Masterful prose, pacing, characterization, and ear for language.
An acclaimed poet, biographer, and novelist (The Last Station, 1990; Benjamin’s Crossing, 1997, etc.) memory-dips—and indulges his passions for mentor relationships and Italy: a lyrical and affecting coming-of-ager set in 1970 on the magical isle of Capri.
Alex Massolini, a young man in search of himself, takes a job as secretary to a famous Scots writer, Rupert Grant, a position that includes an initiation into Grant’s eccentric lifestyle and a place in the author’s unconventional “family.” The “smart son” from a working-class Pennsylvania Italian-American family, Alex abruptly drops out of Columbia University only a few credits away from graduation when his rebellious older brother, Nicky, is killed in Vietnam. In turmoil and with literary aspirations, he arrives at the Villa Clio and soon becomes embroiled in the ex-pat life. Sensuality is everywhere on the beautiful island, especially so in the Grant household. Grant’s 30-years-younger wife Vera takes Alex into her confidence and her kitchen (she’s an English heiress and cookbook author), and Grant’s young research assistants and “muses”—the refined English-American Holly and the torrid Neapolitan Marisa—take him into their beds. The villa is the scene of wonderful and tragic occurrences, and, in the tradition of Stingo in Sophie’s Choice and Nicholas Urfe in The Magus, Alex is both fascinated and repelled. Coming to terms with his brother’s death and his own future, befriending people like Father Aurelio and the French philosophy student Patrice, meeting real-life writers W.H. Auden, Graham Greene, and Gore Vidal (here Parini mines his personal roster of famous friends and acquaintances), Alex takes a journey of self-knowledge that’s ultimately an enviable experience.
Masterful prose, pacing, characterization, and ear for language.Pub Date: March 5, 2002
ISBN: 0-06-621071-2
Page Count: 320
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2002
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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