by Hikaru Okuizumi ‧ RELEASE DATE: Feb. 1, 1999
An intense psychodrama, winner of Japan’s prestigious Akutagawa Prize for Fiction. The story is told through three deftly intertwined elements. The first consists of bookseller Tsuyoshi Manase’s tormented memory of his experiences near the end of WWII, in a cave on the Philippine island of Leyte, where he was traumatized by a “massacre of sick soldiers” (ordered by a proud captain) and haunted for years afterward by the dying words of a gentle lance corporal, who assured him that “even the most ordinary pebble has the history of . . . earth written on it.” A further element of the story is composed of Manase’s marriage and fatherhood, both tragically blighted by his obsessive collecting of stones and work as an amateur geologist, and both effectively ended when his eldest son Hikaro (himself a budding scientist) is savagely murdered. Finally, there is the confusion in Manase’s mind—unresolved until the concluding pages—that conflates his ordeal on Leyte with the later events of the day (while Manase was “away”) when Hikaro perished: in a cave. In this slowly paced, yet oddly absorbing, study of obsession and sublimation, Okuizumi moves skillfully between Manase’s present and past, relaxing the story’s tension only for an inexplicably extended account of his second son Takaaki’s estrangement from his father, career as a college soccer star, and involvement in radical student politics. Still, Takaaki’s climactic confrontation with his father dovetails beautifully with Manase’s realization that the “hallucinations” he suffers have a disturbing basis in reality; and it precipitates the story’s bone-chilling visionary ending. A remorseless little tale, very much in the spirit of that masterly storyteller Ryunoseke Akutagawa (some of Yukio Mishima’s psychological novels come to mind as well), and a fine debut performance.
Pub Date: Feb. 1, 1999
ISBN: 0-15-100365-3
Page Count: 144
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1998
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by Margaret Atwood ‧ RELEASE DATE: Sept. 10, 2019
Suspenseful, full of incident, and not obviously necessary.
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Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by Chinua Achebe ‧ RELEASE DATE: Jan. 23, 1958
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
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