heroin addiction with David Quarles; and the blossoming joy of her love for Maxine, a fellow inmate. The novel alternates among these timelines, following the logic of Ranita’s memory. Each chapter-length flashback trades the first-person narration of the present-day sections for a third-person perspective. But as she opens up to state-mandated therapist Drew Turner, Ranita reveals the traumas at the core of her struggles with addiction. Throughout, Ranita speaks of racism and systemic injustice with awesome clarity. “In prison,” she tells Turner, “...you’re just breathing flesh that can house contraband, and cause violence, and run.” Also: “Being a commodity. Being bred….All of that’s echoing, day in and day out.” Diction is a central theme, as Ranita, a lover of words and facts, considers how men have used a nickname—Cherry—to define her according to their perception. The novel bristles with strong women, from aunties Jessie and Val to the inmates and sponsor who inspire Ranita to have faith in herself. Because it eschews plot twists for emotional reflection, the novel drags at times; but Lee’s handling of trauma is deft, and her portrayal of the carceral system’s cruelty is unflinching and empathetic.
The novel's slower moments are like a pomegranate's dull skin before it breaks to reveal a cache of jewels.Pub Date: April 11, 2023
ISBN: 9781982171896
Page Count: 352
Publisher: Atria
Review Posted Online: Feb. 7, 2023
Kirkus Reviews Issue: March 1, 2023
BOOK REVIEW
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.
An ambitious scientific experiment wreaks horrendous toll in the Booker-winning British author’s disturbingly eloquent sixth novel (after When We Were Orphans, 2000).
Ishiguro’s narrator, identified only as Kath(y) H., speaks to us as a 31-year-old social worker of sorts, who’s completing her tenure as a “carer,” prior to becoming herself one of the “donors” whom she visits at various “recovery centers.” The setting is “England, late 1990s”—more than two decades after Kath was raised at a rural private school (Hailsham) whose students, all children of unspecified parentage, were sheltered, encouraged to develop their intellectual and especially artistic capabilities, and groomed to become donors. Visions of Brave New World and 1984 arise as Kath recalls in gradually and increasingly harrowing detail her friendships with fellow students Ruth and Tommy (the latter a sweet, though distractible boy prone to irrational temper tantrums), their “graduation” from Hailsham and years of comparative independence at a remote halfway house (the Cottages), the painful outcome of Ruth’s breakup with Tommy (whom Kath also loves), and the discovery the adult Kath and Tommy make when (while seeking a “deferral” from carer or donor status) they seek out Hailsham’s chastened “guardians” and receive confirmation of the limits long since placed on them. With perfect pacing and infinite subtlety, Ishiguro reveals exactly as much as we need to know about how efforts to regulate the future through genetic engineering create, control, then emotionlessly destroy very real, very human lives—without ever showing us the faces of the culpable, who have “tried to convince themselves. . . . That you were less than human, so it didn’t matter.” That this stunningly brilliant fiction echoes Caryl Churchill’s superb play A Number and Margaret Atwood’s celebrated dystopian novels in no way diminishes its originality and power.
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.Pub Date: April 11, 2005
ISBN: 1-4000-4339-5
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
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